WSSS Teacher Guide 180119 - Pittsburgh Ballet Theatre€¦ · 17’ ’ ’ Creating’anAesthetic...
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TEACHER RESOURCE GUIDE Pittsburgh Ballet Theatre School
Instructional Performances | March, April 2018 |
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Teacher Resource Guide
Choreography by Jerome Robbins
The instructional performances have been made possible by the generosity of the Jerome Robbins Foundation and a donor who wishes to remain anonymous.
PBT gratefully acknowledges the following organizations for their commitment to
our education programming:
Allegheny Regional Asset District Anne L. and George H. Clapp Charitable Trust BNY Mellon Foundation Claude Worthington Benedum Foundation Eat ‘n Park Hospitality Group Edith L. Trees Charitable Trust ESB Bank Giant Eagle Foundation The Grable Foundation Hefren-‐Tillotson, Inc. The Heinz Endowments
Henry C. Frick Educational Fund of The Buhl Foundation Highmark Foundation Peoples Natural Gas Pennsylvania Council on the Arts Pennsylvania Department of Community and Economic Development PNC Bank Grow up Great PPG Industries, Inc. Richard King Mellon Foundation James M. and Lucy K. Schoonmaker
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4 The Choreographer—Jerome Robbins Fast Facts 5 The Composer— Leonard Bernstein
6 Robbins’ Style of Movement
7 A look into the instructional performance: Classical Ballet—Swan Lake excerpts Neo-‐classical Ballet—The Symphony 8 Robbins’ Ballet—West Side Story Suite
9 Exploring West Side Story: Lesson Prompts Connections to Romeo and Juliet Entry Pointes Characters and Story Elements 11 Communication and Technology 12 Group Dynamics 13 Conflict, Strategies and Resolutions
15 Pedestrian Movement and Choreography Observing and Developing Movement 16 Social Dances 17 Creating an Aesthetic 18 Musical Theater/Movie/Ballet
CONTENTS
PBT celebrates the 100th birthday of Jerome Robbins with its May 2018 production of In the Night, Fancy Free and West Side Story Suite.
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Jerome Robbins (1918—1998)
Jerome Robbins, born Jerome Rabinowitz in New York City, is world-‐renowned for his work as a choreographer of ballets as well as his work as a director and choreographer in theater, movies and television. He began his career dancing in the choruses of Broadway productions and tried his hand at choreography in Pennsylvania summer stock productions, with young actors and dancers like Danny Kaye and Carol Channing. By 1944 he had joined American Ballet Theatre where he choreographed the ballet Fancy Free with the young (and then unknown) composer Leonard Bernstein.
In 1948 George Balanchine invited Robbins to join his new company, New York City Ballet, and named him associate artistic director. Over the next two decades Robbins
alternated between creating ballets and Broadway productions. In 1951 he choreographed The King and I on Broadway, creating its famous dance numbers—including “Shall We Dance”—as well as an unconventional ballet within the musical, “The Small House of Uncle Thomas,” which used a traditional Asian dance vocabulary and had an anti-‐slavery message. The Broadway productions of Peter Pan (1954), West Side Story (1957), and Fiddler on the Roof (1964) followed.
By the late ’60s Robbins returned to New York City Ballet and turned his creative energies almost fully back to ballet, which was his first love. In all he choreographed more than 60 ballets, including those on PBT’s May program—West Side Story Suite, Fancy Free and In the Night—as well as The Concert, Les Noces, Afternoon of a Faun, and Dances at a Gathering. He received dozens of awards over his career—five Tonys, two Oscars, one Emmy, the Kennedy Center honors, the French Legion of Honor, and more. On his death in 1998, from the effects of a stroke, the lights on Broadway were dimmed.
Photo credit: https://commons.wikimedia.org/wiki/File:Jerome_Robbins_ca._1968.jpg
• Jerome Rabinowski was born on October 11, 1918 in New York City, but grew up in Weehawken, NJ. He later changed his last name to Robbins.
• Robbins’ worked in both classical ballet and musical theater. Some productions were even created for both settings. West Side Story, originally a musical theater production, was adapted to be presented by ballet companies. Fancy Free was a ballet Robbins created that was then adapted to be a musical known as On the Town.
THE CHOREOGRAPHER
Fast Facts adapted from Jerome Robbins’ NY Export: Opus Jazz – The Film, A resource Guide for Dance Teachers (2011)
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• Robbins’ approach to ballet choreography was considered unorthodox at the time. Robbins:
o incorporated vernacular and pedestrian movement and elements of ballroom dance into classical ballet forms
o chose a range of dancers (integrated company, multi-‐racial) o danced about social themes, American themes and topics
• Robbins choreographic ability was extensive. His choreography: o demonstrated a sense of endless invention and the ability to improvise a range
of variations o was humorous o showcased themes of belonging and community o had a pedestrian quality that reflected humanness
• Robbins choreographed and directed some of the greatest American musicals: On the Town, High Button Shoes, The King and I, The Pajama Game, West Side Story, Gypsy and Fiddler on the Roof.
• He also directed and choreographed the movies The King and I and West Side Story, for which he received an Oscar for best director.
• Robbins also created many successful ballets. He had a longtime collaboration with George Balanchine and NYC Ballet, sharing leadership with Peter Martins after Balanchine died in 1983.
• In 1958 the Jerome Robbins Foundation was established to support dance, theater and associated arts.
• Jerome Robbins died on July 29, 1998 at the age of 79.
Leonard Bernstein (1918 – 1990)
Bernstein was an American conductor and composer who brought a jazzy and eclectic energy to classical music. He was music director of the New York Philharmonic from 1958 -‐ 69 and was also associated with many of the world’s leading orchestras. Among his compositions are symphonies, operas, ballets, and scores for film and Broadway. He pioneered classical music education on television, starring in a series of lectures for many years. He received numerous awards and honors, including Tony, Emmy, and Grammy Awards. He’s one of the first American conductors to achieve world-‐wide fame.
THE COMPOSER
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Bernstein and Robbins met when they were young artists making their way in New York -‐ both were around 24 years old. Robbins was at American Ballet Theatre, dancing and also creating his first ballet, Fancy Free; he’d heard of Bernstein and sought him out as a possible composer for the ballet. They were so in sync that on their first meeting they hit upon the theme for the ballet. They produced two additional ballets together and in 1957 collaborated on West Side Story for Broadway.
Select List of Bernstein Works
Candide (Broadway operetta, 1956)
On the Town (Broadway musical, 1944; film, 1949)
On the Waterfront (film, 1954)
West Side Story (Broadway musical, 1957; film 1961)
Ballets with Jerome Robbins: Fancy Free (1944), Facsimile (1946), The Dybbuk (1974) Photo: Carl Van Vechten. Source: Wikimedia Commons.
Robbin’s choreographic style evolved from classical and neoclassical ballet traditions.
Classical Ballet Neoclassical Ballet Robbins’ Style
§ women in pointe shoes § form and movements are
precise, graceful, flowing § adherence to a specific
vocabulary § turn-‐out of the legs and
hips § balance and symmetry
(of the body and on stage)
§ ethereal quality -‐ the appearance of floating
§ emphasis on narrative (story ballets)
§ elaborate sets and costumes
§ technical virtuosity
§ manipulation of the classical form
§ increased speed, energy and attack
§ asymmetry; can have an off-‐balance feel
§ non-‐narrative (abstract) -‐ movements linked to music rather than characters or plot
§ paired down aesthetic—simple sets and costumes
§ increased athleticism
§ strict attention to form § ballet, jazz, modern,
social, and street dance vocabularies blended together
§ everyday movement integrated into choreography, e.g. walking, running
§ movements are theatrical -‐ they tell the story
§ ease, naturalness, humor essential to choreography
§ movements create recognizable, understandable characters
Robbins’ Style of Movement
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Classical Ballet: Swan Lake excerpts (1895) Swan Lake is about a young woman (Odette) cursed by a sorcerer to be a swan by day and human at night. She can be freed from the curse only if a young man swears his eternal love for her. A prince falls in love with Odette but before he can declare his love there’s a tragic mix-‐up.
Swan Lake is one of the ultimate examples of classical ballet. Its music is by Peter Ilyich Tchaikovsky and the choreography is by Marius Petipa and his assistant, Lev Ivanov. Petipa was the most important choreographer of the 19th century -‐ his work at the Mariinsky Theater in St. Petersburg, Russia, came to define what classical ballet is.
In the performance, we’ll see excerpts from Act 2 of the ballet, including the pas de deux (dance for two) with Odette and the Prince, and the choreography for the corps de ballet, who are Odette’s swan friends.
A pas de deux is a hallmark of classical ballet. It establishes the relationship between the two main characters and shows off their meticulous classical technique.
The corps de ballet in this scene is part of a tradition in classical ballet called the “white act” (ballet en blanc). Dancers are dressed all in white and have completely unified choreography. They idea is that they dance as one body (the definition of corps de ballet). In Swan Lake, the swan-‐like movements create some of the most dramatic imagery in ballet.
The Dance of the Little Swans, also called a pas de quatre (dance for four), highlights classical ballet’s demanding technical precision, with dancers clasping hands and moving in fast, staccato steps. The dance portrays how little swans huddle and swim around together for protection. Neoclassical ballet: The Symphony (2017)
Choreographed by PBT principal dancer Yoshiaki Nakano and with music by Felix Mendelssohn, The Symphony is a neoclassical ballet. This style of ballet was pioneered by George Balanchine, the great 20th century choreographer and director of New York City
Photo Credit: Rich Sofranko; Artists: Alexandra Kochis & Luca Sbrizzi
Photo Credit: Rich Sofranko; Artists: Gabrielle Thurlow, Jessica McCann, Diana Yohe & Joanna Schmidt
A Fellow Feeling, a neoclassical ballet choreographed by Yoshi Nakano (2016). Photo Credit: Rich Sofranko; Artists: Marisa Grywalski, Joanna Schmidt, Danielle Downey, Alejandro Diaz, Yoshi Nakano & Cooper Verona
A look into the instructional performance…
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Ballet. Balanchine took the tradition of 19th century classical ballet and reinvented it. He maintained the structure and vocabulary of classical ballet (as well as pointe shoes for women) but shifted the focus away from story, sets and costumes. His aesthetic was all about the purity of movement and its intersection with and expression of the music.
Neoclassical choreography is often more fast-‐paced than that of classical ballet and the spacing of dancers on stage is more complex. Positions and movements elongate and extend the dancer’s “line” (the look of the outline of the entire body) so it feels as if the dancer’s energy extends beyond the body. The choreography is highly demanding and technical. The look is sleek, modern and powerful.
Jerome Robbins’ ballet: “Somewhere,” from West Side Story Suite West Side Story Suite is a selection of seven dances from the larger Broadway and film productions. While all of the choreography for the work is rooted in ballet form and discipline, “Somewhere” is one of the most obviously balletic, with pas de deux for several couples and large-scale corps dancing for the ensemble.
West Side Story Suite Dances
Prologue Something′s Coming Dance at the Gym
Cool America Rumble
Somewhere Ballet
Production Timeline
1957 Broadway musical premieres 1961 Film premieres 1989 Robbins creates Jerome Robbins’
Broadway, a show featuring dances from several of his musicals, including Fiddler on the Roof, The King and I, and West Side Story
1994 Lincoln Kirstein, co-founder of New York City Ballet, asks Robbins to create a “choral ballet” for NYCB
1995 Robbins reworks the West Side Story numbers from Jerome Robbins’ Broadway into a suite of dances. West Side Story Suite premieres on May 18.
Photo Credit: Duane Rieder; Artists: Diana Yohe, Victoria Watford, Marisa Grywalski, Jessica McCann, Olivia Kelly, Danielle Downey & Joanna Schmidt
Photo Credit: Duane Rieder; Artists: Joseph Parr, Yuto Ideno, Alexander Castillo, Lucius Kirst, Cooper Verona & Kurtis Sprowls
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Connections to Romeo and Juliet The story of West Side Story comes from a very familiar literary work, Romeo and Juliet. Replace two feuding families with two gangs—the Sharks and the Jets— and we now have a modernized story exploring the streets of New York City. The story follows Maria, the sister of Bernardo (leader of the Sharks) and Tony, former member of the Jets. Their forbidden love closely resembles that of Romeo and Juliet resulting in moments of complete happiness, but causing great turmoil and angst for their families. Explore the connections using the Entry Pointes listed below. Entry Pointes are questions, topics, and areas of focus for educators to use and make connections between their curriculum and the ballet. We strive to make meaningful connections in main content areas and provide Entry Pointes for learners at all levels. Educators are encouraged to expand and adapt the prompts as necessary to meet the needs of their students and address certain standards. 1. Research the characters and story elements of Romeo and Juliet and West Side Story. Discuss the similarities and differences between the two stories. How are elements of Romeo and Juliet modernized in the story of West Side Story? (PDE English Language Arts 1.2)
CHARACTERS Romeo and Juliet West Side Story
Exploring West Side Story: Lesson Prompts
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PLOT Romeo and Juliet West Side Story
Romeo and Juliet West Side Story
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2. In both stories one character is unable to pass along a message to another character which has unfortunate consequences. In small groups, describe the benefits of technology in communication. Discuss the challenges it also creates socially. (PDE English Language Arts 1.4, 1.5)
Benefits:
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Challenges:
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3. In Romeo and Juliet and West Side Story tension exists between two opposing groups. Write about a time when you conformed or didn’t conform to a group. What was the situation? Why did you or didn’t you go along with the group? (PDE English Language Arts 1.4)
Describe the situation:
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Explain why you did or didn’t go along with the group:
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4. In both stories violence is used in an effort to resolve tension between the two opposing groups. Brainstorm effective strategies that can be used to resolve conflict. Rewrite a scene of West Side Story assuming the characters used this positive strategy to work through the conflict. (PDE English Language Arts 1.2, 1.5)
Strategy 1
Strategy 2
Strategy 3
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Scene Title:___________________________ Written by:________________________________
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Pedestrian Movement and Choreography Robbins’ choreography often had a very natural quality to it that resembled pedestrian movement. Specifically, in West Side Story, the dancers step, snap and use simple gestures within challenging movement sequences. Dancers also wear sneakers and character shoes, contributing to the overall aesthetic. Throughout his choreography there are many moments when groups perform in unison with moments of linked arms or held hands to portray a sense of community. Explore the choreography using the Entry Pointes listed below. Entry Pointes are questions, topics, and areas of focus for educators to use and make connections between their curriculum and the ballet. We strive to make meaningful connections in main content areas and provide entry pointes for learners at all levels. Educators are encouraged to expand and adapt the prompts as necessary to meet the needs of their students and address certain standards. 1. Jerome Robbins is known for his use of pedestrian movement in his choreography. Watch the opening scene of West Side Story (the movie). Write down the pedestrian-‐like steps Robbins uses in the choreography. How are they used to transition the dancers from one move to the next? Develop a 16-‐count phrase that contains everyday movement as the foundational steps for the phrase. (PDE English Language Arts 1.4; Arts and Humanities 9.1)
West Side Story Opening Scene: https://www.youtube.com/watch?v=bxoC5Oyf_ss
Pedestrian Movement/Steps:
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2. ______________________________________________
3. ______________________________________________
4. ______________________________________________
5. ______________________________________________
6. ______________________________________________
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8. ______________________________________________
9. ______________________________________________
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2. Robbins is also known for his use of social dancing in his pieces. Research the social dances that were occurring during the ‘50s (West Side Story was set in the late 1950s). Are there similarities to the social dances you see today? Describe the similarities and differences. (PDE English Language Arts 1.2, 1.4; Arts and Humanities 9.2)
SOCIAL DANCES 1950’s Today
Similarities:
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Differences:
1. ________________________________________________________________________
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5. ________________________________________________________________________
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3. In the performance of West Side Story pointe shoes are traded for character shoes. Research how pointe shoes are made versus character shoes. Discuss how the use of character shoes contributes to the choreography. The men wear sneakers; how does this also contribute to the choreography and aesthetic Robbins was trying to portray? (PDE English Language Arts 1.2, 1.4; Arts and Humanities 9.1)
Types of Dance Shoes Pointe Shoes Character Shoes
How are they made?
Why are pointe shoes used in ballet?
How are they made?
How do they contribute to the choreography?
Sneakers How do they contribute to the choreography?
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4. West Side Story, among other choreographed works by Jerome Robbins, was staged as both a ballet and a musical. This particular work was first created for Broadway, then adapted as a movie and finally a ballet. Research and discuss the various production elements that go into staging a ballet, musical theater performance and movie. What are the main differences? How did this affect the translation of the story? How did this affect the choreography? (PDE English Language Arts 1.2, 1.4; Arts and Humanities 9.1, 9.3)
West Side Story
Musical Theater (Broadway) Movie Production Elements:
Production Elements:
Ballet Production Elements:
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Differences:
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How is the translation of the story affected? Musical Theater Movie Ballet
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How is choreography affected? Musical Theater Movie Ballet
