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s c h o o lP E R F O R M A N C E S E R I E S time romeo juliet and the state ballet theatre of russia Generous support for SchoolTime provided, in part, by NEW JERSEY PERFORMING ARTS CENTER 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, 2 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 www.njpac.org/education 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. New Jersey Performing Arts Center • One Center Street • Newark • NJ 07102 NEW JERSEY PERFORMING ARTS CENTER