Download Curriculum Materials

Curriculum Materials
These materials were developed in coordination with Carolina Ballet’s Spring 2014 production
of Romeo & Juliet. The lessons and materials were designed with both English and Performing
Arts teachers in mind. They are based upon the Common Core State Standards for English
Language Arts and the North Carolina Essential Standards for Arts Education. These lessons can
be used to prepare students for and enhance students’ experience of the ballet performance, but
they can also be used with the DVD of the performance for a unit on Shakespeare’s Romeo and
Juliet.
*Note: The English lessons were created based on the Reading standards for Grade 9. However,
the lessons can be easily adapted for Grades 6-12 depending on the needs of your classroom.
Carolina Ballet would like to thank the committee of dedicated teacher-authors who created
these materials. These outstanding educators are:
Jaymee Hill Gaskins, M.Ed., NBCT
Melissa Olin, NBCT
English Department Chair
Garner Magnet High School
English Teacher
Garner Magnet High School
Danny Kotzian
Kate Oliver
Theatre Arts Director
Millbrook High School
Dance Program Chair
Fine Arts Department Chair
Millbrook High School
We would also like to acknowledge members of Carolina Ballet’s Education Committee who
reviewed these materials:
Katie Davis
Steve Hauge
Education Director
Carolina Ballet
Educational Consultant
JSS Educational Facilitators
Susan E. Hartley
Becky Johnson
Dance Educator
Charles R. Bugg Magnet Elementary School
Education Committee Chair
Carolina Ballet
Reproduction of Materials
These lessons are the property of Carolina Ballet. They were designed for educational purposes
and may be used freely by teachers in their classrooms. You may photocopy these materials to
share with fellow educators as long as the Carolina Ballet logo and footer remain intact and the
lessons are not edited or altered in any way. The DVD of Carolina Ballet’s performance of
Romeo & Juliet may not be copied.
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Table of Contents
Dance Connections ………………………………………………………………………....3-13
Romeo and Juliet the Ballet……………………………………………………………….....3-5
History and Technique of Ballet……………………………………………………………..6-8
Choreographic Tools…………………………………………………………………………9-10
Dance Related Professions…………………………………………………………………..11-12
Post-Performance Dance Activities………………………………………………………....13
Theatre Connections……………………………………………………………………….14-20
Shakespeare as a Playwright………………………………………………………………...14
Acting Shakespeare………………………………………………………………………….15
Shakespeare, Theatre, and Ballet……………………………………………………………16-17
Post-Performance Theatre Activities………………………………………………………..18
Theatre Etiquette and Fun Facts…………………………………………………………….19-20
English Lessons and Handouts……………………………………………………………21-39
Lesson 1: Mood and Movement…………………………………………………………….21-23
Lesson 2: Comparing/Contrasting Various Mediums for Meaning………………………...24-25
Lesson 3: Conveying Importance through Movement, Music, and Lighting………………26-29
Lesson 4: Cultural Norms and Treatment of Women in Romeo and Juliet…………………30-31
Lesson 5: Actions Speak As Loud As Words………………………………………………32-34
Lesson 6: Mood Music……………………………………………………………………...35-37
Lesson 7: What’s Missing? ………………………………………………………………...38-39
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Dance Connections
Romeo & Juliet the Ballet
Dance Essential Standard - B.CP.1.4
Use collaborative and cooperative skills to contribute constructively to the creation of dance.
Dance Essential Standard - B.CP.2.1
Use appropriate behaviors and etiquette while observing, creating, and performing dance.
Romeo and Juliet began as a play written by William Shakespeare and evolved into a
ballet. The music was originally composed by Sergei Prokofiev with the help of Adrian
Priotrovsky in 1935. It was first performed by the Kirov Ballet in Russia and since then has been
performed by numerous famous ballet companies such as Royal Danish Ballet, Joffrey Ballet,
English National Ballet and New York City Ballet. Some famous choreographers who have
staged or choreographed their own version of Romeo and Juliet are Frederick Ashton and Mark
Morris. The most famous dancers who performed the title roles of Romeo and Juliet are Margot
Fonteyn and Rudolf Nureyev. Carolina Ballet’s version of Romeo & Juliet was choreographed
by Artistic Director Robert Weiss in 1999.
Ballet Summary
Romeo & Juliet
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whole misadventured piteous overthrows
Do with their death bury their parents’ strife.
The fearful passage of their death-mark’d love,
And the continuance of their parents’ rage,
Which, but their children’s end, nought could remove,
Is now the two hours’ traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
Act I
Scene 1: Verona, The Market Place. Romeo, son of Montague, tries unsuccessfully to declare his
love for Rosaline. He is in love with being in love and is totally aloof from his friends and
society. As day breaks, the townspeople meet in the market place. Some start dancing until a
quarrel breaks out between the Capulets and the Montagues, which soon turns into a full brawl.
Benvolio, a Montague, tries to stop the fighting, but Tybalt, a Capulet and Juliet’s cousin, will
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not listen to reason. The Lords Montague and Capulet join in the fight, which is stopped by the
Prince of Verona who declares his anger. “Three civil brawls, bred of an airy word, / By thee, old
Capulet, and Montague, have thrice disturb’d the quiet of our streets . . . If ever you disturb our
streets again, / Your lives shall pay the forfeit of the peace.”
Scene 2: An anteroom in the Capulet House. Juliet, who is not yet fourteen, has no thought of
men in her mind. Her mother, Lady Capulet, comes to tell Juliet of the evening’s ball that she
will be attending, and of Paris’ proposed suit of marriage. Juliet says, “I’ll look to like, if looking
liking move: / But no more deep will I endart mine eye / Than your consent gives strength to
make it fly.”
Scene 3: Outside the Capulet house. Guests arrive for a masked ball at the Capulet house.
Romeo, Mercutio and Benvolio decide to go in pursuit of Rosaline.
Scene 4: The Ballroom. As guests dance, Juliet comes downstairs and is introduced to Paris, with
whom she dances. Romeo and his friends arrive; upon seeing Juliet, Romeo is mesmerized by
her. When Juliet notices him, the two fall immediately in love. The guests go in to eat supper and
Romeo and Juliet meet for the first time. Tybalt discovers Romeo and is angered by the nerve of
a Montague sneaking into a Capulet ball. Tybalt wants to throw him out, but Lord Capulet
intervenes to avoid a scene.
Scene 5: The Balcony. Juliet is on her balcony thinking of Romeo when he appears below. “But,
soft! what light through yonder window breaks? / It is the east, and Juliet is the sun . . . O
Romeo, Romeo! wherefore art thou Romeo? / Deny thy father and refuse thy name; / Or, if thou
wilt not, be but sworn my love / And I’ll no longer be a Capulet.” The two declare their love, and
depart with a promise to marry the following day. “Good night, good night! parting is such /
sweet sorrow, / That I shall say good night till it be morrow.”
Act II
Scene 1: The Market Place. Romeo is in the market place at a carnival when he is discovered by
Juliet’s nurse. She brings him a letter from Juliet asking him to meet her in Friar Laurence’s
chapel.
Scene 2: The Friar’s Cell. Romeo and Juliet meet with Friar Laurence to marry. The Friar hopes
their union will end the feud between their dueling families.
Scene 3: The Market Place. A married Romeo comes upon Mercutio and Tybalt who are
exchanging angry words. Romeo, who is now Tybalt’s cousin, tries to stop them but only
prompts Mercutio to challenge Tybalt. Romeo tries to pull them apart and gives Tybalt the
opportunity to kill Mercutio who dies with the words, “A plague o’ both your houses!” Romeo,
in rage and seeking revenge for his friend’s death and without thought of the consequences, kills
Tybalt in a passionate fight. The Prince of Verona arrives and demands to know who had slain
Tybalt. Benvolio explains that indeed it was Romeo, but in revenge for Mercutio’s death. The
prince spares Romeo’s life, but banishes him from Verona forever. “And for that offence /
Immediately we do exile him hence[.]”
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Act III
Scene 1: Juliet’s Bedroom. Romeo and Juliet have spent their first night together and now,
banished from Verona, Romeo must leave. He sneaks out and Lord and Lady Capulet come in to
tell Juliet that she is to marry Paris immediately. She argues, not being able to tell them she is
already married to Romeo, and a confrontation ensues. “Delay this marriage for a month, a week;
/ Or, if you do not, make the bridal bed / In that dim monument where Tybalt lies.”
Scene 2: The Friar’s Cell. Juliet goes to see Friar Laurence, who devises a plan for her to
simulate her death. He gives her a potion that will put her in a deep sleep with the effects of
death on her body, but will not kill her. He promises Juliet that he will get word of the plan to
Romeo so he may meet her when she awakes.
Scene 3: Juliet’s Bedroom. Juliet’s parents come back to her bedroom and she agrees to marry
Paris. Reluctantly, she takes the Friar’s potion and falls back on her bed. The nurse discovers
her seemingly dead body and calls Lord and Lady Capulet in. They are grief-stricken.
Scene 4: Romeo in Exile/The Capulet Crypt. Friar Laurence sends news to Romeo that Juliet’s
death is only pretense, but Friar John is unable to deliver Friar Laurence’s message to Romeo.
Instead, Romeo is met by his servant Balthasar who believes Juliet to be dead. “Her body sleeps
in Capel’s monument, / And her immortal part with angels lives.” Juliet’s body is laid in the
Capulet crypt and Romeo, believing Juliet dead, comes to the tomb. Overcome with grief, he
decides to join her in the next world and takes a poison. Juliet awakens and discovers Romeo’s
body. She tries to drink the remaining poison, but the vial is empty. Unable to live without him,
she takes Romeo’s dagger and plunges it into her body. “This is thy sheath; / there rust, and let
me die.”
“For never was a story of more woe
than this of Juliet and her Romeo.”
Classroom Ideas:
1. Have students write out a brief synopsis of famous love stories that they are familiar with in
current or past literature. Possibly use movies or fairy tales. What makes them great?
2. Have students watch a select scene from Carolina Ballet’s Romeo & Juliet ballet. Have them
write out a brief story or dialogue that they think the dancers are having. Share with the class
to compare and contrast.
3. Give students a select dialogue. Students will create movement based on the characters and
dialogue. Each group will present in front of the classroom their composition. Have students
outside of the group analyze and predict what selection of dialogue was portrayed in other
presentations.
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Dance Connections
History and Technique of Ballet
Dance Essential Standard - B.R.1.1
Explain how elements of movement and choreographic structures are used to communicate ideas in
dance.
Dance Essential Standard - B.C.1.2
Recognize the use of dance elements and choreographic forms and structures in a variety of significant,
modern dance works from the 20th century to the present.
History of Ballet
The dance technique of ballet developed in Italy during the Renaissance. It soon
progressed to France where performances took place in the royal court. King Louis XIV,
nicknamed the “Sun King” for the role he danced in a ballet, was responsible for making ballet
popular in France during his reign.
Originally, ballet was an art form reserved for royal dignitaries to watch. The costumes
and sets were very elaborate to match the royal court ballroom. At first, only men danced, as was
the case with early performances of Shakespeare’s plays. Men would dress as women with
makeup and wigs to dance the female roles.
Basic Ballet Positions and Vocabulary
The five basic positions shown on the next page are the building blocks and foundation for all
ballet technique.
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The Five Positions of the Feet
First Position
Second Position
Third Position
Fourth Position
Fifth Position
Photos: Carolina Ballet dancer Carmen Felder
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The names of ballet steps come from French. Here are definitions of some common steps you
will see in ballet:
Arabesque (ah-ra-BESK)- working leg is extended straight to the back.
Saut de chat (soh duh shah)- a jump from one foot to the other in which the working leg is
brushed with a developpe in the air while the back leg is extending straight behind the body.
(leap)
Bourrée - (boo-RAY) - small quick steps that give the appearance of gliding across the floor.
Chainé (sheh-NAY)- a series of turns on alternating feet.
Changement (shahnzh-MAHN)- beaten change; the calves of the legs are beaten against each
other before the change of feet in the air.
Chassé (sha-SAY) – a catch step where the feet meet in the air while pointing.
Glissade (glee-SAD)- a traveling step executed by gliding the working foot from the fifth
position in the required direction, the other foot closing to it.
Grand Jeté (grahn zhuh-TAY)- A jump from one foot to the other in which the working leg is
brushed straight in the air while the back leg is extending straight behind the body. (leap)
Passé (pah-SAY)- to pass the toe of the working foot up along the inside of the calf to the knee
of the supporting leg.
Pirouette (peer-WET)- stationary turn on supporting leg, working leg in passé.
Plié (plee-AY)- a bending of the knees.
Port de bras (pawr duh brah) - carriage of the arms.
Sauté (soh-TAY) – to jump.
Tombé (tawn-BAY)- a controlled fall where one leg extends into 4th or 2nd position plié while
the other leg is straight behind or to the side.
Classroom Ideas:
1. Have students watch a teacher selected scene from the Romeo & Juliet ballet. Have the
students write down which dancers exhibited the above movements. Have you executed
these movements before? What makes them difficult or easy?
2. Have students identify what positions or movements they use in dance class with the
teacher. What in class movements did they see on the stage?
3. Have students create a short “ballet.” Students will select a scene from the play, assign
characters, and create a brief dance using movement from ballet positions, vocabulary
and pantomime to display the dialogue.
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Dance Connections
Choreographic Tools
Dance Essential Standard - B.R.1.1
Explain how elements of movement and choreographic structures are used to communicate ideas in
dance.
Dance Essential Standard - B.CP.1.1
Generate abstracted movement to communicate ideas, experiences, feelings, or images.
Dance Essential Standard - B.CP.2.3
Understand how self-assessment, teacher, and peer feedback can be used to refine dance performance.
Gestures - Movement that can be used every day.
Canons - Movement which is performed identically but with multiple entry points.
Repetition - To repeat a phrase or sequence within a composition at least once.
Variation - Manipulation of the original movement without losing the intent and character.
Theme - The underlying idea or intent used to create movement.
Unison - Movements which are performed simultaneously and identically by more than one
dancer.
Improvise - To move without planning.
Dynamics (via Rudolf Van Laban)
Dynamics describe how the body moves.
Flow – the continuousness or ongoing quality of movement.
Bound – movement can be stopped at any time
Free – movement is difficult to stop quickly
Weight – the amount of muscle strength put into the movement.
Light – movement uses little muscle strength
Strong – movement uses a lot of muscle strength
Space – the direction and timing of the movement.
Direct – movement that is focused and linear
Indirect – movement that meanders
Time – the speed and timing of the movement.
Sudden – movement accelerates and decelerates quickly
Sustained – movement that is continuous and does not change speed
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Classroom Ideas:
1. Stories, like paintings, can convey a narrative without using words. Using the art
examples listed below and/or other teacher chosen art, write out a story within a small
group with a plot, climax, and resolution. Without words, using gestures, abstract
movement, and choreographic structures, create a composition that conveys your group
story. Perform for the class and analyze the class’ compositions. What movements helped
convey the story? Does the audience understand the story being conveyed in the
composition? What can be changed to help convey the story?
Ideas for art selections:
The Third of May by Francisco Goya
The Arnolfini Wedding by Jan van Eyck
Sleeping Gypsy by Henri Rousseau
2. How can dynamics be used to convey an emotion through movement? Have students
explore different dynamic factors throughout the space. Group students into pairs and
assign one of the basic emotions. Students will choreograph a short piece using the
emotion as a theme by choosing different dynamic factors. Each group will present in
front of the class. Students will guess their emotion and critique what movements
displayed the theme well and which movements needed work.
3. The teacher chooses an excerpt from Romeo and Juliet. Have students underline
descriptive words. Students will pick 2-3 words to use as a vehicle for improvisation.
After exploring the space with improvisation they will start to piece together
choreography. Have students share their choreography at the end of the class and discuss
chosen words. Did they accurately display the words? What could have been done to
display the theme better?
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Dance Connections
Dance Related Professions
Dance Essential Standard - B.C.1.4
Identify various dance-related professions.
There are a variety of dance-related professions that contribute to the creation and performance
of ballet. Some of these are listed below, along with the people in those positions at Carolina
Ballet. You can find more information about Carolina Ballet’s dancers and staff at
http://www.carolinaballet.com/the-company/about-us
Artistic Director - Robert Weiss
The person responsible for the major artistic decisions of a theatrical production company hiring of production personnel, selection of season, and so on.
Choreographer – Robert Weiss, Lynne Taylor-Corbett, and many others
The person who composes or invents ballets or dances.
Ballet Master / Ballet Mistress – Debra Austin, Marin Boieru, Melissa Podcasy
The person or people in a ballet company who are responsible for giving the company class
every day and rehearsing the ballets in the company repertoire.
Dancers
There are several tiers of dancers within a ballet company. Dancers begin as trainees and
gradually work their way up.
Trainees – Amanda Babayan, Kathleen Black, John Deming, Amanda Gerhardt, Ike
Hawkersmith, Haley Jennings, Laurie Nielsen, Lauren Treat
These dancers are just beginning their careers and are still in training. They typically dance roles
in the corps de ballet.
Corps de Ballet or Company – Sean Armstrong, Manuel Barriga, Oliver Beres, Adam Crawford
Chavis, Carmen Felder, Ashley Hathaway, Cecilia Ilieseu, Talya Krumholz, Elice McKinley,
Sarah Newton, Elizabeth Ousley, Alyssa Pilger, Zalman Raffael, Adam Schiffer, Colby Treat,
Lindsay Turkel
The Company dancers do not appear as soloists but dance in groups on stage.
Soloists – Eugene C. Barnes III, Alicia Fabry, Dameon Nagel, Randi Osetek, Lindsay
Purrington, Sokvannara Sar, Yevgeny Shlapko, Nikolai Smirnov
These dancers perform featured roles in a ballet.
Principal Dancers – Jan Burkhard, Richard Krusch, Marcelo Martinez, Lara O’Brien, Pablo
Javier Perez, Margaret Severin-Hansen, Lilyan Vigo Ellis
The principal dancers perform the lead roles in a ballet.
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Music Director – Alfred E. Sturgis
Person responsible for rehearsing and conducting the live music components of a performance.
Costume Designer - Kerri Martinsen
Person responsible for the design, visual appearance, and function of the costumes, accessories
and makeup.
Scenic Designer - Jeff A.R. Jones
Person responsible for designing the sets, or physical surroundings in which the performance
takes place on stage.
Lighting Designer - Ross Kolman
Person responsible for the appearance of the lighting during the production.
Production Manager - Matthew Strampe
Coordinator of the production scheduling and administrative/logistic details of a multi-show
theatrical season.
Stage Manager - Kristin Orlando
Person who assists the director during rehearsals and manages all backstage activity once the
show has opened.
Musicians
Members of the orchestra who perform live music for a ballet performance.
Classroom Ideas:
1. There are many professions involved in the dance world. The above listed are only a few
key parts that help make the Carolina Ballet possible. Besides being a dancer, what other
career choice in dance would you be interested in? Research that job and briefly describe
how to go about making that career choice. What are the benefits of having this career?
What kind of education and experience would be needed to be successful in this career?
2. Research the different professions related to other areas of both performing and visual
arts (for example, a museum, symphony, or theater company). Compare and contrast the
positions in other arts disciplines with those listed for dance. How does each person
contribute to the artistic product as a whole?
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Dance Connections
Post Performance Dance Activities
Dance Essential Standard - B.CP.1
Use choreographic principles, structures, and processes to create dances that communicate ideas,
experiences, feelings, and images.
1. After viewing this performance of Carolina Ballet’s Romeo & Juliet, what choreographic
structures were exhibited in the performance? What gestures were used to display the story?
Within small groups, discuss what you saw that helped display the story to the audience. Create
your own short composition with your group that displays the tragic story using movement skills
that you are already familiar with from class.
2. In groups, create a short story that includes a rising action, climax, and resolution. The teacher
may choose select themes for each group’s story. Within their group, have students create a
group composition that reflects the theme of their story while using choreographic tools that have
been taught in class.
References
Gillette, J. Michael. Theatrical Design and Production - An Introduction to Scene Design and
Construction, Lighting and Sound, Costume, and Makeup - 5th Edition. University of Arizona,
McGraw Hill, 2005.
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Theatre Connections
Shakespeare as a Playwright
Theatre Essential Standards – B.A.1
Analyze literary texts and performances.
Theatre connects with creative writing and editing.
One of the biggest mysteries surrounding Shakespeare is the question concerning his
writing of the plays. How could one man, with very little education, have written some of the
most beautiful plays in history? While this debate and speculation will continue for a long time,
it is important to note that we do know for a fact that Shakespeare was not completely original in
his ideas for story. For instance, did you know that his primary source for Romeo and Juliet is a
poem entitled The Tragicall Historye of Romeus and Juliet that was written by Arthur Brooke in
1562? Shakespeare would do this many times with his plays. His source for Hamlet, for
example, was a play that was popular in the 1580s known as ur-Hamlet. There is no doubt that
Shakespeare, although not entirely original, was able to take this source material and turn it into
something that will last through the ages.
Classroom Ideas:
1. Have students watch a TV commercial and use that as an inspiration to write a short
story.
2. Have students select a scene from one of Shakespeare’s plays and rewrite it using
language and appropriate slang that is more familiar to them. Does it make the scene
more enjoyable? How did it affect your ability to understand the scene? Give specific
quotes from the text to support your answer. Were their certain lines of text that you
found more challenging to translate?
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Theatre Connections
Acting Shakespeare
Theatre Essential Standards – B.C.1
Use movement, voice, and writing to communicate ideas and feelings.
Theatre connects with history.
Today many actors take special acting classes specifically designed for Shakespeare’s
plays. His plays often require studying the complexity of the characters and line delivery. Some
modern day actors spend years just learning the techniques for acting Shakespeare. This was
very different in Shakespeare’s time, however. The script that the actors received usually
contained only the actor’s lines, and there were no stage directions or directors. Actors worked
together to direct themselves. The actors also had the challenge of performing in front of a large,
boisterous audience. The acting was probably more melodramatic than realistic, and the fact that
all the parts were played by men or young boys made it even stranger by today’s standards.
Think about it: the original Juliet was played by a guy! Acting sure has come a long way
throughout history.
Classroom Ideas:
1. Compare the acting from silent films or black and white movies to that of some of your
favorite movies today. What are the differences? How does this difference in acting
reflect society at that particular time?
2. Shakespeare wrote many plays about historical people. He did, however, add a dramatic
touch to these personalities so you can count on them being somewhat historically
inaccurate. This brings up an interesting discussion that can be talked about in class.
Does entertainment have the power to influence how we view those in history? Does it
have the power to distort the truth? Can you think of any movies or plays that have done
this? Some examples of movies that have caused a stir about how they portray historical
figures are W by Oliver Stone and Lee Daniel’s The Butler starring Forest Whitaker.
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Theatre Connections
Shakespeare, Theatre, and Ballet
Theatre Essential Standards - B.C.1.1
Use non-verbal expression to illustrate how human emotion affects the body and is conveyed through the
body.
Theatre Essential Standards - B.AE.1
Understand how to design technical theatre components, such as costumes, sets, props, makeup, lighting,
and sound.
Theatre Connects with other art forms.
Everyone loves a good story. They have the power to take us out of this world and into
another place. They have the ability to make us cry, laugh, and even make us afraid.
Storytelling can be done in a variety of ways. Sometimes stories can be told without saying a
word. A painting can tell a story, music has the ability to put the story in our minds, and dance
can tell a story through movement. Dance has been used to tell stories since the days of ancient
man. Many cultures throughout history have used dance as a way to communicate their ideas,
beliefs, and stories. Native American Indians, for example, used dance to celebrate and tell the
story of a great hunt. Taking the works of Shakespeare and using ballet to tell the story is a good
example of how versatile the art of storytelling is. Ballet can use non-verbal movements,
costumes, and music to give us a unique perspective on this classic tale. As you watch the
production, pay close attention to how the movements of the dancers convey emotions. Also
make note of how the costumes, lighting, and music combine to bring the story to life for the
audience.
Classroom ideas:
1. Have a class discussion about what the students expected before they saw a ballet
performance of Romeo & Juliet. After having seen the production, what conclusions can
they draw now? Did they have doubts that the story could be told in this way? Many
students are turned off from Shakespeare because they lack an understanding of the
language style. Could you relate to this ballet performance better? Have the students
discuss other ways in which the story of Romeo and Juliet could be told.
2. Have students find a partner. The partners must develop a short scene, between two
characters, that involves a conflict of some sort. For example, a child is asking a parent
to buy him a puppy but the parent doesn’t think the child is responsible enough to take
care of it. Once they have created a short scene, have the students perform the scene
using only non-verbal expression and movement. Discuss the successes and challenges
of this type of performance.
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3. The use of costumes is another important part of the storytelling process in theatre and
dance. Costumes help to identify characters and give us some insight into their
personalities. In what ways were the costumes important in the ballet production? Have
students gather in small groups. Each group is given a character trait such as greed,
anger, jealousy, excitement, etc. Have each group design a costume sketch that might
help to convey that trait to the audience. The students could either draw out the sketch or
cut pictures from magazines and tape to a poster board. Another fun idea would be to
give each group an even number of plastic trash bags, paper plates, toilet paper, and
construction paper and have them build costumes from those materials.
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Theatre Connections
Post-Performance Theatre Activities
1. After seeing this performance of Romeo & Juliet, which parts of the story were the most
important? Which parts would you consider the least important? Which parts of the
story were you able to understand most easily? Which parts were more challenging to
understand? Form small groups and discuss these parts of the story. Using the parts you
identified as most important, can your group create a 2-minute version of Romeo and
Juliet and perform it for class?
2. After watching the performance, list the characters you feel are the most important in the
story. For each of these characters, discuss with the class or in small groups how each of
their costumes reflects age, social status, and personality. How do clothes affect or
display our own personalities?
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Theatre Connections
Theatre Etiquette and Fun Facts
Theatre Etiquette
During Shakespeare’s Time
The Globe Theatre had an area directly in front
of the stage for audience members to stand
known as the “yard.” Some audience members
would sit on the edge of the stage. Patrons who
stood in the “yard” were known as
“groundlings” but were also nicknamed
“Penny Stinkers” because they paid a cheap
price, were lower class citizens, and usually
smelled bad.
Wealthier patrons who could afford a higher
price watched the play from the galleries,
which had seating and a roof.
Shakespeare’s plays began early in the
afternoon to take advantage of the natural light.
There were no lighting instruments or sound
equipment to use, so typically plays started at 2
pm and ended around 5 pm.
Today’s Theatre Etiquette
The audience should always plan to arrive
early to any performance to make sure they
have adequate time to find their seats and be
ready for the show. Late arrivals, once the
performance starts, may distract performers
and fellow audience members.
Usually all audience members sit in an
assigned seat. There are generally a variety of
prices for seats, depending on how close to the
stage the seat is located.
Audience members should be sure to turn off
or silence all electronic devices. Besides
making noise, these devices may also interfere
with other technology that is being used in the
performance. Even the light from a device may
shine and distract performers or other audience
members.
Today, performances can start at any time.
Typically there are daytime performances
known as matinees as well as evening
performances.
Advertising for plays during Shakespeare’s
time was not allowed. Flags were used to let
citizens know what type of play was being
performed that day. A red flag was displayed
for history plays, a white flag was for
comedies/romances, and a black flag signified
tragedies.
Carolina Ballet Education Department
Depending on the theatre where a performance
is held, photography may be prohibited or just
flash photography may not be permitted.
Flashes may distract the performers and could
cause injury on the sage. Some performances
have copyright laws that prohibit filming.
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20
Shakespeare’s theatre was full of noise. It has
been compared to watching a football game.
Audience members would shout at the actors
and even throw things at the performers if they
didn’t like the show.
Talking and shouting at the performers is
strictly prohibited during the performance. The
only times when noise is appropriate are during
applause or when the house lights are turned
on. The audience typically applauds at the end
of each section of the performance.
In addition, the audience members watching a
ballet piece often choose to applaud during a
performance when a dancer has completed a
particularly impressive or difficult series of
movements – for example, many turns or
jumps in a row.
Eating and drinking were allowed in the Globe
Theatre. Alcohol made the audience very loud
and boisterous. The Globe Theatre probably
needed some heavy cleaning afterwards.
Bringing any item to eat or drink is typically
prohibited in performance venues. An audience
member may make noise when opening
containers or eating, which can be a
distraction. In addition, the item may be left or
spill during a performance.
Shakespeare’s theatre was not formal, and
audience members would roam around freely
during the performance.
If there is an emergency and someone needs to
leave the auditorium, he should wait until in
between scenes/pieces when it is dark. This
will avoid distractions to the other audience
members.
At the end of the performance, traditionally
performers will come out to bow on stage. Out
of respect, audience members should stay in
their seats until the house lights are turned on.
Carolina Ballet Education Department
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21
English Language Arts Connections
Lesson Plan #1: Mood and Movement
Standard: CCSS.ELA-Literacy.RL.9-10.1
Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as
inferences drawn from the text.
Grade Level:9
Featured Texts
Primary Text: Shakespeare’s Romeo and Juliet
Secondary Text: Carolina Ballet’s production of Romeo & Juliet (live performance and/or DVD)
Prior Knowledge of Text Required
This lesson requires no prior knowledge of the play or ballet. Students will both watch and read
Act I Scene 1 for the first time during the lesson.
Theme / Essential Question
How do actions convey mood and advance the plot of a story?
Lesson Procedure
Step One: Without prior knowledge of the scene, view the servants’ fight scene in Act I, Scene
1.
Refer to Handout 1. Have students complete Column 2 of the handout.
Step Two: Read the same scene in the play.
Refer to Handout 1. Have students complete Column 3 of the handout.
Step Three: Students complete ACE response. (ACE stands for Answer the question, Cite
textual evidence, Explain how evidence proves the answer.)
ACE Question: How do the dancers’ movements in this scene communicate the conflict between
the Capulets and Montagues? Cite evidence from the ballet to support your answer.
Carolina Ballet Education Department
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Name ________________________________
Romeo and Juliet
Handout #1
Mood and Movement
Instructions:
1) View Act I, Scene 1 in Carolina Ballet’s Romeo & Juliet. As you watch or after viewing,
fill in Column 2 of the graphic organizer. Use specific evidence from the ballet to show
HOW the ballet accomplishes each indicator.
2) Read the corresponding scene from Act I of Shakespeare’s Romeo and Juliet. As you
read or after reading, fill in Column 3 of the graphic organizer. Use specific evidence
from the drama to show HOW the drama accomplishes each indicator.
Indicator
Ballet
Drama
Communicates
mood
Establishes
characters’
social status
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Builds tension
Communicates
conflict/violence
Demonstrates
unresolved
conflict
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English Language Arts Connections
Lesson Plan #2: Comparing and Contrasting Various Mediums for Meaning
Standard: CCSS.ELA-Literacy.RL.9-10.7
Analyze the representation of a subject or a key scene in two different artistic mediums, including what is
emphasized or absent in each treatment.
Grade Level:9
Featured Texts
Primary Text: Shakespeare’s Romeo and Juliet
Secondary Texts:
Baz Luhrmann’s film Romeo and Juliet
Carolina Ballet’s production of Romeo & Juliet (live performance and/or DVD)
Prior Knowledge of Text Required
This lesson requires a close reading of the balcony scene (Act II, Scene 2).
Theme / Essential Question
How is the balcony scene depicted in the play, Baz Luhrmann’s Romeo and Juliet, and
Carolina Ballet’s Romeo & Juliet?
Lesson Procedure
Step One: Read Act 2, Scene 2 of Romeo and Juliet.
Step Two: Watch the scene in Baz Luhrmann’s film and Carolina Ballet’s version.
Refer to Handout 2. Have students complete the three columns comparing and contrasting the
three versions.
Step Three: Students complete ACE response. (ACE stands for Answer the question, Cite
textual evidence, Explain how evidence proves the answer.)
ACE Question: How is the balcony scene depicted in the play, Baz Luhrmann’s Romeo and
Juliet, and Carolina Ballet’s Romeo & Juliet?
Carolina Ballet Education Department
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Name ________________________________
Romeo and Juliet
Handout #2
Comparing and Contrasting Various Mediums for Meaning
Now that you have read Romeo and Juliet, viewed Baz Luhrmann’s film version, and seen
Carolina Ballet’s version, compare and contrast the balcony scene in each medium by filling out
the chart below. Cite specific textual evidence in each column.
Essential Questions
Shakespeare’s
Version
Luhrmann Film
Version
Carolina Ballet
Version
How does the
audience know
Romeo is
eavesdropping on
Juliet?
How do the actors
show their “love at
first sight”?
How is Romeo’s
climbing to Juliet’s
bedroom depicted?
How can the actors
depict emotion
through words in the
scene? How do the
dancers show this
through only
movement?
Carolina Ballet Education Department
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English Language Arts Connections
Lesson Plan #3: Conveying Importance Through Movement, Music, and Lighting
Standard: CCSS.ELA-Literacy.RL.9-10.3
Determine a theme or central idea of a text and analyze in detail its development over the course of the
text, including how it emerges and is shaped and refined by specific details; provide an objective
summary of the text.
Grade Level:9
Featured Texts
Primary Text: Shakespeare’s Romeo and Juliet
Secondary Texts:
Carolina Ballet’s production of Romeo & Juliet (live performance and/or DVD)
Prior Knowledge of Text Required
This lesson requires a general level of background knowledge of the play. It involves a close
reading of the scene in which Tybalt kills Mercutio (Act III, Scene 1).
Theme / Essential Question
How do the dancers, the music, and the lighting emphasize a pivotal scene within this play?
How does this contrast with Shakespeare’s methods?
Lesson Procedure
Step One: Read the selected scene (Act III, Scene 1) in the play.
Refer to Handout 3. Have students complete the Significant Lines/Passages section of the
handout.
Step Two: View the same scene in Carolina Ballet’s production of Romeo and Juliet.
Refer to Handout 3. Have students complete the “Think” portion of the chart. Then, have
students Pair and Share their responses on the chart.
Step Three: Students complete ACE response. (ACE stands for Answer the question, Cite
textual evidence, Explain how evidence proves the answer.)
ACE Question: Compare and contrast strategies used by the playwrights and production
company to communicate the importance of this scene.
Carolina Ballet Education Department
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Name ________________________________
Romeo and Juliet
Handout #3
Conveying Importance Through Movement, Music, and Lighting
Instructions:
1. Read the scene from Romeo and Juliet in which Tybalt kills Mercutio. (Act III, Scene 1)
2. Cite four brief passages from the text that suggest this is a pivotal scene in the drama.
(Consider foreshadowing, irony, symbolism, connotative and/or figurative language, etc.)
Be sure to quote properly using slash marks between lines and include line numbers in
parentheses.
Significant Lines/Passages
Passage 1:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Seems significant because:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Passage 2:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
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Seems significant because:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Passage 3:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Seems significant because:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Passage 4:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Seems significant because:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Carolina Ballet Education Department
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3. Now, view the same scene in Carolina Ballet’s production of Romeo & Juliet.
4. Consider how the ballet company uses movement, music, and lighting to express the
importance of this scene.
5. Fill in the chart on the next page with the evidence you observe.
Think: The ballet company does not have the luxury of dialogue to communicate significant
events. List on the following page ways that movements, music, and lighting effectively convey
the importance of this scene.
Movement
Communicates Importance
Music
Communicates Importance
Lighting
Communicates Importance
6. Pair and share your observations.
Carolina Ballet Education Department
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English Language Arts Connections
Lesson Plan #4: Cultural Norms and Treatment of Women in Romeo and Juliet
Standard: CCSS.ELA-Literacy.RL.9-10.2
Analyze a particular point of view or cultural experience reflected in a work of literature from outside the
United States, drawing on a wide reading of world literature.
Grade Level:9
Featured Texts
Primary Text: Shakespeare’s Romeo and Juliet
Secondary Texts:
Carolina Ballet’s production of Romeo & Juliet (live performance and/or DVD)
Prior Knowledge of Text Required
This lesson requires a general level of background knowledge of the play. It involves a close
reading of the scene in which Juliet refuses to marry Paris. (Act III, Scene 5).
Theme / Essential Question
How are cultural norms about the treatment of women demonstrated in the scene when
Juliet refuses to marry Paris?
Lesson Procedure
Step One: Read the selected scene (Act III Scene 5) in the play.
Step Two: View the same scene in Carolina Ballet’s production of Romeo & Juliet.
Refer to Handout 4. Compare and contrast what is read and what is seen in that particular section
of the ballet.
Step Three: View scene with music.
Have students answer the following questions:
How does the diction in that scene depict the treatment of women? Have students give specific
words used in the text to support their answers. What actions are present in both the stage
directions of the play and the actions of the dancers in the ballet to suggest the treatment of
women? Have students pick key movements in both to support their answers.
Carolina Ballet Education Department
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Name ________________________________
Romeo and Juliet
Handout #4
Cultural Norms and Treatment of Women in Romeo and Juliet
Act out the scene from the play in which Juliet refuses to marry Paris (Act III, Scene 5). Then
watch that scene in Carolina Ballet’s version. Complete the chart below.
Essential Questions
Evidence from Play
Evidence from Ballet
How does the diction in this
scene depict the treatment of
women in Shakespearean
England? (play only)
What actions are present in
both the stage directions of the
play and the actions of the
dancers in the ballet to suggest
the treatment of women?
How does the absence of
diction affect the depiction of
the treatment of women in
Shakespearean England?
Carolina Ballet Education Department
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English Language Arts Connections
Lesson Plan #5: Actions Speak As Loud As Words
Standard: CCSS.ELA-Literacy.RL.9-10.4
Determine the meaning of words and phrases as they are used in the text, including figurative and
connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g.,
how the language evokes a sense of time and place; how it sets a formal or informal tone.)
Grade Level:9
Featured Texts
Primary Text: Shakespeare’s Romeo and Juliet
Secondary Texts:
Carolina Ballet’s production of Romeo & Juliet (live performance and/or DVD)
Prior Knowledge of Text Required
This lesson is to be taught with students after they have read the text of Romeo and Juliet. It
involves a close reading of one key scene that contains connotative language.
Theme / Essential Question
How can movements express emotions without words?
Lesson Procedure
Step One: Read a key scene in Shakespeare’s Romeo and Juliet containing connotative
language. (Example: the conversation between Juliet and the Nurse in Act III, Scene 2.)
Refer to Handout 5. Have students complete the first section of the handout.
Step Two: View the same scene in Carolina Ballet’s Romeo & Juliet.
Refer to Handout 5. Have students complete the second section of the handout.
Step Three: The teacher hands out note cards to students depicting various emotions (for
example, sympathetic, joyful, pensive, bored, nervous, lugubrious, flirtatious, etc.).
Step Four: Students will be assigned one of the note cards mentioned in Step Three. They will
have to perform a ten-movement sequence to convey the mood and allow other students to guess
what particular emotion was being conveyed. Students can have a discussion concerning
connotation of words based on the movements chosen.
Carolina Ballet Education Department
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Name ________________________________
Romeo and Juliet
Handout #5
Actions Speak As Loud As Words
1. While reading a key scene in Romeo and Juliet, identify in the left column five lines that
are heavily connotative. Underline or highlight the words in that line that contribute to
the connotation. In the right column, identify the images and emotional association that
come to mind when you read these lines.
Line(s) from Play
Example: Look for me tomorrow and I’ll be a
grave man (Mercutio, Act III, Scene 1)
Carolina Ballet Education Department
Connotation(s) / Emotion(s) Evoked
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2. View the same key scene in Carolina Ballet’s Romeo & Juliet. As you watch, list below
the dancers’ movements that seem heavily connotative. Identify the connotation of each
movement you list. (For example, bowing low before another character connotes humility
or subservience.) Share your observations with a classmate and compare your
interpretations of the movements.
Movement(s)
Connotation(s) / Emotion(s) Evoked
Reflection: If I could not use any words, how would I convey joy to an audience? Anger? Fear?
Carolina Ballet Education Department
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English Language Arts Connections
Lesson Plan #6: Mood Music
Standard: CCSS.ELA-Literacy.RL.9-10.5
Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel
plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.
Grade Level:9
Featured Texts
Primary Text: Shakespeare’s Romeo and Juliet
Secondary Text: Carolina Ballet’s production of Romeo & Juliet (live performance and/or DVD)
Prior Knowledge of Text Required
This lesson is to be taught with students after they have read the text of Romeo and Juliet. It
requires a close viewing of a scene from the ballet version and asks students to consider tension
and foreshadowing of later events in the story.
Theme / Essential Question
How can music create tension and foreshadow future events?
Lesson Procedure
Step One: Read Shakespeare’s Romeo and Juliet.
After reading the play, the teacher should select three pieces of music to play for students. Pieces
should be brief (or determine a clip to play) and demonstrate a variety of moods. Refer to
Handout 6 for activity. Have students complete the first chart on the handout.
Step Two: View the ballet, starting just before Romeo sneaks into the Capulet party. View
through the end of the party scene, paying special attention to Prokofiev’s music, its changes,
and its impact on mood.
Refer to Handout 6. Have students complete the second chart on the handout.
Step Three: Students complete ACE Response. (ACE stands for Answer the question, Cite
textual evidence, Explain how evidence proves the answer.)
Refer to Handout 6, ACE Question: How does the music create tension in the audience? What
events in the play does the music foreshadow? Cite specific evidence from the music and the
play to support your answer.
Carolina Ballet Education Department
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Name ________________________________
Romeo and Juliet
Handout #6
Mood Music
1. Instructions: Listen to the following three pieces of music. While listening, identify the
mood of each piece (one-word adjective) and write it in the appropriate box. Also,
consider what sort of movie scene you imagine the music playing through (mystery, car
chase, romantic tryst, etc.) and write it in the corresponding box.
Music Selection
Mood
Movie Scene
Pair up and share your answers with a classmate.
Carolina Ballet Education Department
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2. View the party scene in Carolina Ballet’s Romeo & Juliet. As you watch, consider how
Prokofiev uses musical elements to contribute to the mood of the story and how they
manipulate the emotions of the audience.
Musical Element
Effect(s) on Mood of Scene
Tempo
(The speed or pace of a piece of music)
Instrument Choice
(Use of strings, woodwinds, brass, keyboard
and/or percussion instruments)
Volume/Dynamics
(The relative loudness of a piece of music as
well as any changes in the volume)
Major/Minor Key
(Key refers to a set of notes whose patterns and
intervals between notes result in a particular
sound and emotional feel)
Complete ACE Questions using your chart.
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English Language Arts Connections
Lesson Plan #7: What’s Missing?
Standard: CCSS.ELA-Literacy.RL.9-10.3
Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the
course of a text, interact with other characters, and advance the plot or develop the theme.
Grade Level:9
Featured Texts
Primary Text: Shakespeare’s Romeo and Juliet
Secondary Text: Carolina Ballet’s production of Romeo & Juliet (live performance and/or DVD)
Prior Knowledge of Text Required
This lesson is to be taught with students after they have read the text of Romeo and Juliet. It
requires students to analyze the respective roles of several minor characters across the entire play
and ballet.
Theme / Essential Question
How can differing treatments of minor characters alter the overall message of a story?
Lesson Procedure
Step One: Review Shakespeare’s Romeo and Juliet, noting the roles of the Nurse and Friar.
Refer to Handout 7. Have students complete the first section of the handout.
Step Two: View scenes in the ballet from where the Nurse facilitates the wedding until Juliet
receives the potion from the Friar.
Refer to Handout 7. Have students complete the second section of the handout.
Step Three: Students complete ACE Response. (ACE stands for Answer the question, Cite
textual evidence, Explain how evidence proves the answer.)
Refer to Handout 7, ACE Question: What are the effects of the diminished roles of the Nurse and
Friar in the ballet versus their key roles in the play? Why might these characters have been deemphasized in the ballet version? Cite evidence from both the play and the ballet to support your
answers.
Carolina Ballet Education Department
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Name ________________________________
Romeo and Juliet
Handout #7
What’s Missing?
1. Reviewing the text: With a partner and a copy of the text, list significant actions taken by
the Nurse and the Friar in the play. Try to list the actions in chronological order. Then,
list significant quotes from the test (3 for each character) that illustrate the character’s
importance in the story.
Character
Actions Taken
Significant Quotes
Nurse
Friar
2. After viewing key scenes in Carolina Ballet’s Romeo & Juliet, place an X next to items in
the Actions Taken column that are left out of the ballet.
3. ACE Question: What are the effects of the diminished roles of the Nurse and Friar in the
ballet versus their key roles in the play? Why might these characters have been deemphasized in the ballet version? Cite evidence from both the play and the ballet to
support your answers.
Carolina Ballet Education Department
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