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romeo juliet
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the state ballet theatre of russia
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about the performance
Romeo and Juliet is undoubtedly Shakespeare’s most
romantic and tragic story about “a pair of star-cross’d
lovers” who sacrifice life for love in the face of strife
between their warring families, the Capulets and
Montagues. The incomparable State Ballet Theatre
of Russia brings this tragic tale of all-consuming love
to life through the thrilling choreography of awardwinning dancer and Moiseyev Dance Company
soloist Nikolay Anokhin, paired with Sergei Prokofiev’s
haunting score. With elegant formal dances, violent
sword play and dramatic, swooning scenes of death,
the heartbreaking love story of Romeo and Juliet lends
itself perfectly to the language of ballet.
The State Ballet Theatre of Russia, the touring
name of the Voronezh State Theater of Opera and
Ballet, was formed in 1961 by legendary dancer
and prima ballerina assoluta of The Bolshoi Ballet,
Maya Plisetskaya. The company is currently under
the direction of Nikolay Anokhin. The State Ballet
Theatre’s repertoire includes work by both modern
Russian choreographers and classics, including Swan
Lake, The Sleeping Beauty, The Nutcracker, Cinderella,
and Romeo and Juliet.
The State Ballet Theatre of Russia has toured the
United States four times. It has also brought its
productions of traditional Russian classics to France,
Germany, Holland, the Czech Republic, India and
Africa, with engagements in Tunisia, Zimbabwe
and Ethiopia. Many of the company’s 65 dancers
are distinguished winners of international ballet
competitions.
The troupe is led by five principal dancers:
Ekaterina Bortiakova is a graduate of the
Choreographic School of the City of Kazan. This
award-wining dancer began her professional career
in 1998 with the Tatar State Opera and Ballet Theater.
From 2006-2008 she was the principal dancer of
the Swansea Ballet Russe in Wales. She currently
performs with a number of dance companies.
Myrtha in Giselle, the title role in Anuta, the Street
Dancer in Don Quixote, the Main Hussy in The Young
Girl and the Hooligan, and Katerina and the Mistress of
the Copper Mountain in The Stone Flower.
Olga Burmistrova graduated from The Voronezh
State Choreographic School in 2010. She joined the
ballet company of the Voronezh State Theatre of
Opera and Ballet in 2010, and the following year she
became a principal dancer of The State Ballet Theatre
of Russia. In 2014, Burmistrova became a laureate
of the International Competition of Ballet Dancers in
Tallinn, Estonia. Her repertoire includes leading roles
in Carmen Suite, Swan Lake, Cinderella, Macbeth, Don
Quixote, Sleeping Beauty, Romeo and Juliet, and The
Nutcracker.
Artem Belov graduated from the Choreographic
School of the City of Kazan, Russia, in 1995, then
joined the company of the Tatar State Opera and
Ballet Theater. Belov has received numerous awards
from various international competitions, including the
international ballet competition in Kazan, the Rudolf
Nureyev Fund Award and the Vladimir Vasilyev and
Ekaterina Maximova Award, among others.
Sergey Dyachkov is a graduate of Novosibirsk Ballet
Academy. He joined the Novosibirsk State Opera and
Ballet Theatre in 2003, then worked in Moscow with
Imperial Russian Ballet Company for four years. In
2008, he graduated from International Academy of
Dance in Paris, where he worked with Ballet Bejart
Lausanne. Following his studies in Paris, he joined the
Angel Corella Ballet in Barcelona, Spain, as a soloist,
and also became a principal dancer with the State
Ballet Theatre of Russia.
Yuliya Nepomnyashchaya received her training at
the Voronezh State Choreographic Institute and
joined the State Ballet Theatre of Russia following her
graduation in 2006. Her current repertoire includes
solo and principal parts including Odette-Odile in
Swan Lake, Nurida in A Thousand and One Nights,
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Romeo and Juliet – The State Ballet Theatre of Russia
www.njpac.org/education
in the spotlight: an interview with the state ballet theatre of russia
Tell us more about your company’s history.
The State Ballet Theatre of Russia, the touring name of
the The Voronezh State Theatre of Opera and Ballet,
was established in 1961. The director is the Honored
Artist of Russia, Igor Nepomnyashchy. The artistic
director of the ballet since the early 1990’s, is People’s
Artist of Russia, Nabilya Valitova.
he repertoire of the Theatre includes work by
T
both classical and modern Russian composers
including: Swan Lake, The Sleeping Beauty, Cinderella,
The Nutcracker, Giselle, Don Quixote, Le Sylphide,
Scheherazade, Gavalry Halt, The Stone Flower, 1001
Nights, Carmen-suite, Cipollino, Doctor Aubolit, Francesca
di Rimini and The Fountain of Bakhchisarai.
he State Ballet Theatre of Russia has toured with
T
productions of traditional Russian classics throughout
France, (performing Sleeping Beauty in 38 cities),
Germany, Holland and Czech Republic, as well as
in India and throughout Africa with engagements in
Tunisia, Zimbabwe, and Ethiopia.
Tell us about your dancers’ origins and training.
All dancers of the State Ballet Theatre of Russia are
the graduates of prominent Russian choreographic
schools. Children are carefully selected during the
initial admittance process at the age of 8-9. Their
next 10 years in school are extremely challenging and
competitive. Ballet training becomes a major part of
their everyday life. While in school many students start
to regularly perform on stage of the local theaters.
Many talented dancers are invited to join ballet
companies promptly upon their graduation.
How do you feel about touring in the United States?
It is always a pleasure to come to the United States.
American audiences are always very welcoming and
have the highest appreciation for classical ballet.
American ballet was greatly influenced by many
international ballet choreographers and prominent
dancers. Such as George Balanchine, the founder of
the School of American Ballet and the New York City
Ballet, Rudolph Nureyev and Mikhail Baryshnikov are
just to name a few.
What made you decide to stage Romeo and Juliet?
Romeo and Juliet is one of the gems in Russian ballet
history. Composed by Sergey Prokofiev and based on
Shakespeare’s most romantic and tragic story of two
young lovers Romeo and Juliet. The story is beautifully
set in Renaissance Italy with breathtaking sets and
costumes this production brings to life true passionate
characters, love and drama through unforgettable
choreography of Michael Lavrovsky and incredible
ballet score of Prokofiev.
How does your company’s version of this ballet differ
from others you’ve seen?
Romeo and Juliet is perhaps one of the most
choreographed ballets of the last century. The original
production and choreography of this ballet dates back
to 1940. It was choreographed by Leonid Lavrovsky
for the Kirov Theater. Since then this ballet was
choreographed multiple times in different countries
with different levels of success.
he production of the State Ballet Theatre of Russia is
T
based on the choreography of Mikhail Lavrovsky, the
son of the original choreographer of the ballet, a former
principal dancer and a ballet master of the Bolshoi
Theater in Moscow. Mikhail masterfully reworked his
father’s masterpiece by retaining the traditional core
and adding elements of contemporary choreography
to allow more artistic freedom and expressiveness
in his production. Breathtaking scenery and elegant
costumes make this production a truly unforgettable
spectacle.
ow do you feel about bringing the Russian ballet
H
heritage into the modern age?
Traditional Russian Classical ballet had been
crystallized and brought to its immaculate form by
many generations of accomplished, brilliant ballet
masters. The classical ballet technique with its
emphasis on precise execution of every movement is
responsible for the aesthetics of ballet performance.
Rigorous practice helps students develop the desired
high-level technical skill, expressiveness and to prevent
injury.
The techniques found in classical ballet are a
framework for many other styles of dance, including
jazz and contemporary ballet.
What advice would you give to aspiring dancers?
Love what you do with passion, endure hard work with
a smile and elegance of a dancer, and make sure you
build on a proper good classical foundation, as it will
allow you the freedom of being an artist and achieve
greatness.
Romeo and Juliet – The State Ballet Theatre of Russia
www.njpac.org/education
3
The P.E.R.F.O.R.M. activities will enable students to get the most out of a SchoolTime performance.
PREPARE
for the
performance
EXPERIENCE
the
performance
TEACHER FOCUS
STUDENT ACTIVITY
Prepare your students for the performance by
familiarizing them with ballet and comparing it with
other dance forms like jazz, modern dance, hip-hop
and tap.
Prepare for the performance by learning about the
strenuous training for ballet dancers using online
resources, especially video samples.
As you are waiting for the performance to begin,
ask your students to experience the performance
with all of their senses.
Observe the movements, listen to the music, and feel
the drama of the characters unfolding before you.
Are you familiar with the story of Romeo and Juliet?
Have them take a look at the history in which ballet Read passages from Shakespeare’s play and discuss its
evolved, from courtly dances in Italy and France into themes, characters and conflict.
the highly technical art form of today.
Observe how the audience around you reacts.
How does the performance make you feel?
What parts of the performance speak to you most
strongly?
REFLECT,
RESPOND
and READ
Reflect on the performance and lead the class in a
discussion.
Now that you have seen the performance, re-read the
materials you found on ballet and dig more deeply into
How did the performance make you feel?
Shakespeare’s play, including other versions of Romeo
Discuss both the dance performances and the
dramatic tension of the story.
and Juliet. Go online and watch other performances.
Could you identify with a particular character?
Was there a passage of music you enjoyed?
Could you imagine moving like the ballet dancers?
FOCUS
Are they an artist like Shakespeare—writing a scene
or poem that captures their feelings? Can they
choreograph movements that express the ideas
they’ve selected?
Prepare the students to create a performance in
your classroom. Talk to them about using their
imagination and life experiences to create a new
artistic expression inspired by the art form they’ve
just experienced.
Have the students write a rant, choreograph a
dance or put together a skit that plays on these
themes in a personal and meaningful way.
obstacles when they’ve been interested in something or
someone that isn’t deemed “acceptable?”
After discussing the themes of Romeo and Juliet and the
modes in which artists present their ideas, find your own
mode of expression. As a group:
1. Write a scene or poem
2. Choreograph a dance sequence
3. Create a Choreopoem which is a combination of
spoken word, music, and movement.
Use your imaginations and take a risk – Both are a part
of creating art!
REHEARSE
Introduce the concept of rehearsal which allows
students to build confidence and grow as an artist.
It’s time to practice. You might have improvised at first,
but now it’s time to prepare to share with an audience.
Make a video recording to help you remember what
you’ve done. Watch the recording and critique your
performance. Practice again, to refine and polish your
ideas.
MAKE
Your students have created a message in a brand
new medium and it’s time to share their creation.
Create a stage area and an audience area. Introduce
and reinforce positive response and constructive
critiquing.
It’s time to share your work of art. After you’re done,
be sure to talk with your audience to hear what they
thought. Listen to their reactions. Were they were
inspired by your creation?
magic
4 Since Shakespeare was known for his language and
ballet is a silent art form, do you believe it is easier or
more difficult to convey this tragic tale without words?
Break your students into small groups and introduce Discussion Questions:
the concept of re-telling a story.
Do you feel the school is divided into cliques?
Have your students brainstorm new ideas inspired
Do you have friends or family who have had to face
by the story of Romeo and Juliet.
ORIGINATE
How successfully does dance illustrated this story
compared to a dramatic performance?
Romeo and Juliet – The State Ballet Theatre of Russia
www.njpac.org/education
NJ ARTS STANDARDS
NATIONAL ARTS STANDARDS
NJ Arts Standards
1.1 The Creative Process
1.2 History of Arts & Culture
1.3 Performance
1.4 Aesthetic Response & Critique
National Arts Standards
1: Generate and conceptualize artistic ideas and work.
5: Develop and refine artistic techniques and work for
presentation.
6: Convey meaning through the presentation of artistic
work.
7: Perceive and analyze artistic work
8: Interpret intent and meaning in artistic work.
11: Relate artistic ideas and works with societal, cultural,
and historical context to deepen understanding
COMMON CORE STANDARDS/
NJ SOCIAL STUDIES STANDARDS
English Language Arts
SL 5-12.1 Engage effectively in a range of collaborative
discussions
SL 5-12.2 Interpret information presented in diverse media
SL 5-12.4 Presentation of Knowledge and Ideas
RL 5-12.7 Compare and Contrast
Social Studies
6.1.12.D.14.f Determine the influence of multicultural
beliefs, products and practices in shaping contemporary
American culture
FIND THE STANDARDS –For more detailed information on the standards, visit these websites:
COMMON CORE STANDARDS - www.corestandards.org/
NJ SOCIAL STUDIES STANDADS - http://www.state.nj.us/education/cccs/2014/ss/
NJ ARTS STANDARDS - http://www.state.nj.us/education/cccs/2009/1.pdf
NATIONAL ARTS STANDARDS - www.nationalartsstandards.org
RESOURCES
VIDEOS
Vaganova Ballet Academy. Classical Dance Exam. Girls, 4th class. 2015
https://www.youtube.com/watch?v=RQ2RGSzqRe8
Inside the Bolshoi Ballet’s daily class
https://www.youtube.com/watch?v=C723_FQedo4
Bolshoi Ballet - Rehearsal Romeo and Juliet– 2010
https://www.youtube.com/watch?v=7ewXIpS5h84
WEBSITES
http://www.hegmusic.com/the-state-ballet-theatre-of-russia
https://en.wikipedia.org/wiki/Maya_Plisetskaya
Tracing Ballet’s Cultural History Over 400 Years
http://www.npr.org/2011/12/16/143775428/tracing-ballets-cultural-history-over-400-years
Read more:
http://triblive.com/news/fayette/7601513-74/ballet-state-russia#ixzz3nKiT9Vsh
R&J Retellings:
http://www.washingtonpost.com/news/morning-mix/wp/2015/03/20/retellings-of-romeo-and-juliet-ranked/
Romeo and Juliet – The State Ballet Theatre of Russia
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5
cultural connections
William Shakespeare wrote his tragic play Romeo and
Juliett early in his theatrical career, probably between
1591 and 1595. It was among his most popular plays
during his lifetime and, along with Hamlet, is still one
of his most frequently performed plays.
Romeo and Juliet belongs to a tradition of tragic
romances stretching back to antiquity. Its plot is based
on an Italian tale, translated into verse as The Tragical
History of Romeus and Juliet by Arthur Brooke in 1562
and retold in prose in Palace of Pleasure by William
Painter in 1567. Shakespeare borrowed heavily from
both works but, to expand the plot, he developed
supporting characters, particularly Mercutio and Paris.
The play’s popularity has resulted in numerous
reconceived versions in many art forms, including
ballets, symphonies, operas and plays. Prokofiev’s
Romeo and Juliet is the best-known ballet version.
Originally commissioned by the Kirov Ballet in 1935,
it was rejected when its composer Sergey Prokofiev
attempted a happy ending, and for its experimental
music. This version was censored by the Russian
government, but finally, the ballet premiered in 1938 in
Czechoslovakia (now the Czech Republic), and then in
Leningrad (now St. Petersburg) in 1940. Mark Morris
Dance Group famously gave the world premiere of the
original ending in 2008.
with music by Leonard Bernstein and lyrics by Stephen
Sondheim, updates the setting to mid-20th-century
New York City where the warring families are ethnic
gangs.
Romeo and Juliet may be the most-filmed play of all
time, with notable versions including George Cukor’s
multi-Oscar-nominated 1936 production, Franco
Zeffirelli’s 1968 version, and Baz Luhrmann’s 1996
MTV-inspired Romeo + Juliet. Romeo and Juliet was
first filmed by Georges Méliès in the silent movie era,
although his film is now lost.
The themes of Romeo and Juliet continue to reappear.
Disney’s High School Musical used Romeo and Juliet ‘s
plot, placing the two young lovers in rival high school
cliques instead of feuding families. The 1998 film,
Shakespeare in Love, featured Shakespeare writing the
play against the backdrop of his own doomed love
affair. There have been anime versions and Bollywood
films. Even the movie Warm Bodies features an unlikely
version of zombie/human star-crossed lovers.
At least 27 operas have been based on Romeo and
Juliet. The earliest, Romeo und Julie in 1776, a Singspiel
by Georg Benda, also has a happy ending. The bestknown is Gounod’s 1867 Roméo et Juliette. Berlioz,
Tchaikovsky and many other composers also created
works based on the play.
Romeo and Juliet has influenced jazz music and pop
songs, including Peggy Lee’s famous, Fever, Duke
Ellington’s The Star-Crossed Lovers, and songs by The
Supremes, Bruce Springsteen, Tom Waits, Lou Reed,
Dire Straits and Taylor Swift.
The Broadway musical and film West Side Story is
famously based on Shakespeare’s play. This version,
6 Romeo and Juliet – The State Ballet Theatre of Russia
www.njpac.org/education
vocabulary
Arabesque (Ah rah besk) – a
ballet position in which the
dancer stands on one leg while
the other leg is raised behind the
body and extended in a straight
line.
Barre – a horizontal bar (usually
made of wood) along a dance
studio’s walls used for class
exercises. Every ballet class
begins with barre exercises.
Bolshoi – Russian for “big”. The
Bolshoi Ballet, founded in 1776,
is internationally renowned and
one of the oldest classical ballet
companies in the world. It is
based at the Bolshoi Theatre in
Moscow, Russia.
Choreography – the steps, combinations and patterns
of a ballet or dance.
Feud – a bitter, continuous hostility, especially
between two families, clans or groups. A feud often
lasts for many years or generations.
Grande Jeté (grand jeh tay) – a big, high jump from
one foot to the other in which the dancer’s legs are
split wide apart and the dancer appears to have been
thrown forward.
Pas de deux – a dance performed by two dancers.
Traditional ballet pas de deux are typically performed
by a male and a female in five parts: an entrée
(introduction), an adagio (slow dance), two variations
(a solo for each dancer), and a coda (conclusion).
Pirouette (peer o wet) – a rotation, spin or complete
turn of the dancer’s body while standing on one foot,
on pointe or demi-pointe (half-pointe) with the other
leg usually bent and the foot touching the knee.
Pointe shoes – the satin ballet shoes used by dancers
when dancing en pointe, or on the tips of their toes.
Pointe shoes look dainty, but they really aren’t. The
tip of the shoe is a rigid box made of densely packed
layers of fabric, cardboard and/or paper hardened by
glue.
Prima ballerina – the chief female dancer in a ballet or
ballet company.
Prima ballerina assoluta is a rare title traditionally
awarded to the most exceptional ballerinas of their
generation.
Tragedy – a lamentable, dreadful, or fatal event or
affair; calamity; disaster. The word also refers to a
dramatic composition, frequently written in verse,
that deals with serious or somber themes, and
typically involving a person destined to experience
downfall or utter destruction.
Romeo and Juliet – The State Ballet Theatre of Russia
www.njpac.org/education
7
NJPAC ARTS EDUCATION STAFF LISTING
William J. Marino and John R. Strangfeld, Co-Chairs
John Schreiber, President & CEO
Alison Scott-Williams, Vice President of Arts Education
Meling Roberts, Administrative Assistant to the Vice President
of Arts Education
Kristina Watters, Manager of Operations and Systems
Caitlin Evans-Jones, Director of Partnerships, Performances,
and Professional Development
Rosa Hyde, Manager Arts Education Performances
Eyesha Marable, Manager of Sales and Partnerships
Ashia Fulmore, Coordinator, Sales, Partnerships and Professional
Development
Jennifer Tsukayama, Senior Director of Arts Education
Jamie M. Mayer, Director of In-School Programs
Kyle Conner, Coordinator of In-School Programs
Rebecca Hinkle, Director of Arts Education
Patricia Sweeting, Coordinator of After School & Summer
Programs
Mark Gross, Director of Jazz Instruction
Alexis Almeida, Coordinator of Music Programs and New
Initiatives
Teacher Resource Guides
Judith Lindbergh, Writer
Michelle Cameron, Writer
Lia DiStefano, Graphic Designer
BRING THE ARTS TO YOUR SCHOOL
In-School Residencies: Drama + Social Studies. Dance + Math. It all adds up in NJPAC’s In-School Residencies in which
professional teaching artists partner with educators to bring the arts into the classroom. Each 7 to 10 week program
culminates in a student performance or an interactive family workshop. All programs address state and national standards.
NJPAC is the regional provider in New Jersey for international arts programs like the Wolf Trap Institute’s Early Learning
Through the Arts Program and Dancing Classrooms Global.
Assemblies: NJPAC presents engaging school assembly programs that are presented by professional artists that invite
students into the enchanting world of live performance. NJPAC’s assembly series promotes cultural awareness and
invigorates learning by presenting works that are connected to your’s school’s curriculum.
STUDY THE ARTS AT NJPAC
After School and Saturday Programs: NJPAC’s after school and Saturday programs are geared towards students at every
level—from those who dream of starring on Broadway to those who are still learning their scales. Students work with
professional artists to build technique and develop their own creative style in chorus, contemporary modern dance, hip hop,
jazz, musical theater and symphonic band.
Summer Programs: Want to begin to explore the arts? Or immerse yourself in the study of one genre? Then join us at NJPAC
next summer in one of seven programs that spark the creativity in every child through the study of music, dance and theater.
THE
F O U N D AT I O N
NJPAC Arts Education programs are made possible through the generosity of our endowment donors:
The Arts Education Endowment Fund in honor of Raymond C. Chambers, The Joan and Allen Bildner Family Fund, Toby and Leon
Cooperman, Albert and Katherine Merck, and The Sagner Family Foundation
Generous annual support for NJPAC Arts Education Programs is provided by:
The Star-Ledger, McCrane Foundation, Inc., care of Margrit McCrane, Surdna Foundation, John and Suzanne Willian/Goldman Sachs
Gives, MCJ Amelior Foundation, The Johnny Mercer Foundation, Jennifer A. Chalsty, Johnson & Johnson Family of Companies, Panasonic
Corporation of America, and Atlantic, Tomorrows Office
For more information or to schedule an appointment, please call our education sales team at
973-353-7058 or email us at [email protected]. Visit us at www.njpac.org/education.
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