Artsource The Center’s Study Guide to the Performing Arts
TRANSFORMATION
ENDURING VALUES
DANCE ARTISTIC PROCESSES
TRADITIONAL
®
CLASSICAL
1. CREATING (Cr)
CONTEMPORARY
2. PERFORMING, PRESENTING, PRODUCING (Pr)
EXPERIMENTAL
3. RESPONDING (Re)
MULTI-MEDIA
4. CONNECTING (Cn)
FREEDOM & OPPRESSION
THE POWER OF NATURE
THE HUMAN FAMILY
Title of Work:
About the Artwork:
The Nutcracker
The Nutcracker, a traditional holiday treasure, was inspired by the musical score of Tchaikovsky and based on E.T.A. Hoffman’s delightful story, The Nutcracker and The King of the Mice. The Joffrey Ballet’s production, conceived and directed by Robert Joffrey with special choreography by Gerald Arpino, is an American interpretation emphasizing its international cultural heritage. It was staged by George Verdak and Scott Barnard after the Ballet Russe de Monte Carlo’s 1940 production; this itself was a revival by Alexandra Fedorova from the original Petipa/Ivanov production. The story, written in 1851, was rewritten and simplified in 1890 by the Russian choreographer, Marius Petipa, who then presented the script to Tchaikovsky for the score.
Creators: Company: The Joffrey Ballet Director: Robert Joffrey (1930-1988) Choreographer of Waltz of the Snowflakes, Waltz of the Flowers: Gerald Arpino 1923 - 2008 Composer: Peter Ilyitch Tchaikovsky 1840-1883 Current Artistic Diretor - Ashley C. Wheater (since 2007)
Background Information: It is impossible to present The Joffrey Ballet without focusing on the co-founders, Robert Joffrey and Gerald Arpino. One of the most highly acclaimed companies in the world, Joffrey conveys a specifically American energy and style. Its purpose is twofold: to revive major historical 20th-century ballets and to present new choreography which draws from American life - mirroring its concerns, social issues, hopes and dreams. The company today is the outgrowth of a vision begun in 1956, when six dancers climbed into a borrowed station wagon to perform 23 one-night stands. On that tour the dancers not only performed, they took turns driving, setting the stage, ironing the costumes and playing the musical instruments. Today, as many as seventy-five people travel with the company including 40 dancers. It tours with up to nine 48-foot semi-trailers containing crates of costumes, props, scenery, ballet shoes (four thousand pairs!), carpentry and electrical equipment and four sets of flooring. Gerald Arpino served as Associate Director until 1988 when he became Artistic Director after Mr. Joffrey’s death. Joffrey was the visionary and Arpino the creative force, choreographing over one-third of the company’s commissioned repertory. In 1974, Dance Magazine presented Mr. Arpino with an award which reads: “His work speaks clearly of the anguish and the joy of being young in America today.”
Creative Process of the Artist or Culture: The Joffrey has a repertory of more than 200 ballets by over 75 choreographers. Dance writer Clive Barnes states, “... a remarkable and unique troupe, in which a taste for the past was wonderfully united with a creativity for the future. The taste came largely from Joffrey, the creativity largely from...Arpino.” The company both preserves and pioneers new territory in dance. Illinois Photo: Herbert Migdoll
“The Joffrey is not about Bob Joffrey or Jerry Arpino. It’s something larger than both of us. We were two guys who responded to the whole picture of America and American dance.” Gerald Arpino
Discussion Questions:
Multidisciplinary Options
After listening to the audio recording:
• Find a recording of the Suite from The Nutcracker, play
• What did you enjoy most about listening to the story
some of the following sections: Act I: March; Winter Scene;
of The Nutcracker?
Waltz of the Snowflakes. Act II: Spanish Dance; Arab
• What did you enjoy least? Why?
Dance; Chinese Dance; Russian Dance; Waltz of the
• Have you ever had a dream that was similar to Clara’s?
Flowers; Tarantella; Dance of the Sugar Plum Fairy.
Can you describe part of it?
• Ask small groups of students to select a section and brain-
• If you could dance any role in the ballet, which would
storm ideas on how they envision the sets, props, costumes
it be? Why?
and lighting. Each person in the group takes one of the
• What part of the ballet would you most enjoy
roles, working in collaboration to draw sketches of their
creating if you were the choreographer? How would you
vision of the scene.
design it?
Audio-Visual Materials:
• Were any parts of the musical themes familiar to you?
• Photos and poem: selections from the Dream Vessels series,
Can you hum the theme or melody of any part?
courtesy of artist Marsha Connell.
Summary of The Nutcracker Ballet:
www.marshaconnell.com
The Joffrey version begins at a Christmas party hosted by
• Artsource® audio of The Story of the Nutcracker Ballet
the Stahlbaums. The children are excited when the mys-
retold by Paul Tracey, courtesy of Paul Tracey.
terious Godfather Drosselmeyer arrives and amuses them
• Page 1 photo courtesy of the Gerald Arpino Foundation.
with life-size mechanical dancing dolls. But the best gift
Additional References:
is a Nutcracker which he gives to his niece Clara. She is
•
enchanted with her gift, but it gets broken by her broth-
Tchaikovsky. Suite from The Nutcracker. RCA. 1973.
Eugene
Ormandy/The
Philadelphia
Orchestra.
er Fritz. Although her Godfather comforts her and band-
Sample Experiences:
ages the Nutcracker, Clara gets up from bed to check on him after everyone is gone. A dream, orchestrated by Drosselmeyer, begins. The Christmas tree grows larger,
LEVEL I * • Read the summary of The Nutcracker. Create a shoe box
toys come alive and mice come to attack the Nutcracker.
diorama of your favorite part.
He summons the toy soldiers to battle them while he
• Play Tchaikovsky’s suite and select different parts of the
fights the Mouse King. He is saved when Clara throws
score from which to improvise dance movements.
a Prince and they are led by Drosselmeyer into the Land
LEVEL II * • Create a dance based on toys. These might include: dolls,
of Snow. They enter an enchanting scene filled with
jack-in-the box, airplanes, transformers, Yo-Yos, kites, balls,
white clouds where they meet the Snow Queen, King and
Silly Putty, mechanical toys, etc.
Prince and see The Waltz of the Snowflakes. They move to
• Learn the waltz step, which is in 3/4 meter. Create dances
the Kingdom of Sweets where they are welcomed by the
to Waltz of the Snowflakes or Waltz of the Flowers.
Sugar Plum Fairy. The dolls from under the tree and the flowers from Clara’s bouquet have become life size and
LEVEL III • In small groups, select one of the pieces of music for the
dance in her honor. She is enchanted by dolls from
culturally stylized dances: Spanish, Arab, Chinese or
Spain, Arabia, China and Russia, as well as the Marzipan
Russian. Research characteristics of each style and create an
Shepherdesses, and Mother Ginger and her Polichinelles.
original dance for one.
her slipper at it. With Clara’s kiss, he is transformed into
This is followed by the eloquent Waltz of the Flowers. Her
* • Think of a dream you have had, design your images into a collage made from cut-out photos and drawings.
dream ends and she finds herself back home with the Nutcracker and her memories.
*
Indicates sample lessons
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DANCE
NUTCRACKER DIORAMA TRANSFORMATION
LEVEL I Sample Lesson INTRODUCTION: The wonderful thing about a story is that it stimulates the mind to conjure up images of the scenes and characters, allowing us to get a mental picture of what we have heard. A diorama is a structure which allows young students to transform their own images into a magical three-dimensional representation. It looks very much like a stage performance with dancers, sets and costumes. It can either be created in a box with one side removed, or be totally enclosed, as in a shoe box, with a peep hole at the end. OBJECTIVES: (Student Outcomes) Students will be able to: • Use original images from The Nutcracker story or ballet to create a diorama. (Creating & Presenting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Paper and pencils, cardboard, colored tagboard, scissors, markers or colored pencils, glue, glitter, pieces of fabric, tape, shoe boxes or other small boxes with lids (if lids are missing, cover with paper).
A scene from The Chocolate Factory by Raoul Dahl (open box diorama) created by Gina Merchant, age 9 Topanga Elementary School
• The Artsource® audio of the story of The Nutcracker. • Recording of the music of The Nutcracker (optional). PROGRESSION: • Listen to the Artsource® audio recording of The Nutcracker Discuss the ideas in the story. If the class has seen the ballet in performance or on video, ask them to describe the scenery and costumes. If not, invite them to describe the scenery and costumes as they conjure them up in their imagination. • Ask each person to select one of the scenes, such as the Christmas party, the Battle of the Mouse King and the Nutcracker, the winter scene, the palace scene, etc. or their diorama theme. Next, they should decide what characters they wish to include.
Diorama Peep hole
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• Have each student bring a small cardboard box of any shape. They can choose a regular box with the top and one side removed, or a shoe box with the lid. If a shoe box is used, place the diorama length-wise so that the peep hole is at the very front of the box. Puncture the lid of the box so that light can come through. • Each person should use a variety of available materials to construct miniature scenery, props and people. Each piece should have a tag at the bottom, which can be bent backwards and taped or glued to the bottom of the box so that the figure stands upright. As the students work, it is a good idea to play the music of the Suite from The Nutcracker (if available). • When the dioramas are completed, have each student make a title card which identifies their scene and characters. Put these together in a class display. Select a few volunteers to tell about their scene. EXTENSION: • Have the students share their dioramas with another class. Let some students tell the other class the story of The Nutcracker before or after the dioramas have been seen. VOCABULARY: diorama ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe the scene you selected to show in your diorama. ANALYZE: Discuss all the jobs you can think of that might be needed in presenting a ballet. (These jobs might include: choreographer, costume designer, stage crew, scenery, lighting, tickets, publicity, etc.) Why would so many jobs be needed and what would happen if one person neglected their job? Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
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DANCE
TOYS COME ALIVE THROUGH DANCE TRANSFORMATION
LEVEL II Sample Lesson INTRODUCTION: One of the most enjoyable things for children at holiday times is looking forward to receiving toys as gifts. In The Nutcracker there are several dances based on the idea of toys - even the Nutcracker is like a toy which is transformed into a prince. In The Nutcracker ballet, there are puppets, mechanical dolls, hobby horses, toy soldiers and a variety of other gifts which are animated by the dancers. OBJECTIVES: (Student Outcomes) Students will be able to: • Use a variety of toys as a source for developing dance ideas. (Connecting) • Create a dance inspired by a toy. (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: • A variety of toys (optional) and the Suite from The Nutcracker music, if available. PROGRESSION: • Listen to the Artsource® audio recording of The Nutcracker. Discuss the ideas in the story. If the class has seen the ballet in performance or on video, ask them to describe the toys that were portrayed. If not, discuss the types of toys that they have at home. Pay particular attention to toys that have possibilities for dance development. • Make a list of toys on the board which might include: balls, dolls, trains, planes, transformers, kites, yo-yos and Silly Putty. Select a few of these toys and guide the children through the process of transforming them into dance ideas. • Balls are good toys to begin the improvisational process. They can roll, bounce, spin and be tossed. Drop, toss or roll a ball several times to show some possible actions. Ask the students to carefully observe the actions and then show the ideas in movement.
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• Mechanical dolls are also fun to explore. They can be wound up, move isolated body parts in short, jerky qualities and also slow down as they unwind. Toys provide a multitude of possibilities for exploring the concepts of time (accelerate and decelerate) and energy (i.e. stiff, floppy, stretchy, sharp, vibrating, etc.). • As you select different toys to explore, include one or two dance elements such as direction and level changes, size variation or rhythmic patterns. These suggestions will help the children develop and vary their movements. A toy dance can be created by combining and sequencing several of the students’ dance ideas. Task: Create a short dance inspired by a toy. Suggested Criteria for Dance: • Express original movements, shapes and characteristics of a selected toy • Use several dance elements in your dance; i.e. changes of energy, variety of directions and facings, levels, rhythmic patters, tempo changes • Have a clear beginning, middle and end EXTENSION: • Develop a simple story around the toy ideas and portray the story through dance motion. VOCABULARY: abstract (see abstraction) ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe the movements of one specific toy you enjoy. DISCUSS: Discuss the story of The Nutcracker. Use the ‘Discussion Questions’ on page 2 of the unit. ANALYZE: Discuss how a choreographer takes an ordinary idea like toys and transforms these basic movement ideas into dance movement. How are dance movements different from ordinary movements? CONNECT: Brainstorm other sources where choreographers might find ideas for dances or new dance movement ideas. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
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DANCE
DREAM COLLAGES TRANSFORMATION
LEVEL III Sample Lesson INTRODUCTION: Dreaming is a universal experience. The Oxford Universal Dictionary says that a dream is “a series of pictures or events in a sleeping person’s mind.” Dreams often challenge or defy the laws of the physical universe, allowing us to fly, become an animal, breathe under water or move through solid objects. But we can also envision or dream about things when we are awake. Artists sometimes shape their dreams into an artistic expression. OBJECTIVES: (Student Outcomes) Students will be able to: • Use personal dreams as a point of departure for creating a work of art. (Connecting) • Make a collage using a variety of techniques. (Creating & Presenting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)
Dream Vessels # 17, Grandpa Sam’s Farm, 1991 Collage/print by artist: Marsha Connell
MATERIALS: • Paper and pencils, a variety of colored tagboard, newspapers, magazines, scissors, paint, brushes, markers or colored pencils and glue. PROGRESSION: • Introduce collage-making concepts to the students and show examples. COLLAGE: an artistic composition of visual images made by fixing bits of paper, cloth, etc. to a surface. Collage is a French word meaning ‘paste.’ The design is made by pasting or gluing to a background bits of paper and other materials. It may include pieces of letters, words or sentences. The background may be used like an empty canvas or divided into different sections with lines dividing the space in linear or curved ways. Some of the students may want to title their work. 7
• If you can, introduce the principles of art to the class before they begin their collages, so that they can be aware of repetition, contrast, pattern and composition. Show examples of these ideas if you have some. • Discuss the concept of dreams. Ask the class to list words which relate to dreams in general. Write these on the board. • Put on some music (optional). Ask the class to close their eyes and think of images which are stimulated by the following statements: • Think of a time when you: • had a dream which was mysterious • had a falling dream • were chased in a dream • had a dream which was peaceful
• had a flying dream • dreamed in slow motion • were under water in a dream • had a dream that left you confused
• After the students have exercised their memories and recalled some images from their dreams, have them pair with a partner and each share one. The partner is directed to listen respectfully, but not comment on nor evaluate the other’s dream. However, they may ask questions. • Direct the students to use collage techniques (cutting, tearing paper, images and placing them in relationship to each other so that an idea is expressed) to express the images from one or more of their own dreams. Their work may be motivated by the feelings evoked by the dream, image fragments, a theme or issue central to the dream, or a sensation such as falling or flying. • This project may take more than one class period, since everyone creates in different time frames. When the collages are finished, mount or frame them and create a display of the class work. Students can title their work if they wish.
Dream Vessels #21: Piano Rose II, 1991 Collage/print by artist: Marsha Connell
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Task: Create an original collage using two or more collage techniques. Suggested Criteria: • Shows originality • Uses two or more techniques • Demonstrates principles of unity, variety and balance • Communicates an idea or feeling • Includes cut or torn paper or other items EXTENSIONS: • Work in small groups and select one collage to work with as a point of departure for making a tableau or dance. • Use your collage as a focal point for writing a poem or short story. • Make color copies series of the class collages. (This will involve a small fee.)
VOCABULARY: dream, collage, repetition, contrast, pattern, composition ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe the process of making your collage and whether your thoughts and ideas about your dream changed or got clearer as you worked. DISCUSS: Discuss the experience of dreams and how they impact us. Are there universal themes that all people experience in dreams? (i.e. falling, running, flying, etc.) ANALYZE: Why are dreams important to us? Why is it said that “You must have a dream before you can accomplish something great.” ? CONNECT: Why is the artform of collage a good media for expressing complex thoughts or dreams? What other forms of media would also work effectively? Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
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ABOUT MARSHA CONNELL www.marshaconnell.com Marsha Connell is primarily a painter; however, her investigations of issues through other media, including sculpture, performance and collage/prints have opened up important new avenues in her art work and in her life. Her collage/prints are color laser prints developed from collages which began in Spring 1991 as a communication with her daughter, Reba, who was in Jerusalem for her “junior year abroad” - a year which included war in the Persian Gulf and missiles falling on Israel. The two collage/prints included in Sample Lesson III are part of her Dream Vessels series. This is a poem which pertains to these works and the feelings which inspired them. DREAM VESSELS Images shift -shadows both solid and fleeting try to find their positions in space and time. Re-journeying through the darkness of these troubling months of this out of control world the vessel offers the possibility of transformation, hope reconciliation of opposites. It’s not what it contains that’s vital. It’s the openness and potential of the void it encloses. It’s the durability through layers of civilizations of shards which we puzzle together hoping these keys will open gateways to the past, entrances to rhythmic patterns of daily lives and cycles. Vessels poise between herstory and history, bridging nature and the human-made, bridging hope and forces of destruction. Marsha Connell Santa Rosa, California, September 1991
From her poem, Cloak of Darkness, written November 17, 1991 in Santa Rosa, California: “In the still center, I, maker of things of spirit and of matter, nurture the gift of creativity.”
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