YOU dance National Livestream Viewing Guide

May 3, 2024

WELCOME TO THE YOU DANCE NATIONAL LIVESTREAM!

Thank you for joining our 2024 YOU dance national livestream, designed for students in grades four through six to encourage creative thinking and enjoyment through dance. YOU dance stands for Youth, Outreach and Understanding Dance and puts into practice our deeply held belief that the performing arts are invaluable to young people as an outlet for self-expression and discovery. Your students are among the thousands across Canada to participate in YOU dance since the programme began in 2007.

This viewing guide is intended to support your livestream experience and provide discussion points and creative ideas to engage your students before, during and after the event. We invite you to use this guide to help students learn about classical and contemporary ballet, think critically about the performances, express themselves in movement and understand what goes into the artistic process.

We are thrilled that you have chosen to share the beauty and joy of dance with your students. We hope the programme captures their imaginations with its music, movement and storytelling and serves as the starting point for many interesting conversations to come.

WHAT IS BALLET?

Most of us are familiar with some form of dancing. Anyone can do it – all you have to do is move to music!

Ballet is a stylized form of dancing, which means it has a specific technique that is learned over time. This technique was established hundreds of years ago and involves steps and shapes that build and connect with one another to create a distinct way of moving.

The language of ballet is French and it flourished in the court of Louis XIV during the 17th century. Dancers can take a ballet class anywhere in the world and know that the names of the steps will always be in French.

Dancers use their technique to perform dances created by choreographers and set to music written by composers. In some cases, the dances tell a story and are enhanced by costumes, makeup, sets and props. At other times, the dances communicate a theme or mood and do not tell a story at all. Many contemporary or modern ballets do not have sets or opulent costumes.

Depending on the choreography, dancers sometimes wear pointe shoes, which are made from layers of canvas and satin, stiffened with glue. In pointe shoes, you can dance right on the tips of your toes, as opposed to on demi-pointe or the balls of the feet. It takes many years of training to achieve the muscle strength and balance to dance on pointe.

In most classical ballets, the dancers do not speak or sing. Instead of their voices, they use their bodies to develop characters, tell stories and communicate ideas.

Dancers often wear tights and leotards as well as tight fitting costumes so audiences can clearly see the intricate movement and lines created by their bodies. Bulkier clothing would not only hide the movement but also get in the way of its execution. Professional dancers are similar to athletes who wear tight fitting clothes such as cyclists, wrestlers, swimmers, divers and gymnasts who all wear clothing that reveals the size and shape of the body. Costuming can elicit different responses, from appreciation of the aesthetic created to giggles and at times uncomfortable feelings seeing the shape of their bodies so clearly.

Artists of the Ballet in rehearsal. Photo by Karolina Kuras.

HOW A BALLET IS MADE

An enormous amount of work goes into every performance. The dancers train from childhood to develop the strength, flexibility, musicality and technique to execute the steps properly. Choreographers practice for years to learn how to create interesting dances that narrate, communicate or inspire people with shapes and themes. Then there are the talented craftspeople who design costumes, build sets, apply makeup, make wigs, create lighting effects and manage the production backstage. A world of activity goes on behind the scenes!

When preparing a ballet for the stage, the dancers rehearse or practice the steps in the studio with the choreographer, who creates the dance, chooses the dancers and selects a composer to write or provide the music. Usually, the dancers rehearse to live piano music until it is time for the dress rehearsal, when they practice onstage with costumes, sets, props and a live orchestra of musicians, who perform just below the stage in a dedicated space called the orchestra pit. The conductor leads the orchestra with a baton.

At the dress rehearsal, the dancers and artistic staff experience the work with all of the production elements as the audience will see it.

Harrison James and Jurgita Dronina in Swan Lake. Photo by Karolina Kuras.

THE NATIONAL BALLET OF CANADA

The National Ballet of Canada is one of the top ballet companies in the world. It was founded in Toronto by Celia Franca in 1951 to present a full range of classical or traditional ballets and the works by contemporary choreographers and new creations, many of them by Canadian choreographers.

The company is one of few in North America to build its own sets and costumes at a custom facility, The Gretchen Ross Production Centre, and to maintain a talented inhouse orchestra. Currently, the National Ballet employs roughly 120 artists, dancers and musicians, as well as production and administrative staff.

Since its inception, the company has performed for millions of people during its fall, holiday, winter and summer seasons. The company also performs on tour in Canada, the US, Europe and Asia.

Community engagement is an important part of the National Ballet’s work each season. The company offers a range of age-appropriate programming to engage students, children and families with the power of dance.

HOPE MUIR

JOAN AND JERRY LOZINSKI ARTISTIC DIRECTOR

Hope Muir became Artistic Director of The National Ballet of Canada on January 1, 2022. She was born in Toronto, completed her ballet training in London and danced with English National Ballet, amongst other companies, where she performed both classical and contemporary repertoire. Hope has also been an international guest stager, teacher and repetiteur. She held artistic leadership roles in both Europe and the US before returning home to Canada to lead the National Ballet.

The Walter Carsen Centre for The National Ballet of Canada. Hope Muir. Photos by Karolina Kuras.

PRE-PERFORMANCE ACTIVITIES

You and your students are integral to our livestream programme and we want you to get the most from your experience. We invite you to use the following pre-performance activities to help prepare your students for what they are about to see.

Talk to your students about ballet. Put these words on the board and have them help you define them:

» Ballet

» Pointe Shoe

» Orchestra

» Choreographer

Explain that our company is Canadian and that many of our dancers come to Toronto from all over the world to train and perform.

Discuss characteristics dancers share with professional athletes.

Invite your students to share their experiences with dance classes they may have attended. Which dance styles are they familiar with?

Discuss how a ballet is made. Have a student assume each role and ask them to explain their job:

» Choreographer: Makes up the dances

» Composer: Writes the music

» Dancer: Performs the choreography

» Costume Designer: Creates the costumes

Brainstorm with your students and make predictions about what they will see. Here are some things to consider:

» What will the dancers wear during class?

» How will the choreographer work with the dancers?

» What types of movements will you see?

» What will the costumes look like? Draw a picture of them.

Maisee Anderson. Photo by Karolina Kuras.

EVER NEW

Choreography: Robert Binet

Music: Beverly Glenn-Copeland

You may already have learned that a choreographer is someone who works behind the scenes to create finished dances for audiences like you to enjoy. The choreographer chooses the music, dancers, story and the movements that will come together in a production that changes very little, if at all, from to show to show.

Ever New offers something different to this traditional of way of working. Choreographer Robert Binet created space within the performance for the audience to contribute movement and ideas. The piece is called Ever New because with each audience making their own contributions, no two performances are ever the same!

Ever New invited audiences to help with the creation process. How do you think that changed the piece?

Which parts of the choreographer’s job would you enjoy the most? Why?

If you could choose an ending for Ever New, what would it be?

RBC Apprentices in Ever New at

dance performance. Photo by Bruce Zinger.

UNTIL YOU SEE ME

Choreography, Concept and Direction: Hanna Kiel

Music: Frédéric Chopin

Pianist: Zhanna Vaszilenko

Until you see me is a contemporary dance piece. The dancers may perform their movements closer to the ground or with their legs and feet in a parallel position, rather than turned out from the hip. This movement style creates an interesting contrast with the music, which is from the classical composer, Frédéric Chopin.

Until you see me is a duet, or a dance for two people, and it explores the theme of self-discovery. This is the lifelong process of understanding yourself, your values and dreams. Choreographer, Hanna Kiel wanted to show how we can peel back the layers of our public selves to discover and embrace who we really are on the inside.

How is the quality of the music different to the dancers’ movements? How is it the same?

What are three words that describe who you are on the inside?

What movements could you use to show others who you are?

Yi-Min Tsung and Anna McKinney in Until you see me at a YOU dance performance. Photo by Bruce Zinger.

GISELLE PAS DE DEUX ACT II

Choreography: Sir Peter Wright after the choreography of Jean Coralli and Marius Petipa

Music: Adolphe Adam

Costume Design: Desmond Heeley

Pianist: Zhanna Vaszilenko

Giselle is one of the world's oldest existing ballets, dating back to 1841. It tells the story of a young girl, Giselle, who falls in love with Albrecht, only to learn that he has lied to her. When she learns of this, she dies and becomes a ghostly figure called a Wili who haunts the forest at night.

In this pas de deux, or dance for two, Albrecht is visiting Giselle’s grave because he loves her and feels sorry for what he has done. Giselle appears to him as a ghost and they dance together, showing their deep love and sadness at a life and relationship cut short.

Giselle is a classical ballet. The woman wears pointe shoes that allow her to dance on the tips of her toes and a romantic tutu. She and her partner perform steps from the classical vocabulary that were assembled long ago and are still danced the same way today.

How is the movement quality of Giselle different to the other pieces you have seen so far?

Do Giselle’s movements suggest that she forgives Albrecht? How?

Think of a time when you felt sorry for something you had done. How could you show those feelings in movement?

Graydon George and Ayami Goto in Giselle at a YOU dance performance. Photo by Bruce Zinger.

SUGAR WATER

Choreography: Alyssa Martin

Music: Leonard Bernstein

Dance can express many kinds of energy, from the stillness of being alone to the thrill of attending a fabulous party. Sugar Water is a high energy piece that shares the exhilaration of being totally yourself and embracing your individuality.

The dancers all wear the same playful costumes, in bright shades of pink, purple and red to convey a sense of joy. The dancers are dressed similarly to help the audience notice each dancer’s individual personality as it shines through in their movement and voice. The choreographer, Alyssa Martin is especially excited about the parts of dancing that make us laugh. She and the dancers used many jokes to create this piece.

Sugar Water dances through the many feelings that come along with letting your true self shine; bravery, excitement, doubt and fear. Sometimes the dancers, sing, yell or laugh out loud because their energy is too powerful to be contained silently! Notice how each individual dancer has their own personal journey, while they also work together to dance as a group.

Listen to the music. How does it express the themes of Sugar Water?

What is it like when the dancers speak or yell? Does it change how you feel about the performance?

At the end, one dancer stands alone. What do you think this means?

performance. Photo by Bruce Zinger.

Additional Credits

Costume Design: The National Ballet of Canada Wardrobe Department, Stacy Dimitropoulos, Wardrobe Supervisor

Lighting Design: Jeff Logue

The National Ballet of Canada YOU dance National Livestream Viewing Guide

Mailing Address

The Walter Carsen Centre for The National Ballet of Canada 470 Queens Quay West Toronto, Ontario Canada M5V 3K4

Administration 416 345 9686

Website national.ballet.ca

The National Ballet of Canada is grateful to the following donors and sponsors whose support helps introduce ballet to young students and helps encourage imagination, movement and an appreciation for the arts.

YOU dance Lead Sponsor

Support is provided through the RBC Foundation.

YOU dance is supported by Ballet Club Relevé, Elizabeth A. & Richard J. Currie, O.C., Susanne Boyce & Brendan Mullen, an Anonymous Donor, Fatima Laher, The Anna McCowan-Johnson Dance Accessibility Fund and the Robert & Joan Shatilla Education Fund.

Giselle was produced as a memorial to the late William P. Walker and was made possible through the courtesy of many generous friends of the National Ballet.

Front Cover: 2023/24

RBC Apprentices Hamish Lowe, Ayami Goto, Graydon George, Ewan Hartman, Luiz Anselmo, Pravda Tranfield, Anna McKinney, Keira Sanford, Ethan Clarisey, Maisee Anderson and Yi-Min Tsung. Photo by Karolina Kuras.