Welcome to Friends’ Corps
Thank You Thank you for being a part of our tremendous community of support. As a donor, you inspire the National Ballet’s artists with your passion and commitment. Your generosity provides opportunities: for each and every one of the dancers to grow and perform, for the company to engage with audiences at home and on tour and for communities across Canada to experience the joy, creativity and self-expression of dance. At the National Ballet, our community of donors represents dedication, care and loyalty while providing operating funding the company depends on. In return, we are proud to provide you with opportunities to learn more about your impact, with invitations behind the scenes and special insights into the company’s dancers, performances and initiatives. Thank you, once again, for being a part of our caring community of support. We look forward to an exciting 2019/20 season ahead and everything we will accomplish together.
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Meet Karen Kain, C.C. Long recognized as one of the most gifted classical dancers of her era and noted for her compelling characterizations and versatility, Artistic Director Karen Kain is one of Canada’s most renowned and committed advocates for the arts. Born in Hamilton, Ontario, Ms. Kain received her training at Canada’s National Ballet School in Toronto, joining the Corps de Ballet of the National Ballet of Canada in 1969. She was quickly promoted to Principal Dancer in 1971 after her sensational debut as the Swan Queen in Swan Lake.
“Kain has reinvigorated the company by hiring some superb dancers and courting the world’s top choreographers. She is also assembling one of the most diverse repertoires in the company’s history.” – Maclean’s Magazine Ms. Kain retired from dancing following her farewell tour in 1997 and became Artist-in-Residence with the National Ballet, a role that was later expanded to that of Artistic Associate. In 2004, she restaged Rudolf Nureyev’s landmark version of The Sleeping Beauty for the company and the following year was named Artistic Director. As Artistic Director Ms. Kain has led the National Ballet to great success. Her many accomplishments include returning the company to the international stage, commissioning exciting new work and forming partnerships with leading ballet companies such as The Royal Ballet, The Bolshoi Ballet and Hamburg Ballet.
Karen Kain in Romeo and Juliet (1982). Photo by Andrew Oxenham. Jenna Savella and Karen Kain in rehearsal for The Sleeping Beauty. Opposite: Selene Guerrero-Trujillo. Photos by Karolina Kuras. 3
Friends’ Corps Friends’ Corps is our largest donor group and is a vital source of inspiration and support for The National Ballet of Canada. As part of this vibrant group, you provide a strong financial foundation for Karen Kain to pursue creative collaborations, ensure the artistic growth of the dancers and lead the company to shine at home and on the world stage.
For our Members In appreciation of your support, the National Ballet is pleased to offer opportunities to meet the artists of the National Ballet, to come behind the scenes at events for children and families, as well as the invitation to use the Friends’ Corps lounge at the Four Seasons Centre for the Performing Arts during main season performances. Friends’ Corps members who are unable to attend events and performances can enjoy a number of unique digital benefits that allow them to experience the joy of dance and stay up-to-date on the company’s activities. These include weekly update e-mails, livestreamed events and an online community where members can peek behind the curtain and get to know fellow ballet lovers.
Friends’ Corps Events Friends’ Corps Open House: Friends’ Corps members Plié level and up are invited to experience a day in the life inside the Walter Carsen Centre, home of the National Ballet.
Dress Rehearsals: Watch the company in one of the final rehearsals onstage before opening night at the Four Seasons Centre for the Performing Arts.
Working Rehearsal: Watch the dancers rehearse in Prima Studio at the Walter Carsen Centre. + PLUS: The rehearsal is followed by a guest speaker and refreshments.
Backstage Tours: Come behind the curtain at the Four Seasons Centre to visit backstage and see productions from the dancers’ point of view.
Family Events: Attend an event such as Kids’ Movement Workshop, designed for the whole family to enjoy together. 4
Friends’ Corps Event Vouchers Plié ($75-$149)
2 spots to Friends’ Corps Open House
Pirouette ($150-$249)
2 spots to Friends’ Corps Open House + 4 Event Vouchers
Fouetté ($250-$499)
2 spots to Friends’ Corps Open House + 8 Event Vouchers
Brisé ($500-$849)
2 spots to Friends’ Corps Open House + 12 Event Vouchers
Arabesque ($850-$1,249)
2 spots to Friends’ Corps Open House + 16 Event Vouchers
Grand Jeté ($1,250-$1,999)
2 spots to Friends’ Corps Open House + 20 Event Vouchers + Invitations to Ballet Dinners
» RSVPs are required for all events. » A maximum of 6 vouchers can be used for any one event. » S pace is limited. Please RSVP early within the RSVP dates for each event. » Y our voucher allotment will be deducted at the time of reservation. Cancellations must be made at least two business days in advance of the event in order to reimburse vouchers. » All vouchers must be used before June 30 of each season. » For Dress Rehearsals, Friends’ Corps members are assigned seating in Rings 3, 4 and 5, based on giving level and RSVP date and time. 5
The National Ballet of Canada Our Past Established as a classical company by founder Celia Franca in 1951, The National Ballet of Canada is the only Canadian ballet company to present a full range of traditional full-length classics. The company’s repertoire includes works by the world’s most celebrated 20th and 21st century masters, such as Sir Frederick Ashton, George Balanchine, John Cranko, William Forsythe, James Kudelka and John Neumeier, to name a few.
Our Present In addition to its classical repertoire, the company also embraces contemporary works, encourages the creation of new ballets such as Anna Karenina, and nurtures the development of Canadian choreographers through works including Frame by Frame, The Dreamers Ever Leave You and Emergence. Touring is an essential part of Karen Kain’s vision – to enhance the company’s visibility and reputation for excellence, and to attract leading dancers and choreographers to collaborate on future projects. For our dancers, opportunities to appear on world stages allow them to develop their artistry and greater exposure to new audiences and influential critics. Most recently, the National Ballet completed our first ever tour to Moscow and St. Petersburg. 6
“Our goal is to build a community of caring people who appreciate and support dance, creativity and dedication. The National Ballet of Canada was founded in 1951 by such individuals and has flourished since because of a shared passion for ballet and a willingness to work hard together to achieve success.” – Barry Hughson, Executive Director
Our Future This is a pivotal moment in the history of the National Ballet. Under Karen Kain’s celebrated leadership, the company is attracting the world’s finest dancers, partnering with internationally renowned choreographers and developing new productions that are building audiences at home and abroad. The support of donors like you will help finance this extraordinary period of artistic growth and create a legacy of dance excellence for future generations of Canadians.
Celia Franca (1960). Photo by Janine. Karen Kain with Francesco Gabriele Frola, Tiffany Mosher, Miyoko Koyasu and Spencer Hack. Photo by Karolina Kuras. Heather Ogden. Photo by Aleksandar Antonijevic. 7
Raising the Barre: The National Ballet of Canada Structure Principal When a dancer has reached a certain level of technical ability and artistic maturity, they are promoted to Principal Dancer, the highest ranking of dancer. Principal Dancers perform starring roles in a company’s repertoire.
Principal Character Artist Senior members of the company who perform character roles (i.e. Baba in The Nutcracker, Friar Lawrence in Romeo and Juliet). They help bring the story to life through characterization.
First Soloist As First Soloists, dancers are given more solo roles to perform and are groomed for principal roles.
Second Soloist As a Second Soloist, a dancer may be asked to perform smaller group dances and some solo roles.
Corps de Ballet The Corps de Ballet is the backbone of a ballet company and performs in all the large group sections of a ballet. A corps de ballet works as one, with synchronized movements and corresponding positioning on the stage.
Apprentice An apprenticeship is seen to bridge the transition from dance student to professional dancer. At the National Ballet, all Apprentices take part in YOU dance, the company’s outreach programme. Apprentices present selected repertory at performances introducing young people to ballet. In YOU dance performances, Apprentices will perform Principal roles, while also performing smaller roles and understudying with the company. 8
The Dancers: A Day in the Life! Company class is a daily ritual for all dancers. The 75 minute class warms up the body and prepares the dancer physically and mentally for rehearsal and performance. The exercises in company class are the building blocks of classical ballet choreography.
A Typical Day Location: Walter Carsen Centre 10:00 am – 11:15 am: Company Class 11:30 am – 2:30 pm: Rehearsals 2:30 pm – 3:30 pm: Lunch 3:30 pm – 6:30 pm: Rehearsals An Evening at the Theatre Location: Four Seasons Centre for the Performing Arts 1:00 pm – 2:15 pm: Company Class 2:30 pm – 4:30 pm: Rehearsals 4:30 pm – 7:00 pm: Dinner break & begin to prepare for the show 7:00 pm: 1/2 hour call (getting into costume, final makeup/hair touch ups) 7:30 pm: Show time! A Double Show Day Location: Four Seasons Centre for the Performing Arts 11:00 am – 12:15 pm: Company Class 12:15 pm – 1:30 pm: Lunch break & begin to prepare for the show 1:30 pm: 1/2 hour call (getting into costume, final makeup/hair touch ups) 2:00 pm – 4:00 pm: Show time! 4:00 pm – 7:00 pm: Dinner break & begin to prepare for the show 7:00 pm: 1/2 hour call (getting into costume, final makeup/hair touch ups) 7:30 pm: Show time! Clare Peterson in Company Class on Stage. Photo by Karolina Kuras. 9
Ballet 101 Arabesque A position where the body is supported on one leg, with the other leg extended directly behind the body with a straight knee.
Attitude In attitude, a dancer stands on one leg with the other leg elevated parallel to the ground or bent at the knee. The raised leg can be held behind or forward. Usually the arm on the side of the raised leg is lifted above the head.
Jeté Meaning “thrown.” Though often used with another term, jeté usually describes a type of jump where the dancer extends one leg then jumps off the floor with the other. Many jumps are forms of jetés. Jillian Vanstone in Alice’s Adventures in Wonderland. Photo by Aleksandar Antonijevic. Tanya Howard in The Nutcracker. Photo by Karolina Kuras. Kathryn Hosier in Swan Lake. Photo by Bruce Zinger. 10
RetirĂŠ A position in which a ballet dancer raises their thigh with the knee bent so that the pointed foot is placed either in front, behind or to the side of the supporting knee. This is the basic position for a pirouette.
Pirouette A complete turn of the body with the dancer balanced on one foot.
Fish Dive A step where the ballerina is in a retirĂŠ position and held low to the ground by a male dancer. Fish dives are seen quite often in classical partnering and pas de deux.
Artists of the Ballet in Swan Lake. Alexandra MacDonald in rehearsal for The Nutcracker. Harrison James and Jurgita Dronina in The Sleeping Beauty. Photos by Aleksandar Antonijevic. 11
Mime Story ballets such as Giselle, Don Quixote, The Nutcracker and Swan Lake are straight narrative works told through dance and mime. Dramatic ballets also usually follow a narrative or have a literary source. Story and dramatic ballets must be detailed in structure, with exact pacing and build-up of dance and dramatic effects.
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Me / I
Love
You
Dance
Beg for Mercy
Die
Benesh Movement Notation Benesh Movement Notation is a dance notation system used to document dance and other types of human movement. Invented by Joan and Rudolf Benesh in the late 1940s, the system uses abstract symbols based on figurative representations of the human body. It is used in choreography and physical therapy, and by the Royal Academy of Dance to teach ballet.
Benesh notation is recorded on a five line stave from left to right, with vertical bar lines to make the passage of time. Because of its similarity to modern staff music notation, . Benesh notation can be displayed alongside musical accompaniment.
Here is a notation excerpt from the Snow Scene in The Nutcracker, choreographed by James Kudelka for the National Ballet of Canada in 1995. In addition to the choreography, the notation score includes information about the musical timing, stage locations, many interpretive details and remarks made by the choreographer during the creation and rehearsal periods – a precise score of the ballet in its original form as conceived by Kudelka. Brent Parolin, Jenna Savella and Nan Wang in The Nutcracker. Photo by Karolina Kuras. Philanthropic support for The Nutcracker Complete Documentation Package was provided by Diane Blake and Stephen Smith.
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Health & Wellness Today’s dancers are exceptional athletes, expected to be technically strong in both classical ballet and contemporary dance. These artists are working with a wide range of choreographic styles and placing much more rigorous and complex demands on their bodies as they push physical and artistic boundaries. Key to Karen’s artistic vision for The National Ballet of Canada is our ability to attract and nurture the world’s best dance talent and ensure that our dancers are able to perform at their peak throughout their careers. Highly regarded as one of the most comprehensive and advanced in the world, the National Ballet’s Dancer Wellness programme has a proven track-record of rehabilitating many of the company’s most cherished artists and fostering strength and agility so that dancers can continue performing well into their 30s and 40s. The Health and Wellness team consists of medical and health professionals ranging from Sports Medicine Physicians and Orthopedic Surgeons to Nutritionists and Physio, Massage and Athletic Therapists, who work in a highly collaborative approach, applying a range of conventional and complimentary treatments to prevent and address injury. The National Ballet’s leadership in dance medicine continues to have an extraordinary impact, ensuring audiences can enjoy the incredible artistry of company members such as Principal Dancer Greta Hodgkinson and Principal Dancer Sonia Rodriguez, who celebrate their 30th anniversaries with the company this season.
Rebekah Rimsay in physical therapy with Ron Mulesa. Photo by Aleksandar Antonijevic. 14
Upcoming Events Facebook Live Join us in the Friends’ Corps Facebook group for a tour of the Pointe Shoe Room and pointe shoe demonstration, live from the Walter Carsen Centre. Monday, January 20 | 6:30 pm Working Rehearsal Wednesday, February 5, 2020 | 5:30 pm + PLUS: Thursday, February 6, 2020 | 5:30 pm Walter Carsen Centre RSVP: January 13 – 31, 2020 Dress Rehearsal: Chroma & Marguerite and Armand Friday, February 28, 2020 Ballet Talk: 7:15 pm Rehearsal: 8:00 pm Four Seasons Centre RSVP: February 3 – 21, 2020
Kids’ Movement Workshop Children will explore dance, movement and music in the studio, led by a dance educator, with seating for parents to watch (Recommended ages: 5-12). Sunday, April 19, 2020 | 10:30 am Walter Carsen Centre RSVP: March 24 – April 9, 2020 From the Archives Attend a video screening of a historic production in the studios of the National Ballet. Sunday, May 24, 2020 | 2:30 pm Walter Carsen Centre RSVP: April 27 – May 15, 2020 Backstage Tour: Swan Lake Saturday, June 20, 2020 | 10:00 am Four Seasons Centre RSVP: May 25 – June 12, 2020
Backstage Tour: Romeo and Juliet Saturday, March 14, 2020 | 10:00 am Four Seasons Centre RSVP: February 18 – March 6, 2020
Friends’ Corps Open House Friends’ Corps members Plié level and up are invited to experience a day in the life inside the Walter Carsen Centre, home of the National Ballet. Monday, July 20, 2020 Walter Carsen Centre RSVP by July 9, 2020
Hannah Galway. Photo by Karolina Kuras. 15
Thank you for your support of the National Ballet. We hope you enjoy a meaningful experience with Friends’ Corps and find this guide a helpful resource. If there is anything we can do to serve you better, please do not hesitate to contact us.
Contact Info: Friends’ Corps E-mail friendscorps@national.ballet.ca Audience and Donor Services 416 345 9595 1 866 345 9595 (toll free)
Weekly E-mail Are you receiving your weekly update? Members of Friends’ Corps receive weekly e-mails with the latest insider news and event reminders from the National Ballet. Contact us for more info: friendscorps@national.ballet.ca
Friends’ Corps is on Facebook Join our online community specifically for Friends’ Corps members! Our new Facebook group is a space to come behind the scenes with the National Ballet and get to know your fellow donors. facebook.com/groups/ FriendsCorpsNBC Password: Season1920!
The National Ballet of Canada is a registered charity. Charitable Registration Number: 11905 1449 RR0001
Front: Tiffany Mosher. Photo by Karolina Kuras.