Artsource - American Ballet Theatre

Artsource The Music Center’s Study Guide to the Performing Arts

TRANSFORMATION

ENDURING VALUES

DANCE ®

TRADITIONAL CLASSICAL

1. CREATING (Cr)

CONTEMPORARY

2. PERFORMING, PRESENTING, PRODUCING (Pr)

EXPERIMENTAL

3. RESPONDING (Re)

MULTI-MEDIA

4. CONNECTING (Cn)

FREEDOM & OPPRESSION

Title of Work: The Sleeping Beauty Creators: Company: American Ballet Theatre (ABT) Choreography: Kevin McKenzie, Gelsey Kirkland and Michael Chernov, after the choreography of Marius Petipa (1889) Music: Peter Ilyich Tchaikovsky Original Version World Premiere: Imperial Ballet, Maryinsky Theatre, St. Petersburg, 1890

ARTISTIC PROCESSES

THE POWER OF NATURE

THE HUMAN FAMILY

Theatre became America’s National Ballet Company®.

About The Artwork: The story of The Sleeping Beauty was written by Marius Petipa and Ivan Vsevolojsky, based on a tale by Charles Perrault. Both the time and the place of this ballet are relatively unimportant because the story is focused on a struggle between good and evil, as represented by the benevolent Lilac Fairy and the wicked fairy Carabosse. In the overture, musical themes of both the good and evil fairies are

Background Information:

introduced. At the christening of the baby Princess Aurora,

Recognized as a living national treasure, ABT was founded

5 good faries each give her a loving wish, but the fairy

in 1940. The aim was to develop a repertoire of the best

Carabosse, feeling left out, casts an evil wish out of revenge.

ballets from the past and to encourage the creation of new

She states that the princess will prick her finger when she is

works by gifted young choreographers. Under the direction

16 and die. Carabosse’s music is low in pitch, strident and

of Lucia Chase and Oliver Smith from 1940 to 1980, the

aggressive. Luckily the Lilac Fairy had not yet given her wish

Company more than fulfilled that aim. The repertoire

and so was able to lessen the evil by stating that the princess

includes all of the great full-length ballets of the 19th

will only be in a deep sleep for 100 years, awakened by the kiss

century, such as Swan Lake, The Sleeping Beauty and Giselle,

of a handsome prince. Her motif is soft and compassionate.

as well as the finest works from the early part of the 20th century, such as Apollo, Les Sylphides, Jardin aux Lilas and Rodeo.

Creative Process of the Artist or Culture: In creating both the story and ballet,

Acclaimed contemporary masterpieces such as Airs, Push

Petipa told Tchaikovsky exactly how

Comes to Shove and Duets are also included. In acquiring

many measures he wanted for each

such an extraordinary repertoire, ABT has commissioned

episode, and specified the tempo, style

works by several choreographic geniuses of the 20th century

and scoring. Since the original premiered in

such as: George Balanchine, Antony Tudor, Jerome Robbins,

1890, it has been reconstructed and

Agnes de Mille and Twyla Tharp. In 1980, Mikhail

updated many times.

Baryshnikov became Artistic Director of ABT, succeeding Lucia Chase and Oliver Smith. Under his leadership the Company experienced a strengthening and refining of the classical tradition.

In 1990, Jane Hermann and Oliver

Smith took over, maintaining the past as they pursued innovation. In 1992 Kevin McKenzie was appointed Artistic Director. In 2006, by and act of Congress, American Ballet

Gillian Murphy Photo: Rosalie O’Connor

“Sleeping Beauty. . . is the grandest, fullest, and finest achievement of Classical ballet..”

Andrew Porter The New Yorker

New York

Discussion Questions: After the video has been viewed: • This story ballet is about the struggle between good and evil. How would you describe "good?" How would you describe "evil?"

• In your own words tell the beginning part of the story; the middle part; and the ending part.

• In looking at the photos of the ballet, what stood out for you? What impressed you the most? Did anything surprise you? Did anything confuse you?

• Can you name the six good faries (Sincerity/honesty; Fervor/warmth and passion; Charity; Joy; Valor/courage; Lilac/most powerful)? Who was the most powerful of the good faries (Lilac Fairy) • Who is the evil fairy? (Carabosse) Why do you think she might be so evil?

Multidisciplinary Options: Bruno Bettelheim in his book, The Uses of Enchantment, states “Like all great art, fairy tales both delight and instruct; their special genius is that they do so in terms which speak directly to children. At the age when these stories are most meaningful to the child, his major problem is to bring some order into the inner chaos of his mind so that he can understand himself better.” Read or tell the students the story of The Sleeping Beauty and have them draw a picture of their favorite part. Divide the class into four groups: the Prologue (Christening); Act I (The Spell); Act II (The Vision); and Act III (The Wedding). Have students group themselves according to the Act that matches the scene they drew.

Then, ask the students to group their pictures in a sequence and make a storyboard of their Act. Ask them to discuss the main events that took place in that part of the story and add descriptive words. After they have retold that part of the story to each other, have each group select one person to tell their part (Act) of the story. Begin with the Prologue and move through all the Acts to the end, using the pictures to help. This can be done again using different storytellers from each group. Let them bring their own meaning to the tale.

Audio-Visual Materials: • Video: The Sleeping Beauty, courtesy of American Ballet Theatre.

• Photos: Rosalie O'Connor, Gene Schiavone and MIRA. Courtesy of ABT. • Drawings of costumes by Willa Kim.

Additional References: • Hamilton, Meredith. A Child's Introduction to Ballet:

The Stories, Music, and Magic of Classical Ballet. Black Dog, 2007.

• Verdy, Violette. Of Swans, Sugarplums and Satin Slippers - Ballet Stories for Children. Scholastic, 1997.

• Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Alfred A. Knopf, Inc., 1976.

• ABT Web Page: http://www.abt.org

Sample Experiences: LEVEL I • Ask the students to give their own definitions of good and evil. Have them describe the traits they think the Lilac fairy character has and the traits they think the evil fairy, Carabosse, might have. Encourage them to pull from the story, but add their own ideas and give personal interpretations. * • Encourage the students to show body postures that would represent the traits and emotions of different characters in The Sleeping Beauty. These might include: happy, sad, mean, kind, lonely, proud. Ask them to find movements that would represent each emotion, then portray a few of the characters motivated by an emotion.

• Ask students to think of three to six good wishes they would bestow upon a baby. Share them.

LEVEL II • Working with the concept of opposites, have the students explore ways to create partner shapes or designs that show sleeping and awake; good and evil; happiness and sorrow; life and death. * • Divide the students into small groups and have them select one of the Acts to show in a tableaux. They must create three different tableaux that show the main ideas of each act making slow, smooth eight count transitions from one to the other.

LEVEL III • Find the music to the ballet, The Sleeping Beauty written

by Peter Ilyich Tchaikovsky. Listen to the overture and see if you can discover the themes or motifs that represent the Lilac Fairy and the Fairy Carabosse.

Discuss the qualities of each motif and give reasons for your choices. If you were the composer, what instruments would you select for each character. Why? * • Tell the story of the ballet. Have students retell the different parts in their own words, elaborating on each part. Divide into small groups and have each select one part to interpret through dance. The dance should begin and end with a tableau, and use movements that express/convey the events and emotions in their act.

2 * Indicates sample lesson

Libretto of the Ballet: Prologue - The Christening: Dawn in the Castle Throne Room King Florestan and his Queen are at last celebrating the christening of their long awaited newborn daughter Aurora.

Catalabutte, the King’s loyal minister, is checking the invitation list to make sure that no one has been forgotten. The good fairies, led by the Lilac Fairy, have been invited to be godmothers to the little Princess. Upon her they bestow magical gifts, blessing her with every imaginable virtue so that some day she can marry the perfect prince. This, in turn, will seal the security and happiness of the kingdom.

Just as the ceremony is coming to a happy conclusion, the evil fairy Carabosse arrives and, in revenge for being left off the invitation list, declares that the Princess will prick her finger with a spindle and die.

Averting this tragedy, the Lilac Fairy promises that Aurora will not die, but will instead fall into a deep sleep that will last a hundred years or more. At the end of that time, a king's son shall awaken her with a kiss.

King Florestan at once forbids all persons in the kingdom to keep a keep a spindle, under pain of death.

Act I - The Spell: Sixteen years later in the Castle Garden It is Princess Aurora’s sixteenth birthday, and princes from the four corners of the earth seek her hand in marriage.

Before the festivities begin, Catalabutte catches the village gossips with a banned spindle.

The King blames Catalabutte for the presence of the banned spindle and condemns him to death. In response to the Queen’s pleas, the King shows mercy and grants a pardon. Then, the festivities begin.

At the height of the celebration, Carabosse, in disguise, presents Aurora with a spindle. Unaware of the danger, Aurora pricks her finger and collapses, as if dead. Carabosse reveals herself in triumph and vanishes. Just in time the Lilac Fairy appears and casts a spell of sleep over the entire kingdom. She tells the King and Queen they must leave the castle and leave Aurora to her destiny.

Gelsey Kirkland as Carabosse The Sleeping Beauty American Ballet Theatre Photo: Gene Schiavone

ACT II - Prince Désiré’s Journey: More than a century later Prince Désiré is hunting by the river with members of his court. Mysteriously, a vision of Aurora’s castle appears and he is thereafter distracted from the merriments of the hunt party.

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As the court is leaving to continue the hunt, the Prince realizes he is at a crossroads. He must choose between returning to his life in the court or to stay in the mysterious forest. The Prince decides to stay. The Lilac Fairy appears and grants him a vision of Aurora’s beauty. He declares his love for the Princess and is led to the castle where, guarded by Carabosse, Aurora sleeps.

Together, the Prince and the Lilac Fairy’s magic defeat the evil Carabosse. The Prince awakens Aurora with a kiss and the spell is broken.

Act III – The Wedding Celebration: Dawn in the Transformed Kingdom The whole kingdom celebrates the wedding of Prince Désiré and Princess Aurora. The guests include fairy tale characters who present their stories as gifts to the royal couple. Prince Désiré and Princess Aurora are crowned with glory, and their reign of light begins.

Copyright 2008 Ballet Theatre Foundation, Inc. All rights reserved. Reprinted by permission.

The Sleeping Beauty American Ballet Theatre Photo: Gene Schiavone

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DANCE

DANCE A FAIRY TALE CHARACTER THE HUMAN FAMILY

LEVEL I Sample Lesson INTRODUCTION: All people have a wide spectrum of character traits. These traits are expressed in body postures, attitudes, gestures, actions, use of weight and muscle tension. Although children express many different emotions each day, they may not be able to identify the way they feel or use the right word to name it. Fairy tales are helpful to children because each character is portrayed clearly. A fairy tale character is either very good or very bad, stupid or clever, meek or brave, beautiful or ugly - there is nothing in-between. According to Bruno Bettelheim in his book The Uses of Enchantment The Meaning and Importance of Fairy Tales: Presenting the polarities of character permits the child to comprehend easily the difference between the two, which he could not do as readily were the figures drawn more true to life, with all the complexities that characterize real people. . . . Then the child has a basis for understanding that there are great differences between people, and that therefore one has to make choices about who one wants to be.

This lesson helps children explore the extremes in character traits and gives them the opportunity to feel each one.

Through play, children can experience the differences between characters and express their own extremes through these characters in a safe way. When they are given the opportunities to do this, it allows them to gain greater understanding into all these parts of themselves.

Costume for The Sleeping Beauty Original Costume Design by Willa Kim

OBJECTIVES: (Student Outcomes) Students will be able to: • Express a variety of different characters through body posture, gesture and walks. (Creating) • Learn the different characters most often found in fairy tales. (Connecting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) 5

MATERIALS: • ABT’s video telling the story of The Sleeping Beauty through words and photos.

• Any book of fairy tales or The Sleeping Beauty.

• Bettleheim, Bruno. The Uses of Enchantment - The Meaning and Importance of Fairy Tales. Alfred A. Knopf, Inc. New York. 1976.

PROGRESSION: • Read any version of the story, The Sleeping Beauty, or read the summary of the ballet (even better, tell the story in your own words).

• Have the students identify the different characters in the story, then list the characteristics that they think would describe each one. (e.g., king - kind, angry, frightened; queen - proud, caring, frightened; Princess Aurora - beautiful, innocent, dreaming, joyous; the Lilac Fairy - kind, wise, magical; the Fairy Carabosse - mean, full of revenge, resentment, evil; Prince Désiré - sad, lonely, searching, curious, pure of heart, joyous).

• Have the students each find a place where they can create shapes (postures) and do some basic movement. If there is room, form a circle with enough space inside for several children to move simultaneously. If in a circle, verbally give each student a specific color, repeating the sequence (i.e., red, blue, yellow, red, blue, yellow). Then have all the students of each color come into the center of the circle.

Give them a specific character and call out some traits that will motivate them to express the character and his/her motivation through creative dance movement. For example, show how you would pose if you were the King who is powerful, then angry and finally frightened. Then have them be the King and select the emotion of their choice. Ask how they would sit, turn or reach as the King. Direct them to combine some of their ideas into a movement phrase that has a beginning, middle and end. It might also help to give them 4 or 8 counts to do each part of their phrase.

• After one group has had a turn, then have them sit down and another color group come to the center and explore a different character.

• After each group has had a turn, ask the students to think about which character they would most like to be and dance. Have them select from: - the King - the Queen - Princess Aurora - the Lilac Fairy - the Fairy Carabosse - Prince Désiré • Give each group some cues to help them get started: Direct them to take an exaggerated pose of their character, then show the character walking, turning, sitting, getting up, reaching - “freeze.” Ask the ones who are watching to identify the emotions or character traits they saw. Repeat this with each group.

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EXTENSION: • Have the students work with the following criteria and try their idea again with more awareness of how they can dance him/her, rather than mime him/her.

Suggested Criteria: • Character has a clear beginning shape or pose, either standing, sitting or lying • Character does two different movement ideas • Character has a clear emotional intent (stay with one or can show two) • Stay in character with clear focus VOCABULARY: fairy tale, sad, frightened, angry, proud, mean, revenge, resentment, pure of heart, magical, kind ASSESSMENT: (Responding & Connecting) DESCRIBE: Name the characters from The Sleeping Beauty. Describe how they acted or felt.

DISCUSS: Discuss the way students felt when they were dancing the parts of the different characters.

CONNECT: Identify the beginning, middle and end of the story.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking RUBRIC FOR EXTENSION: Advanced: • Clear and highly original beginning shape or pose, either standing, sitting or lying • Does two or three different movement ideas with appropriate transitions • Extremely clear emotional intent • Stays in character with clear focus throughout the performance • Extremely clear ending with held energy/contained (active stillness) Proficient: • Clear beginning shape or pose, either standing, sitting or lying • Does two different movement ideas • Clear emotional intent (stay with one or can show two) • Stays in character with clear focus throughout most of the performance • Clear ending with mostly held/contained energy Approaching Proficient: • Has a beginning shape or pose, either standing, sitting or lying, but lacks clarity • Does different movement ideas but needs clarity and intention • Emotional intent of the character is not always clear • Rarely stays in character and has inconsistent focus • Ending not clear and lacks held/contained energy 7

DANCE

THREE TABLEAUX TRANSFORMATION

LEVEL II Sample Lesson INTRODUCTION: Every good story has a beginning, middle and end. In The Sleeping Beauty ballet, there is a prologue and three acts.

A prologue is the preface or introduction to a literary work.

Often an actor or narrator will speak in verse to the audience telling them what happened in the story before the first act begins. In this lesson students will identify the main events in both the Prologue and each act. Then, they will create three tableaux that show their interpretation of one aspect of the story.

OBJECTIVES: (Student Outcomes) Students will be able to: • Identify and discuss prologue, acts, scenes and tableaux.

(Responding) • Create three tableaux from a specific part of The Sleeping Beauty (or another fairy tale). (Creating & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)

Xiomara Reyes & Sascha Radetsky American Ballet Theatre Photo: Gene Schiavone

MATERIALS: • ABT’s video telling the story of The Sleeping Beauty through words and photos.

• The Summary of the Ballet on page 3-4.

PROGRESSION: • Read the Summary of the Ballet or have different students read the Prologue and each act.

• After the summary has been read, ask students to retell the story in their own words. Have them identify, and describe the different characters. Have students discuss each scene and fill in the ideas of the scenery and costumes, etc.

• Explain what a tableau is: a tableau is a picturesque grouping of people, very much like a three-dimensional photograph. Ask a few students to demonstrate a tableau showing a specific scene from the story.

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• As the tableau is being demonstrated, ask the students who are watching to say what works well and also give constructive suggestions for making the tableau more effective. Suggestions might include: • more exaggerated poses and facial expressions • more energy (passive stillness) • each character facing a different direction (different angles), as well as overlapping • use of different levels • Divide the students into four groups. Assign either the Prologue, Act I, Act II or Act III to each one.

Set some specific criteria for what they should include in their tableaux study.

Suggested Criteria for Dance: • 3 tableaux that communicate 3 different scenes (ideas) from your section • Change of facings and levels • Clear portrayal of characters • Clear intent of each scene • Smooth 8 count transitions from one tableau to another • Each tableau is held for 8 counts • Cooperation between all members of the group • After each group has had time to plan, create and refine their work, they will show their tableaux to their peers. Go over the Ground Rules for doing a good job as both performers and audience.

Ground Rules for Performers

Ground Rules for Audience

- maintain strong focus throughout - perform with energy and clear intent - do very best work - work for unity with your group

- give respect and active attention to performers - keep silent - clap, but don’t shout when performers are done

• Have the students discuss their response to each group. This can be done after each one has performed or after all groups have performed. Also, use the criteria as a point of departure for the discussion.

Suggestions for questions that elicit thinking, rather than one word answers, include: • What did the group do to convey the intent?

• Did they use effective level and directional (facings) changes? Why? • What most impressed you about the tableaux?

• What constructive suggestion would you have to improve the artistry of their work?

EXTENSIONS: • Each group reassemble and work to refine and improve their tableaux, using the suggestions from the group and also their own new inspirations. Stress that they include all the criteria.

• Put all the pieces together and have each group perform their pieces in sequence, with a 16 count transition between each act.

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VOCABULARY: fairy tale, prologue, act, scene, character, scenery, costumes ASSESSMENT: (Responding & Connecting) DESCRIBE: Each group describe their three tableaux.

DISCUSS: Each group discuss the process they used to create their work.

ANALYZE: Each group identify the challenges they faced when working or performing and how they solved or overcame each one.

CONNECT: Discuss the difference between the main idea of a scene and the details of a story.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking RUBRIC FOR TABLEAUX: Advanced: • excellent focus throughout the performance • 3 tableaux that communicate 3 different scenes in the prologue or act • artistic and well selected change of facings and levels • extremely clear portrayal of characters with appropriate facial expressions • extremely clear intent of each scene • original and smooth, 8 count transitions from one tableau to another (duration of time) • hold each tableau for 8 counts with clear active stillness (energy) • excellent cooperation among all members of the group Proficient: • mostly good focus throughout the performance • 3 tableaux that communicate 3 different scenes in the prologue or act • change of facings and levels • clear portrayal of characters • clear intent of each scene • smooth, 8 count transitions from one tableau to another • hold each tableau for 8 counts • good cooperation among all members of the group Approaching Proficient: • focus was not consistent throughout the performance • 1-2 tableaux that communicate different scenes in the prologue or act • a few change of facings and levels, could use more • some characters were clear, some needed more definition • intent of each scene needed more clarity • transitions from one tableau to another were sometimes smooth, not always 8 counts • some tableaux held for 8 counts, but not consistent • lack of cooperation among all members of the group 10

DANCE

DANCE A FAIRY TALE ENDURING VALUES

LEVEL III Sample Lesson INTRODUCTION: Once students can identify specific characters and their traits, they can brainstorm action words that will help these characters come to life through dance movement. This lesson is focused on dancing the scenes of the ballet, rather than simply portraying them in tableaux. However, each scene will begin and end with a tableau.

OBJECTIVES: (Student Outcomes) Students will be able to: • Identify and discuss words that describe the actions of different characters and scenes.

(Responding) • Create the story of Sleeping Beauty, or another fairy tale, through dance movement. (Creating & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS:

Paloma Herrera The Sleeping Beauty Photo: MIRA

• Artsource® video showing the duet from The Sleeping Beauty.

• The Summary of the Ballet on page 3-4.

PROGRESSION: • Read the Summary of the Ballet or have different students read the Prologue and each Act. • After the summary has been read, ask students to retell the story in their own words. Have them identify and describe the different characters. Write the names of the characters on the board.

• View the video of the duet and use the Discussion Questions to discuss what they saw.

• Return to the names of the characters on the board and create a list of action words that each character might do. An example might be: King: proudly walk, turn, point, bow.

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• Direct all of the students in an exploratory improvisation of each of the main characters in the story; have them partner to show the interaction of different characters: - the old woman (sitting and spinning) - sleeping beauty (walking curiously around the castle, finding the old woman, turning and jumping in delight when she gets to spin, slow motion shock when she pricks her finger - prince walking through the forest, coming upon the princess and waking her • Then, divide the story into sections and assign different small groups of students (4-6 per group) the job of creating a dance that conveys the mood and intent of their scene. Students should use the following criteria: Suggested Criteria: • Create a tableau to show the beginning • Create a tableau to show the ending • Use movement gestures, shapes, movement qualities and patterns to bring the story to life • Use some pauses or stillness within the movement • Use a variety of movement • Change the level, tempo and directions of the movement • Demonstrate group cooperation and inclusion • After each group has had time to plan, create and refine their work, they will show their work.

• Review the ground rules for the performer and the audience listed in lesson II. • Have the students discuss their responses to each group. Use the criteria as a point of departure for the discussion.

EXTENSIONS: • Have students discuss their work and identify the things that really worked and the things they might change after considering the comments they received from peers.

• Give students in each group time to revise and refine their work, striving to also communicate the ideas more clearly and with more dramatic feeling and mood.

VOCABULARY: tableau(x), action words, fairy tale, prologue, act, scene, character, duet ASSESSMENT: (Responding & Connecting) DISCUSS: Each group discuss the process they used to create their work.

CONNECT: Discuss other stories or events where good and evil are present.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking 12

RUBRIC FOR GROUP TASK: Advanced: • Creates a clear and artistic tableau to show the beginning • Creates a clear and artistic tableau to show the ending • Uses a variety of gestures, shapes and patterns • Brings the story to life through dance movement • Uses pauses or stillness at appropriate places within the movement • Interesting changes of level, tempo and directions • Demonstrate excellent group cooperation and inclusion Proficient: • Creates a clear and artistic tableau to show the beginning • Creates a clear and artistic tableau to show the ending • Uses gestures, shapes and patterns • Brings the story to life using mime and limited movement • Uses pauses or stillness • Uses changes of level, tempo and/or directions • Demonstrate good group cooperation and inclusion Approaching Proficient: • Creates a tableau to show the beginning • Creates a tableau to show the ending • Uses limited movement gestures, shapes and patterns • Brings part of the story to life • Pauses or stillness is missing • Few, if any, changes of level, tempo or directions • Lack of group cooperation and inclusion

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