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2016-2017 Swan Lake Canada’s Royal Winnipeg Ballet With Virginia Symphony Orchestra Friday, March 31, 2017 11:00AM - 12:45PM Chrysler Hall, Norfolk What’s Inside About Swan Lake The Story The Stories Behind The Story The Choreography The Music Ballet 101: A Bit Of History Ballet Mime Dictionary Resources 2-3 4-5 6 7-8 9-10 11 12 13 Generous support has been received from Bank of America, Batten Educational Achievement Fund of the Hampton Roads Community Foundation, D. Baker Ames Charitable Foundation, Capital Group Companies, Clark Nexsen, Dominion Resources, Enterprise Holdings Foundation, Friedrich Ludwig Diehn Fund of the Hampton Roads Community Foundation, Nordstrom, PRA Group, Ruth Brown Memorial Foundation, Sandler Center Foundation, SunTrust, Tidewater Children’s Foundation, USAA, Virginia Commission for the Arts, Virginia Lottery, Wells Fargo, and the following cities and counties and/or their Arts and Humanities Commissions: Chesapeake, James City County, Newport News, Norfolk, Portsmouth, Virginia Beach, and Williamsburg. About Swan Lake Swan Lake Canada’s Royal Winnipeg Ballet With Virginia Symphony Orchestra Versatility, technical excellence, and a captivating style are the trademarks of Canada’s Royal Winnipeg Ballet, qualities that have garnered both critical and audience acclaim. Founded in 1939, the Royal Winnipeg Ballet holds the dual distinction of being Canada’s premier ballet company and the longest continuously operating ballet company in North America. In 1953, the company received its royal title, the first granted under the reign of Queen Elizabeth II. The Royal Winnipeg Ballet’s mission is to enrich the human experience by teaching, creating, and performing outstanding dance. When you think of ballet, do you imagine dancers in flowing white tutus fluttering across the stage with the grace and beauty of elegant swans? That wouldn’t be surprising, since Swan Lake is one of the world’s most widely recognized ballets. It’s part of nearly every major ballet company’s repertoire, or collection of works a dance group knows how to perform. Despite its fame today, Swan Lake’s premiere on March 4, 1877, at the Bolshoi Theatre in Moscow, Russia, was a big flop. Critics weren’t impressed by the choreography, or arrangement of dance steps, by Julius Reisinger, and they found the prima ballerina, or star female dancer, inadequate. Some thought the score, or music, by Peter Ilyitch Tchaikovsky was too complicated for ballet, while others thought the opposite, that the lackluster dancing detracted from the intricate music. The Swan Lake that is known and loved by the world today is based on the ballet’s revision for the Maryinsky Theatre in St. Petersburg, Russia. After Tchaikovsky’s death in 1893, the Maryinsky (now the Kirov Theatre) asked Marius Petipa, ballet master of the Imperial Ballet, to create a new version of Swan Lake. A ballet master is the person responsible for the quality and competency of a company’s dancers. Swan Lake, photo by Paata Vardanashvili 2 About Swan Lake Petipa had worked with Tchaikovsky on other ballets—The Sleeping Beauty and The Nutcracker— so he knew the composer’s work well. Petipa asked his assistant, Lev Ivanov, to choreograph the graceful “swan” scenes. The new production of Swan Lake was unveiled on January 17, 1895. This time, it was a huge success! Photos L-R: Pierina Legnani as Odette in Marius Petipa and Lev Ivanov's revival of Swan Lake, St. Petersburg, 1895. Fredrik Rydman's Swan Lake Reloaded. Matthew Bourne’s Swan Lake. Swan Lake has even worked its way into popular culture, its unforgettable music, storyline, and dancing turning up in film, television, literature, and even video games. Despite its less-than-stellar nineteenth-century beginnings, today Swan Lake remains one of the world’s most beloved ballets. Think about this: What do you know about ballet? Have you ever seen a ballet performance—maybe on television, in a movie, or at a theater? Perhaps you or someone you know takes ballet lessons. What images or impressions come to mind when someone mentions the word ballet? Try this: Using what you already know—or don’t know!—about ballet, form a hypothesis, or educated guess, about what you might expect to see, hear, or feel during Royal Winnipeg Ballet’s performance of Swan Lake. Make a list of your predictions. Revisit your list after the show. How many of your predictions were correct? Where is Winnipeg, and what’s it like? Locate Royal Winnipeg Ballet’s hometown on a map of Canada and research what else you might find there. The ballet company received its royal title from the queen of England. Why? Research the history of the England-Canada relationship and create a timeline of important events. Swan Lake is always changing. Over the decades, dance companies and choreographers around the globe have given the classic story their own special twist. Sometimes the ballet ends happily; sometimes it ends tragically. Sometimes sections are deleted; sometimes they’re added. In 1996, English choreographer Matthew Bourne replaced the elegant female “swans” in flowing tutus with spiky-haired male dancers in feathery knickers. In 2012, Swedish choreographer Fredrik Rydman premiered Swan Lake Reloaded, his hip-hop/street-dance rendition of the story. 3 The Story Though there are many variations to the tale, the Swan Lake story generally goes like this… It’s a party! Prince Siegfried is turning twenty-one. At the castle, villagers and courtiers celebrate the prince’s big day. The queen arrives to remind Siegfried that he will soon be king, so the time has come for him to choose a bride at the next evening’s ball. But Siegfried hasn’t yet met someone who touches his heart; he wants to marry only when he falls in love. Siegfried is saddened by his mother’s request but maintains his composure until the guests go home. Alone in the dark, Siegfried sees a flock of white swans in the sky and departs with his mother’s birthday gift to him—a crossbow—following the birds to the lake. Deep in the forest, swans drift ashore and are transformed into young women. Siegfried is stunned by their incredible beauty and lowers his weapon. The Swan Queen, Odette, explains that the lovely creatures are under the spell of the evil magician Von Rothbart and only the love of a man who swears eternal faithfulness can break the sorcerer’s spell. Siegfried is enchanted by Odette—he has never seen such a beautiful maiden—and vows his eternal love to her. Odette warns the prince that if he breaks his promise, no one will ever be able to help the swan maidens. As dawn approaches, the maidens are once again transformed into swans and return to the lake. Odette bids Siegfried farewell. Next evening in the castle ballroom, a magnificent ball is being held in Siegfried’s honor, with the full court in attendance. Beautiful princesses from various countries appear before the prince, but no one captures his attention. Siegfried is polite but indifferent to the young ladies at the ball; he thinks only of Odette, who has captured his heart. Suddenly, two uninvited guests appear, dressed in black: Von Rothbart, impersonating a noble knight, and his daughter, Odile. Siegfried is mesmerized by Odile, whom he thinks is Odette, and declares that she will be his bride. Von Rothbart delights at the prince’s betrayal of his love; Siegfried has broken his oath to Odette. Love and faithfulness no longer exist and nothing can withstand Von Rothbart’s evil power. With mocking triumph, Odile reveals her true identity. For a moment, Siegfried sees a vision of the swans by the lake and, understanding the terrible trickery, rushes to the forest in search of Odette. At the lake at nightfall, Odette explains to her swan maidens Von Rothbart’s treachery and Siegfried’s unintentional betrayal. The prince promises to redeem his misdeed and challenges the sorcerer to combat. Von Rothbart’s powers are destroyed, bringing an end to evil wizardry. As Odette and Siegfried are united in eternal love, the rays of the rising sun grant life, love, and happiness. 4 The Story Think about this: Swan Lake opens with Prince Siegfried’s twenty-first birthday, the age at which he must get married and think about adult responsibilities. It’s an important milestone, often called “coming of age.” Think about important milestone birthdays in your culture—when you turn sixteen, for example, or eighteen, or twentyone. What things happen or are expected of you when you mark those birthdays? Try this: Research coming-of-age birthday traditions of other cultures, perhaps the Jewish bar or bat mitzvah or the Hispanic quinceañera. Pretend you’re a party planner—what special ceremonies or rituals, food, music, decorations, and other items will you need to provide? Research, then create an illustration, collage, PowerPoint presentation, or Pinterest board for your party and share it with your class. Think about this: In Swan Lake, an evil sorcerer has transformed young women into swans. Can you think of other stories where humans are transformed into animals, or vice versa? If you could transform into an animal, which one would you choose? Why? Try this: Research your animal and share what you learn with your class. Choose one of your animal’s behaviors or characteristics that could be turned into a dance step or action. Demonstrate that step for your classmates—can they guess your animal? Do real swans live on lakes? Research the natural habitats of swans. Where are these habitats geographically located? Make a map for birdwatchers looking for swans. A swan in the pond in the Botanical Gardens in Edinburgh, Paul Boxley. Photos Top: Bar Mitzvah at the Wailing Wall in Jerusalem, Anthony Baratier. Bottom: Quinceañera. Santa Fe, Christopher Michel. Source: Adapted from Royal Winnipeg Ballet www.rwb.org/whats-on/show/swan-lake 5 The Stories Behind The Story The Swan Maidens by Walter Crane. The tale of Swan Lake is rooted in the ancient idea of the “swan maiden,” which appears in various forms in the literature and folk traditions of many countries and cultures. In Greek mythology, swans symbolized wisdom and creativity. Siren, the half bird and half woman of Greek myth, could lure sailors off their course. The swan-maiden goddess of Hindu legend, Saraswati (whose name means “one who flows”), is dressed in pure white and linked to purity, beauty, and the arts. In Native American culture, the famous Sacagawea’s name means “bird woman.” At the time of the original Swan Lake’s creation, people would have known of the Middle Eastern and South Asian tales in One Thousand and One Nights (often called the Arabian Nights), which includes a story of Hasan of Basra, who visits the place of the bird maidens; when these creatures remove their feather garments, they become beautiful women. People might also have been familiar with the Russian poem The Tale of Tzar Saltan by Alexander Pushkin, about a prince who saves a wounded swan that later transforms into a woman to marry him. Peter Ilyich Tchaikovsky, who wrote Swan Lake’s music, was likely influenced by German composer Richard Wagner’s opera Lohengrin, the story of a heroic prince with a mysterious past who arrives on a magical swan-boat. It’s not certain exactly who authored Swan Lake’s libretto, or storyline. The program notes from the original 1877 production make no mention of any specific writer or sources. It may have been penned by the ballet’s original choreographer, Julius Reisinger; by Vladimir Petrovich Begichev, director of Russia’s Imperial Theatres; or Vassily Geltser, a prominent Russian dancer who was well-read and cultured. Tchaikovsky also may have contributed. Begichev accompanied Tchaikovsky and a group of artists and supporters who toured Western Europe in 1868 with the production of Tchaikovsky’s first opera, The Voyevoda. Three years later when Tchaikovsky visited his sister for a summer, he wrote, directed, and even choreographed a lighthearted miniature ballet, The Lake of the Swans, for his nieces and nephews—five years before scoring Swan Lake. Threads of all these historical tales, traditions, and experiences appear in Swan Lake, touching on universal themes, or main ideas, such as the longing for true love and the consequences—good and bad—of our actions. Perhaps that’s why Swan Lake remains so popular: though it’s a fantasy ballet, its themes are familiar to most everyone. Think about this: Swan Lake’s story is based on bits and pieces of other famous historical tales. Can you think of any stories— traditional or contemporary—that might work as a ballet? Why would dance be a good way to tell this story onstage? Try this: Write a libretto, or storyline, for a new ballet based on a story, new or old, that you might know. List your cast of characters and describe each one. What themes, or main ideas, can you work into your new ballet? Source: Swan Lake Study Guide, Oregon Ballet Theatre Swan Lake Teacher Resource Guide, Pittsburgh Ballet Theatre “The Swan Lake Mystery: An Amalgam of Different Fairytales,” from Royal Opera House www.roh.org.uk 6 Swan Lake, photo by Paata Vardanashvili The Choreography Swan Lake didn’t start out successfully—surprising, considering the ballet’s fame today. Critics weren’t kind to Julius Reisinger, choreographer of the original 1877 production. One wrote, "Mr. Reisinger’s dances are weak in the extreme.… Incoherent waving of the legs that continued through the course of four hours—is this not torture? The corps de ballet stamp up and down in the same place, waving their arms like a windmill’s vanes—and the soloists jump about the stage in gymnastic steps." Yikes! Apparently Reisinger failed to mesh his choreography with the emotionally expressive music Tchaikovsky created. Over the years, others tried their hand at choreographing this bird ballet, but it wasn’t until 1894, when Lev Ivanov choreographed a portion of it for a program commemorating Tchaikovsky after his death in 1893, that a decision was made to restage the entire ballet. Lucky for us, the version that famed Frenchman Marius Petipa and his assistant Ivanov created finally got it right. Today, more than one hundred years later, audiences can still experience Swan Lake’s magic. Julius Reisinger (1828–1892) Swan Lake’s first choreographer, was born in Prague, the capital of what is now the Czech Republic. He began his professional life in the corps de ballet, dancers who dance as a group, and eventually achieved the rank of leading soloist. By 1850 he was appearing in starring roles in Giselle and other ballets and soon secured an eightyear contract to dance in Germany and Austria. He had stints as ballet master/choreographer at theaters in Prague and Leipzig, Germany, during the 1860s. He then became choreographer of the Bolshoi Theatre in Moscow. He created more than twenty works and is linked with two memorable events: the first stage production of Swan Lake and the first ballet performance for the opening of the Prague National Theatre in 1884. 7 The Choreography Marius Petipa (1818–1910) Is called the “father of classical ballet” because he is history’s most influential ballet master and choreographer. He was born in Marseilles, France, and began dance training at the age of seven with his father, Jean Petipa, a French dancer and teacher. Marius was educated at the Grand College in Brussels, in what is now Belgium, and also attended the conservatory there, where he studied music. In 1831, he made his stage debut in his father’s production of Gardel’s La Dansomanie. Marius’s father became the ballet master at the theater in Bordeaux, France, and it was here that Marius completed his education. At sixteen Marius became premier danseur, or the lead male dancer, at the theater in Nantes, France, where he also produced several short ballets. He toured North America with his father, and in 1840 partnered with the famous Italian ballerina Carlotta Grisi. He spent a few years dancing in Spain and Paris; in 1847 he left for Russia. He had signed a one-year contract but remained there the rest of his life, ultimately becoming premier ballet master of the Imperial Theatre. Marius Petipa is considered one of the greatest choreographers of all time. He researched the subject matter of the ballets he staged, making careful and detailed preparations for each production, and then worked closely with the  designer and composer. Petipa elevated the Russian ballet to international fame and laid the cornerstone for twentieth-century ballet. Lev Ivanov (1834–1901) Was born in Russia. He is said to have been placed in an orphanage by his mother when he was eleven months old, but in his memoirs he mentions being brought up by a merchant's family until age eight, sent to a boarding school for two years, and then enrolled in the Imperial School of Ballet in St. Petersburg. In 1852 he became a member of the corps de ballet of the Maryinsky Theatre. Ballet master Jules Perrot (one of the choreographers of the ballet Giselle) gave him minor roles and appointed him to the position of dance teacher. When Marius Petipa became ballet master there, Ivanov became premier danseur and mime. He was known for his roles in the ballets Esmeralda and La Bayadère, among others. Ivanov staged many ballets—both new ones and revivals—for the Imperial Theatre, including The Nutcracker (1892) and two acts of Swan Lake (1895) with Petipa. He was considered unlike any of the previous ballet masters in that he had a deep love and aptitude for music. He had an exceptional ability to “feel” the music and bring its emotional intensity to his choreography. His scenes in Swan Lake are more lyrical and introspective in style compared to Petipa’s virtuosic and flamboyant court scenes. Source: Adapted from American Ballet Theatre www.abt.org/education Swan Lake Study Guide, Milwaukee Ballet Swan Lake Teacher Resource Guide, Pittsburgh Ballet Theatre 8 The Music There are about as many different interpretations of Swan Lake as there are dance companies. Yet one thing ties them all together—the stunning Tchaikovsky score. The Russian musical giant composed just three ballets in his nineteenth-century lifetime, and the perpetual popularity of Swan Lake is matched only by the success of his others, The Nutcracker and The Sleeping Beauty. With just these three works, Tchaikovsky is considered the most influential and popular composer of ballet music who ever lived. But there wasn’t always much love for Swan Lake. Its 1877 premiere wasn’t well-received, some people finding Tchaikovsky’s score too complicated, too fussy, to effectively showcase the dancing. Such harsh criticism of one of the world’s most beloved ballets seems preposterous today. But before Tchaikovsky, audiences expected ballet music to take a backseat to the dancing. At that time, ballet was more a spectacle of the dancers’ technical abilities than a dramatic performance spotlighting human emotions. And Tchaikovsky’s Swan Lake score was full of feeling. Peter Ilyich Tchaikovsky was born in 1840 in Votkinsk, Russia. He started informal piano lessons at the age of five and could soon play as well as his teacher. When his father moved to St. Petersburg, the boy was enrolled at the School of Jurisprudence there, a boarding school. He attended the opera and theater with his classmates, enjoying works by the Italian composers Rossini, Bellini, and Verdi and the Austrian composer Mozart. When Tchaikovsky's mother died in 1854, he turned his grief into music, writing a waltz in her memory. It was his first serious effort as a composer. After graduation, he went to work as a civil servant in the Ministry of Justice, though his interest in music never left him. After four years, following his true calling, he resigned from his job and entered the St. Petersburg Music Conservatory, supporting himself by teaching music. The school’s director, Anton Rubinstein, was impressed with Tchaikovsky's talent and encouraged it. Tchaikovsky became a composer on the front line of a musical revolution at that time, what’s known as the Romantic era. Romantic composers, which also include greats like Chopin, Brahms, and Wagner, wanted to make music that was more passionate and emotionally expressive. Instead of following the strict structural disciplines of the past, Romantic composers focused on new melodic styles and richer harmonies to invoke drama and touch the heart. By 1875, Tchaikovsky’s instrumental and orchestral works had attracted the attention of Russia’s cultural elite. When Tchaikovsky was tapped to compose Swan Lake for the Bolshoi Ballet, he was more interested in opera than dance. But “I took on this work partly for the sake of money, of which I am in need, and partly because for a long time I have wanted to try myself in this genre of music,” he wrote to friend and fellow composer Nikolai Rimsky-Korsakov, and he got to work on the now-beloved score. A few years earlier, 9 The Music after spending a summer vacation with his sister and her children, he’d composed a mini ballet called The Lake of the Swans. “The staging of the ballet was done entirely by [Peter],” Tchaikovsky’s nephew Yury Lvovich Davydov later remembered. “It was he who invented the steps and pirouettes, and he danced them himself, showing the performers what he required of them…as he sang the tune.” And, according to Davydov, “the principal theme—‘The Song of the Swans’—was then the same as now.” The music for Swan Lake, Tchaikovsky’s first full-length ballet, was completed by April 1876. What we now recognize as Tchaikovsky’s Swan Lake score probably sounds very different from his original arrangement. After Tchaikovsky’s death in 1893, the music was reworked for the Swan Lake choreographed by Marius Petipa and Lev Ivanov. Riccardo Drigo (an Italian composer and Maryinsky Theatre conductor who had conducted the premiere of Tchaikovsky’s The Sleeping Beauty) and Modest Tchaikovsky (the composer’s brother) tweaked the score, Drigo lightening the orchestration and cutting certain passages and adding others to give the ballet an easier and less discordant feel. This is the version that has been used by most Swan Lake productions—and that forever altered perceptions of what ballet music should be. Think about this: Before scoring Swan Lake, Tchaikovsky had composed a fun little ballet for relatives called The Lake of the Swans. He brought a musical theme, or leitmotif, from that earlier family entertainment into his composition for Swan Lake. A leitmotif (pronounced light-mow-teef) is a musical theme that recurs, or repeats, to evoke a specific feeling related to a character or situation or to signal that the character is present. A leitmotif is often the melody stuck in your head when you leave the performance. Try this: Listen to a recording of Swan Lake by Peter Ilyich Tchaikovsky, a work from the Romantic period of musical history. Can you identify any leitmotifs, or recurring melodies? Do any sections seem to suggest specific emotions? How? Do you prefer one section more than another? Why? Sources: www.makingmusicfun.net “Peter the Great: Tchaikovsky at the Ballet,” Limelight www.limelightmagazine.com.au/tchaikovsky-atthe-ballet “Tchaikovsky at the Millenium,” New Criterion www.newcriterion.com/articles.cfm/tchaikovskyjacobs-2818 www.theballetbag.com www.kennedy-center.org 10 Ballet 101: A Bit Of History Ballet emerged in the late fifteenth century Renaissance court culture of Italy as a dance interpretation of fencing, and further developed in the French court from the time of Louis XIV in the seventeenth century. This is reflected in the largely French vocabulary of ballet. Ballet went into decline in France after 1830, though it was continued in Denmark, Italy, and Russia. Ballet was reintroduced to western Europe on the eve of World War I by a Russian company, the Ballets Russes of Sergei Diaghilev, who came to be influential around the world. Diaghilev's company was a destination for many Russian-trained dancers fleeing the famine and unrest that followed the Bolshevik revolution. These dancers brought with them exciting choreographic and stylistic innovations. In the twentieth century, ballet continued to develop and exerted a strong influence on broader concert dance. For example, in the United States, choreographer George Balanchine developed what is now known as neoclassical ballet, a less rigid but complexly structured form. The early ballet dancers were not as skilled as dancers today. Ballet has become a highly technical form of dance with its own vocabulary. It is mainly performed with the accompaniment of classical music. It has been influential as a form of dance globally and is taught in ballet schools around the world, which use their own cultures and societies to inform the art. Ballet dance works (ballets) are choreographed, and also include mime, acting, and are set to music (usually orchestral but occasionally vocal). Classical ballet is the most formal of the ballet styles; it adheres to traditional ballet technique. There are variations relating to area of origin, such as Russian ballet, French ballet, and Italian ballet. The most wellknown styles of ballet are the Russian Method, the Italian Method, the Danish Method, the Balanchine Method or New York City Ballet Method, and the Royal Academy of Dance and Royal Ballet School methods, created in England. Alicia Alonso. The first pointe shoes—which female dancers wear to dance on their toes—were actually regular ballet slippers that were heavily darned at the tip. They would allow the ballerina to briefly stand on her toes to appear weightless. They were later converted to the hard box used today. Ballerina Marie Taglioni popularized pointe work when she performed the ballet La Sylphide, the first to feature dancing en pointe for aesthetic purpose, in 1832. Before then, dancing en pointe was merely an acrobatic stunt. Today, pointe work is a central part of a ballerina's training, requiring great strength and skill. Source: Adapted from Washington Ballet www.washingtonballet.org/ballet-101 11 Ballet Mime Dictionary Instead of words or sounds, ballet uses movement to express meaning and emotion. But without words, how do dancers let the audience know exactly what’s happening? Dancers need to not only dance well, they must be good actors as well. Ballet dancers use facial expressions, gestures, and body language to help tell their story. This is called pantomime, or mime. In classical ballet, dancers use a language of gestures to communicate to the audience. Read these descriptions, then try the movements yourself before you see Swan Lake. Watch for these during the ballet; after the performance, make a list of those you recall seeing and what was occurring in the Swan Lake story when you saw them. • Anger – fist shaken • Ask/Beg/Please – hands clasped together in a pleading gesture • Beautiful – hand circling face • Call – hand or hands cupped around mouth • Crazy – finger circling by ear • Dance – hands circling around each other while arms are raised overhead • Death – arms straight in front, crossed at wrists with hands in fists • Fear – body leaning away with hands open and palms out • Good-bye – hands waving • Headache – back of hand to forehead • Hear – hand pointing to or cupping ear • Hunger – hands rubbing stomach • I/Me/Mine – hand to chest indicating oneself • Love – hands over heart • Marriage – index finger pointing to ring finger on left hand • No/Never – with palms down, hands waving over each other crossing at wrist • Pray – palms together • Promise – two fingers held together, raised upward toward the audience (palm facing audience) • Quiet/Don’t Speak – finger pressed against lips or hand clasped over mouth • Reading – hands together, palms facing upward creating a book • Remember/Think – touch or point to temple • Revenge – clenched fist comes from overhead down in front of body • Royal – hand circling top of head to indicate crown • Sad/Cry – finger tracing tears down face or wiping tears away off cheek or face in hands • Scheming – fingers moving down along sides of chin • See – finger pointing to eyes • Shoot – pretending to aim bow and arrow • Sleep – hands in praying position held on side of face with head inclined as though resting on a pillow • Stop/Go away – palm out or both palms out toward other person • Why/Where/What – hands open, palms up in front or on sides of body • You – arm extending to another person with hand open, palm up or direct point with finger Try this: Can you “speak” in pantomime? Try putting these sentences together using only ballet mime. • • • • • • You are beautiful and I want to marry you. I’m afraid. I hear the queen. Come here! I’m angry with you! The king is dead. You are giving me a headache. Let’s all dance! Now create your own silent sentences. Write them down, but don’t let your classmates see. Then “speak” your sentences using only ballet mime. Can your classmates understand what you’re saying? Source: Adapted from Swan Lake Study Guide, Milwaukee Ballet 12 Resources On the Web The Ballet Bag www.theballetbag.com Fun website featuring all things ballet, whose mission is to prove that ballet is relevant, fresh, and topical. Mixes in pop culture, cinema, rock music, and more. Ballet Dictionary http://www.abt.org/education/dictionary/ American Ballet Theatre’s online dictionary of ballet terms, most illustrated with images of company dancers, provides an accessible introduction to the world of ballet. Learn About Ballet Virginia Standards of Learning Dance: DM.14, 19, 20-21; DI.12-13, 18-19, 23-24; DII.18, 23-24; DIII.19, 21 Music: K.11-13; 1.11-14, 17; 2.8-10; 3.9-11, 14; 4.7-11, 14; 5.8-9, 11-12; EI.18-19; 6.7-9; 7.7-9;8.7-9; MIB.19-20; MII.18-20; MIAD.1820; MCB.7-8; MCI.7-9; MCAD.7-9; HG.6-11; HIB.19-21; HII.18-20; HIAD.20-22; HIAR.2022; HCB.7-9; HCI.7-9; HCAD.7-9; HCAR.7-9 http://www.paballet.org/learnballet Online resource from Pennsylvania Ballet offering PDF student workbooks on ballet history, a dancer's day, and frequently asked questions about the dancing life, plus First Positions, an online dance magazine for kids written by kids. Books Ballerina Dreams by Lauren Thompson (Feiwel and Friends, 2007). Photo essay following a group of girls with various physical disabilities as they prepare for and perform at a dance recital. Life in Motion: An Unlikely Ballerina by Misty Copeland (young readers edition, Aladdin, 2016). Determination meets dance in this middle-grade adaptation of the New York Times bestselling memoir by the first African American principal dancer in American Ballet Theatre history. To Dance: A Ballerina's Graphic Novel by Siena Cherson Siegel (Aladdin, 2006) A New York City Ballet dancer's highly illustrated autobiographical story. 13 Feedback Form We need your feedback to make our Education Programs even better! Please take a moment to complete this form and either return it to the Virginia Arts Festival office at 440 Bank Street, Norfolk, VA 23510, fax it to (757) 6053080, or e-mail your answers to [email protected]. WorldClass® Event: How did your students respond to the performance? How did you prepare your students for this performance? Did you use the Education Guide? If so, how? Did students enjoy the material? How did this performance contribute to experiential learning in your classroom? What role do the arts play in your school? In your classroom? If you could change one thing about this experience, what would it be? Please include quotes and comments from your students as well! (Optional) Name: School: City: Would you like to be part of our database? Yes No 14 2016-2017 Season Romeo and Juliet Charlotte Blake Alston Rhythm Live! Swan Lake Virginia International Tattoo November 7, 2016 February 16, 2017 February 17, 2017 March 31, 2017 April 26-28, 2017 Fold Fold Place stamp here Virginia Arts Festival 440 Bank Street Norfolk, VA 23510 Fold Robert W. Cross Executive & Artistic Director Christine Foust Director of Education & Community Engagement Fold 2016-2017 Susan Van Hecke Research & Writing Lisa Dagley Page Design & Layout Photocopying and duplicating for educational purposes only. World Class® Education Program Guides. All rights reserved. ©2017 www.vafest.org