Nutcracker in a Nutshell 2013 Curriculum Guide

dawson|wallaceDANCEproject
Gregory Dawson, Artistic Director
presents
Nutcracker in a Nutshell
2013 Curriculum Guide
Lakewood Cultural Center
470 S. Allison Parkway
Lakewood, CO 80226
www.Lakewood.org
303-987-7845
Visit www.Lakewood.org/NutcrackerNutshell to print additional Curriculum
Guides for use in the classroom or to print additional registration forms.
1
The Lakewood Cultural Center’s 2013 Nutcracker in a Nutshell Curriculum Guide is designed to complement
and enhance classroom instruction. Research indicates that preparation for field trips enhances both the
meaning and enjoyment of the experience for all involved. This Curriculum Guide includes background
information that can be used to prepare students for what to expect from their visit to the Lakewood Cultural
Center, along with information and suggested activities for before and after the performance.
The full-length version of The Nutcracker runs approximately 100 minutes plus intermission. The Nutcracker
in a Nutshell educational program by Dawson|Wallace Dance Project is a 45-minute program specifically
designed for elementary-age students grades 1-5. This introduction to the world’s most famous ballet features
8 major dance excerpts in full costume, including such favorite characters as the Nutcracker, the Mouse King,
Clara and the Sugar Plum Fairy. In addition, the informative narration brings to life the history and story of the
ballet, along with some “behind-the-scenes” peeks into what is involved in mounting the full length production
onto the stage each year.
TABLE OF CONTENTS
The Nutcracker Timeline
3
The Story of The Nutcracker
4-5
Fun Facts
6
History of Dawson|Wallace Dance Project and Composer of The Nutcracker
7
What is Dance and Types of Dance
8
Ballet En Pointe and Dancer Performance Preparation
9
Ballet Vocabulary
10-11
Ballet and Football (Introduction to Ballet)
12
Theater Etiquette for Students
13
Newspaper Article - Don’t Judge Me by My Tights
14
Pre– and Post– Activities
Fill in the Blank
15-18
19
Questions and Answers from The Nutcracker
20
Art Project: Miniature Pine Cone Trees
21
Color the Characters from The Nutcracker / Color the Nutcracker
The Nutcracker Maze
22-23
24
Fill in the Blank Answers
25
The Nutcracker Answers to the Questions and Answers
26
Resource Page
27
All photos are courtesy of Stan Obert unless otherwise noted.
A special thank you to the San Francisco and Canton Ballets for assistance with creation of this guide.
2
The Nutcracker: Timeline
1891
1892
1934
1944
1984
1986
Peter Ilyich Tchaikovsky receives a commission in St. Petersburg, Russia to compose a
one-act lyric opera together with a ballet for presentation during the following season.
Accepting Tchaikovsky’s choice of subject for the opera, the Theatre Directorate selects
Aledxandre Dumas’ French adaptation of E.T.A. Hoffman’s tale The Nutcracker and the
Mouse King for the ballet.
The ballet is presented on December 18, 1892 and
conducted by Riccardo Drigo, at the Mariinsky Theatre,
home of the Kirov Ballet. The Nutcracker is received
somewhat unfavorably. Dance historians have attributed this
to The Nutcracker's unusual story which was quite different
from the romantic tales usually presented.
The Nutcracker is first presented in Western Europe by the
Sadler's Wells Ballet at the Sadler's Wells Theatre,
London, on January 30, 1934. The production is staged by
Nicholas Sergeyev after the original Petipa-Ivanov version.
The Nutcracker choreography is
begun by the redoubtable Marius
Petipa. The balance of the work is
taken up by his assistant Leon Ivanov
when Petipa falls ill. According to
historical accounts, when the ballet
was finally produced, Petipa refused
to have his name linked with it, feeling
his own part in its creation was
insufficient to be publicly announced.
Dance historians have, however,
recognized his contribution, and the
original choreography is generally
credited to both Petipa and Ivanov.
The first full-length American The Nutcracker is produced by the San Francisco Ballet
with choreography by William Christensen in 1944.
The version most of us recognize today was staged
by the New York City Ballet with choreography by
Kirov-trained George Balanchine.
Dawson|Wallace Dance Project, formally
David Taylor Dance Theatre, staged its first
production of The Nutcracker.
1990 to
Present
The original production of The Nutcracker. Imperial
Mariinsky Theatre, St. Petersburg, Russia c. 1900
With literally hundreds of productions nationwide, The
Nutcracker has become the quintessential holiday
classic being presented in theatrical productions, on
ice, on the dance stage and in the movies. This
American holiday staple has also become an artistic
lifeline, often providing over 50% of a dance
company's annual ticket sales.
David Taylor Dance Theatre’s performance of The Nutcracker,
Lakewood Cultural Center, Lakewood, Colorado, USA, 2005
3
The Nutcracker
ACT I
The Party Scene - It is Christmas Eve at the Stahlbaum house, a large and grand house with the most
beautiful tree imaginable. The Stahlbaums are hosting their annual Christmas party and welcoming the
arrival of their family and friends. The children, Clara and Fritz, are dancing and playing as they welcome
their friends too.
Clara with her nutcracker
The party grows festive with music and dance as godfather Drosselmeyer arrives. He is a skilled clockmaker,
toymaker and magician, and he is full of surprises. Drosselmeyer draws everyone's attention as he presents
two life-size dolls. They are the delight of the party, each taking a turn to dance for the guests.
The children begin to open gifts when Drosselmeyer presents his to Clara
and Fritz. Although his gift to Fritz is quite nice, he gives Clara a beautiful
nutcracker that becomes the hit of the party. Fritz becomes jealous and,
having a bit more spunk than a boy should have, grabs the nutcracker from
Clara and promptly breaks it. Clara is heartbroken, looking on as
Drosselmeyer quickly repairs the nutcracker with a handkerchief he
magically draws from the air. As the evening grows late, the guests depart
and the Stahlbaum family retires for the evening. Clara, worried about her
beloved nutcracker, sneaks back to the tree to check on it.
The Nutcracker and his army cannot go on any longer and are captured by the
mice and their King. Clara makes a final daring charge, hitting the Mouse King
with a large lollipop and distracting him momentarily so the Nutcracker can stab
him. Clara’s unconditional love of the Nutcracker breaks the spell, transforming
him into a gallant Prince. Turning to her gratefully, the Prince invites Clara to
accompany him to the Land of the Snow, where the Snow King and Queen
reign over the land.
The Mouse King
The Fight Scene - As the clock strikes
midnight, strange things begin to happen. The beautiful Christmas tree grows
high above her. The toys around the tree come to life while the room fills with
an army of mice led by the fierce Mouse King. As the Nutcracker awakens, he
leads his army of toy soldiers into battle with the mice. The Mouse King
corners the Nutcracker and battles him one-on-one. The Nutcracker seems to
be no match for the Mouse King.
The Land of Snow - A wintry landscape greets the two
voyagers in an enchanted forest wonderland where the Snow
Queen and King welcome them surrounded by dancing
snowflakes. Engulfed by swirling snow, the Queen and her
Snowflakes send Clara and the Prince on their magical
journey. The score conveys the wondrous images by
introducing a wordless children's chorus.
The curtain falls on Act I.
The Snowflakes
4
ACT II
The Kingdom of Sweets - The Prince escorts Clara to the Kingdom of Sweets where
they are greeted by the Sugar Plum Fairy and her Cavaliers. The Prince tells the
Sugar Plum Fairy about their daring battle with the army of mice, and she rewards
them with a celebration of dances from different countries and spices from those
countries. Chocolate, coffee and tea are represented by Spanish, Arabian and
Chinese dancers in colorful costumes, each welcoming Clara and the Prince.
The Dream Ends - Clara awakens from her dream and finds herself by her
Christmas tree with her beloved nutcracker.
The Dance of Spanish Chocolate
Other dances follow – Additional dances include the beautiful Waltz of the Flowers
led by the Dew Drop Fairy, a lively Russian Trepak, Dance of the Merlitons (or reed
flutes), Dance of Mother Ginger and her Children (the French equivalent of the Old
Woman who Lived in a Shoe) and the grand pas de deux by the Sugar Plum Fairy
and her Cavalier. In the finale, the Courtiers of the Kingdom kneel in homage to
Clara for rescuing their Prince. The scene concludes with a brilliant waltz where all
the inhabitants of the Kingdom of Sweets reappear.
The Dance of Arabian Coffee
The Angel Scene - Gleaming Angels guide Clara’s voyage to The Kingdom of
Sweets.
The Russian Trepak
The Grand Pa de Deux
Clara Awakens
The Waltz of the Flowers
The Dance of Chinese Tea
5
Dance of Mother Ginger and her Children
Fun Facts about the Full-Length Production

The Nutcracker ballet is based on the book called The Nutcracker and the Mouse
King written by E.T.A. Hoffmann. When this story was turned into a ballet it was
changed, just like Walt Disney sometimes changed his fairy tales.

In E.T.A. Hoffmann’s story, the Mouse King has seven heads. Also, the character
Drosselmeyer is based on the writer himself. Drosselmeyer is described as “anything
but a nice-looking man. He was small and lean, with a great many wrinkles on his
face.” The same was said of Hoffmann.

In the original The Nutcracker, Clara was named Marie. Clara is actually the name of
Marie’s favorite doll.

The music was written by Peter Tchaikovsky who wrote many famous scores for
ballets including Swan Lake and Sleeping Beauty. The Nutcracker was his 1st Opus
(or work).

During the time that The Nutcracker was performed, Russia was not a communist country. The Russians were ruled by
a czar (Czar Alexander III), the Russian word for ruler , and Russia was not just a country, but an Empire. The czars
were wealthy, although their people in the country were not. Ballet was mainly meant to be entertainment for the wealthy.

The time in ballet history when The Nutcracker was finished is called the Classical period. Many famous ballets were
performed during this age.

One of the most unique aspects of the dance in The Nutcracker is that it is performed primarily by children.

The instruments heard in The Nutcracker include: flutes, piccolos, oboes, English horns, clarinets, bassoons, horns,
trumpets, trombones, bass trombones, tubas, cymbals, triangle, tambourine, glockenspiel, tympani, harp and strings.

There are more than 125 costumes for Dawson|Wallace Dance Project’s The Nutcracker.

The cost of a jeweled tutu for the Sugar Plum Fairy or similar ballerina ranges from $3,200 to $4,200.

A pair of pointe shoes usually costs about $60 - $80. The Sugar Plum Fairy and Clara can easily wear out a dozen
pairs of pointe shoes in three weeks.

It takes 45 minutes to one hour for Drosselmeyer to put on his makeup.

The snow is made of soft plastic. Approximately 20 pounds are used for each performance. A “snow bag” is used to
make the snow storm effect. Dancers on pointe need to be very careful as they dance in the Snow section, as the plastic
snow can often cause a dancer’s pointe shoes to slip on the dance floor.

The Christmas tree in Dawson|Wallace Dance Project’s The Nutcracker is 22 feet tall. It is lifted automatically by a motor
that controls a cylinder upon which the tree is attached.

Dancers in The Nutcracker often have as many as five to six costume changes throughout the course of the ballet.
Often, the changes are so quick that they do not have time to go to the dressing room but instead have to change in the
wings (the side areas of the stage) with other dancers helping them.
 The light booth at the Lakewood Cultural Center is located behind the lower orchestra
section. From there, stage crew members operate the light board which controls over 200
lights. There are over 70 light cues (light changes) used during the current production of
Dawson|Wallace Dance Project’s The Nutcracker.
 The Lakewood Cultural Center stage is a special wood sprung dance floor, designed so
that dancers can jump without fear of injury from impact. The wood is covered with a special
flexible dance floor, similar to linoleum, so that it’s not slippery.
History of the Nutcracker Toy - Nutcrackers have been found as far back in history as the
Archaic period. The popular versions come from Bavaria (the area now known as Germany).
The “nusscnacker” were given as keepsakes to bring good luck to a family and protect their
home. The legend says that a nutcracker represents power and strength and serves like a
trusty watch dog guarding the family from evil spirits and danger. A fierce protector, the
nutcracker bares its teeth to the evil spirits and serves as the traditional messenger of good
luck and goodwill.
6
dawson|wallaceDANCEproject
Gregory Dawson, Artistic Director
Dawson|Wallace Dance Project, formerly David Taylor Dance Theatre, was founded in 1979
by choreographer David Taylor. Over its 34-year history, the company has built a reputation as Colorado’s original
professional contemporary ballet company and one of the most innovative in the region, being presented to audiences nationally with acclaim.
Gregory Dawson has served as artistic director for Dawson|Wallace Dance Project since 2011. A native of
Chicago, award-winning choreographer Gregory Dawson began his training at Ruth Page School of Ballet before
attending Southern Illinois at Edwardsville where he studied with the legendary, Katherine Dunham. He continued
his studies in San Francisco with Evelyn Schuert and Alonzo King. Dawson began dancing professionally with
Theatre Ballet Canadian before returning to the Bay Area where he performed with Oakland Ballet, Berkeley Ballet
Theater, Sacramento Ballet and the San Francisco Opera Ballet, and eventually joining LINES in 1987. After
retiring from dancing in 2005, Dawson remained with LINES as a teacher and choreographer where his piece,
“Solid Soil Beneath Our Feet” was selected to be presented at the ACDF's National College Dance Festival.
Dawson has also served on the faculty for the Ruth Asawa San Francisco High School for the Arts and as assistant
director of the CSSSA Dance department. In 2007, Dawson formed dawsondancesf. His piece, “Which Light in the
Sky is Us,” was nominated for an Izzy award.
Dawson|Wallace Dance Project continues to possess a distinguished record of performances in Colorado
and the region showcasing a dramatic, original and innovative repertoire that reaches 10,000+ people each
year. New works are introduced annually and acclaimed productions of Rainforest and The Nutcracker remain popular. In 1997, DTDT was the proud recipient of the Governor's Award for Excellence in the Arts and is considered
one of Denver's 25 largest cultural institutions. The Denver Post has lauded DWDP as "...the most intriguing of all
Colorado dance companies..." DWDP has served as a roster artist for the regional Western States Arts Foundation
Tour Guide and locally with Young Audiences, the Colorado Council on the Arts “Artist-in-Residence” Program,
Think360, the Crossover Project, ArtReach, Denver Ballet Guild, and the Colorado Artists’ Showcase. DWDP has
a strong focus on children and families, and brings dance to audiences of all socio-economic situations while
providing opportunities for exploring dance as a career.
Composer of The Nutcracker
Piotr (Peter) Ilvich Tchaikovsky (chy KAWF skih)
(1840-1893)
Piotr Tchaikovsky was born on May 7, 1840, in Votkinsk, Russia.
He studied law in Saint Petersburg and then worked for some years as a
clerk in the Russian Justice Department. He also studied music at Saint
Petersburg Conservatory.
From 1866 to 1877, Tchaikovsky taught harmony at the Conservatory
of Moscow. He was far from successful with his first compositions. After an
unhappy marriage, which lasted only a short time, Tchaikovsky suffered
from frequent depressions. Nadezhda von Meck, a wealthy widow, then
entered into a letter-friendship with him. Although they did not meet for
many years, she provided him financial aid. He gave up teaching and traveled, met influential people and concentrated on composing.
By the end of the 1870's, Tchaikovsky had finished his opera Eugene Onegin (1878), the Romeo and Juliet overture-fantasy (1869), the
ballet Swan Lake (1877), the Concerto in D major for violin (1878) and
Marche Slav. Hans von Bulow, a great German pianist and conductor, introduced
Tchaikovsky's Concerto No. 1 in B flat minor for piano in Boston in
Pyotr Ilyich Tchaikovsky by
Nikolay Kuznetsov, 1893
1875. This concerto became a landmark in piano music. Tchaikovsky wrote
the 1812 Overture in 1880. It celebrated the defeat of Napoleon in Russia
and also the completion of the Temple of Christ in Moscow. He composed the graceful Nutcracker Suite in 1892,
the year before he died.
Tchaikovsky began to make concert tours in 1887 and visited Berlin, Paris and London. He traveled to the
United States in 1891 and conducted some of his own compositions at the dedication of Carnegie Hall in New
York City. He received an honorary doctor's degree from Cambridge University in 1893. Tchaikovsky died of cholera on November 6, 1893.
7
What is Dance and How is Ballet Different?
Bending, stretching, jumping and turning, are all
activities dancers do; however, dancers work hard
and long to transform these everyday movements
into the language of dance. Ballet is a distinctive
dance, because it requires a special technique
established almost 500 years ago, involving steps
and body movements that are unique to this
discipline. The most striking feature of ballet
technique is the turn-out of the legs from the hips.
This turn-out enables ballet dancers to move to
either side as well as forward and backward with
equal ease, giving them greater command over a
full circle of movement. The staging of a dancer’s
turn-out from the hips and strong frontal orientation
can be traced to the European court tradition that
directed the performance toward the king or
queen in attendance.
Classical ballet technique and steps create modern
ballets in a different way. Dancers wear simple leotards and tights and may dance in bare feet or soft
slippers. In ballets where there is no story to follow, the audience’s attention is drawn toward the shape and
speed of the dancers’ movements to the music. Some modern choreographers don’t even use music; others
may use song or speech to accompany their steps. Alvin Ailey, Twyla Tharp, Jiri Kylian and William Forsythe
are modern choreographers who have used these methods.
Other Distinct Dance Styles Include:
ETHNIC DANCE is any dance form that was developed by a cultural group. Styles of
ethnic dance include Flamenco, Kathak, Clogging and Afro-Caribbean dance, among
many others.
JAZZ is a uniquely American dance form that combines elements of African, modern
and ballet, and it is usually inspired by contemporary music.
TAP DANCING is also a distinctly American dance form which has some elements of
jazz dance but also borrows from the Irish Jig, Dutch Clog and Flamenco.
MODERN DANCE originated around the turn of the 20th century in Europe and
America. Isadora Duncan, the “mother of modern dance,” first danced barefoot, without
the traditional ballet costumes, as a rebellion against the constraints of ballet. This new
and everchanging form of dance is often based on the feet being parallel from the hips,
rather than turned out as they are in ballet.
SOCIAL is any dance form that people enjoy when they are gathered together. Ballroom
dancing, street dancing (such as hip hop) and folk dancing fit into this category.
8
En Pointe
Another technique characteristic of ballet is dancing en pointe. Dancing
en pointe means dancing on the tips of the toes. The first ballerina to do this
was the famous dancer Marie Taglioni in 1832.
To dance en pointe, dancers wear special shoes made of fabric stiffened
with glue. Although the shoes are stiffened, they do not hold the dancer up
on her toes; her muscles do that. Most girls are about 12 years old before
they have enough strength and training to begin dancing en pointe. It is
important that young dancers do not try to go en pointe until their ankles and
feet are strong enough. Usually only girls dance en pointe.
Dancers who perform ballet on stage are highly trained. They often begin
studying dance at the age of eight or nine, or even younger. While girls
learn to dance en pointe, boys who study dance must be very strong in
order to perform high jumps and turns and to lift their partner in the air. The
training of a male dancer includes weight lifting and other exercises to build
upper body strength.
To pursue ballet as a career, a person must be talented and athletic, very
hardworking and dedicated to the art. As many people who aren’t
professionals enjoy playing football and other sports for fun, many people,
children and adults, study ballet for enjoyment. Taking ballet classes is an excellent way to gain physical
fitness while developing grace, poise and agility. Many football players and other pro athletes take ballet
classes to improve their balance, rhythm, coordination and flexibility. For example, the Cleveland Browns
took dance with the Cleveland Ballet.
Dancer Preparation
The advanced dancers a patron will see in The Nutcracker train
six days a week, six weeks prior to the start of performances. They
may dance up to 35 hours per week, as much as a full time job!
Most have been studying ballet for 5-10 years. The children in the
show audition, become part of the cast and practice once a week or
more. The dancers begin using the props for their character, adding
an entirely new dimension of difficulty to their work. Some begin to
practice in their masks. It can be very hard for the Nutcracker Prince
and the Mouse King to see through the eyeholes. Several weeks
before the performance, the dancers try on their costumes and the
Wardrobe Master adjusts them to fit each person. A week before the
performance, dancers begin wearing their costumes during
rehearsals. Nothing is left to chance onstage. The week of the
performance, the dancers go into the theater with the lighting
designer, technical director and stage crew. Each cast practices in
full costume onstage under the lights. They learn where to enter and
exit for each of their parts. The morning of the performance, dancers
arrive two hours before the performance begins. They begin with an
hour long warm-up class followed by a short rehearsal of anything
that needs to be adjusted. The Sugar Plum Fairy and the Cavalier
try some of their lifts. The Wardrobe Master gives them their
costumes, and they begin to put on their makeup, prepare their hair
and lay out their costumes and props for the performance. Ten minutes before the performance is scheduled
to begin, the dancers come onstage, ready to perform for the audience.
9
Ballet Vocabulary
Just as sports, math, construction and many other activities have their own vocabulary, so too does ballet. Because much of ballet’s early development occurred in France, many of the words are French and have been
handed down since the 16th century. Here are some common terms and their applications.
Accent To call attention to a particular movement or note in a phrase of dance or music
Adage [ah-DAHZH] Slow sustained movements in ballet
Audience Spectators at a performance
Audition To try out for a role; a trial performance where a dancer is judged on his/her ability to dance
Balance Maintaining the stability and equilibrium of the body
Ballet [BA-lay] A classical dance form originating in European courts during the 17th and 18th centuries that
is characterized by grace and movement with intricate gestures and codified footwork
Ballerina A female ballet dancer of highest ranking
Ballet master/mistress An individual (usually a retired dancer) with varying responsibilities including
teaching, coaching and rehearsing ballets
Barre [bar] The place where a dancer goes to begin his/her class work. The barre is a long pole securely
attached to a wall, to give the dancer support. After the dancer has done barre work to warm up, he/she will
move to the center of the classroom or studio to practice increasingly complex steps
Beat The underlying pulse which measures time; beat is part of rhythm
Choreographer The visionary of the dancing in a ballet. Responsible for creating the ballet for the stage and
integrating the dancing, music, decor, story, costumes and lighting
Choreography The art of creating and arranging steps to create a dance
Composer A person who writes music
Concert A public dance or music performance
Continuous Movement that is uninterrupted in time
Conductor The leader of the orchestra
Corps de ballet A group of dancers who work together as an ensemble. They form the background for the
ballerina and her partner and are the backbone to any ballet company
Costumes The clothing performers wear to help set the mood a choreographer wishes to create, allowing for
freedom of movement for dancers and actors alike
Dancer Translates the choreographer’s vision to the audience through technique and interpretation
Demi [duh-MEE] Half
Divertissements [di vúrtissmənt] Consist of a variety of short dances inserted in ballets as entertainment
Dress rehearsal Final practice before a performance
Dynamics The force, energy and intensity with which motions are executed; ranging from soft, slow & fluid to
hard, fast & sharp
Emotions Feelings expressed in dance such as joy, sorrow, hate, love, etc.
Energy A unit of force in movement
Ensemble A group of dancers working together on a performance
Focus To concentrate on one thing at a time
Freeze A halt in movement at any given time
Grand [grahn] Grand or big
Interpretation Deciding the meaning or concept of a dance or movement
10
(continued from previous page)
Level A position or movement in space that occurs on the horizontal plane, such as high, medium or low
Lighting design Used to enhance scenery and costumes as well as give a sense of time
Narrative A dance that tells a story
Near To be close in space without actual physical contact
Overture A sampling of music that plays at the beginning of the performance
Parallel A primary position in dance where the feet are flat on the ground with toes pointing forward
Pas de deux [pah duh DU] A dance for two people, traditionally a ballerina and a premier danseur
Pattern An ordered arrangement which repeats itself
Pantomime The art of using the body, without words, to tell a story, express a mood or an emotion or describe
an action
Perfect spot Finding a place to dance with sufficient self/personal space
Performance The presentation of a dance, play or theatre piece for others
Phrase A series of dance movements forming a unit in a choreographic pattern
Plié [plee-AY] To bend the knees
Pointe shoes Shoes worn typically by female dancers that enable them to dance on the tips of their toes. The
area covering the toes is made of layers of fabric glued together in the shape of a “box” covered in satin and
hardened. The sole of the shoe is made of hard leather to prevent the shoe from breaking when bent and to help
support the foot. To keep the shoe on tightly, the dancers sew satin ribbons and elastic to the sides and tie the
ribbons securely around their ankles.
Port de bras [pawr deh brah] Movement of the arms
Premier danseur [premeeay dahn she] A male ballet dancer of the highest ranking
Principal dancer A male or female dancer of the highest ranking
Proscenium The part of a modern stage directly in front that frames the curtain
Rehearsal The practice of a dance before performing
Relevé [rehl-VAY] To rise to the balls of the feet
Repertoire [rep’ er-TWAR] The collection of dances performed by a ballet company
Rhythm The pattern of music or movement through time
Sauté [soh-TAY] To jump
Set designer A person who creates the scenic design
Scenic design Like costumes and makeup, scenic design helps to tell the story or set the mood of the ballet. The
set must be designed so that the dancers can enter and exit the stage according to the choreographer’s wishes
Shape A specific design of the body at rest or in motion
Solo A dance performed by one person
Space Area occupied by the dance or dancer
stretch To elongate or extend one’s muscles
Studio The place where dancers study dance, practice and rehearse
Technique The method and procedures of classical ballet training to get desired results, a dancer’s ability to
perform all steps and movements correctly
Tempo The speed at which a rhythm moves
Tendu [tahn-DEW] To point or stretch the foot
Theater A place for the presentation of performances
Turn-out The ability of the dancer to turn the legs outward from the hip joints to a 90-degree angle.
Tutu Ballet skirt, usually made of tulle. Tutus may be of varying lengths. While the style and mood of the ballet
help to determine the preferred tutu length, the ballerina’s technique is most clearly visible when she wears a
short tutu.
11
Ballet and Football
(An Introduction to Ballet)
Imagine what it would be like to watch a football game for
the first time if you didn’t know a single thing about the
game. Not only would you be confused, you probably
wouldn’t enjoy it very much.
Watching a football game is a lot more fun if you know
something about how the game is played, if you know the
rules and if you have an understanding of what kind of
training and practice the athletes need to perform well. It’s
even more fun if you have tried playing football yourself.
The same is true of watching ballet.
Ballet is a way of telling a story using music and movement instead of words. The “language” of ballet
consists of patterns of movement that have developed over centuries.
Ballet began as ballroom dancing in the courts of Italy and France about 500 years ago. It is based on a
response that is natural to all human beings – the desire to move our bodies when we hear music. Like all
sports and forms of dance, ballet takes movements we are familiar with – running, jumping, balancing and
lifting – and uses them in a very particular and formalized way.
The most notable feature of ballet technique is the outwardly rotated position of the feet and legs, called
turn-out. Proper turn-out begins at the hips. The thighs and knees are well turned-out, and the feet and
ankles do not roll forward. Turn-out is acquired gradually as a dancer’s muscles gain strength and develop
through careful training and practice. A good turn-out allows the dancer to move freely in all directions with
grace and ease.
Although there are hundreds of steps and positions in any single ballet performance, each of them begins and
ends with one of the five basic positions of the feet. The five basic ballet positions are:
First Position
Heels together, toes turned out
Second Position
First position opened up, with the heels as far apart as the length of the dancer’s own foot
Third Position
Heel of the front foot touching the instep of the back foot, toes of both feet equally turned
out
Fourth Position
Heel of the front foot opposite the toe of the back foot, feet parallel and separated by a
space the length of the dancer’s own foot, toes of both feet equally turned out
Fifth Position
Feet closed together, the heel of the front foot touching the toe of the back foot. A perfect
fifth position requires perfect turn-out and is very difficult to achieve.
12
Theater Etiquette for Students
Going to the theater is different than going the movie or cinema. The people
performing for you have worked very hard to prepare the best possible performance.
The costume and wardrobe people, the technical director, lighting designer, stage
manager, artistic director, choreographers, as well as the dancers, have all done their
parts to make a good performance. They are eagerly waiting to share all their hard work
with you.

School clothes are appropriate dress, however some children may choose to ‘dress up.’

Please use your indoor voice once inside the lobby.

No shoving or running in the lobby or in the theater. Do not climb over the seats.

Use the restroom before the show begins.

Tell a teacher, parent or chaperone before the show if the person in front of you is so tall that
you cannot see well.

Talk quietly with people on either side of you until the performance begins. Don’t shout to
someone several seats away. Once the lights dim and the music starts, do not continue talking.
It is distracting to the dancers as well as those around you, and you won’t be able to hear the
music.

The signal for the start of the ballet will be the dimming of the lights, just like in a movie theater.
The curtain will not go up, but the music will start to play. This is called the overture. The
overture is a sampling of the music that you will hear during the performance.

No words will be spoken during the ballet. The dancers will tell the story by dance, gesture and
facial expressions.

Please laugh at the funny parts or clap with your hands to show your appreciation, but never
scream, whistle, boo or stomp your feet. Clapping lets the performers know you enjoy what
they are doing. Do not shout any comments whatsoever to the performers on stage. After the
show is over, the dancers will come out and take a bow. At this time you can really let them
know how much you appreciate their dancing!
 Please sit still and stay in your seat from the beginning until intermission or the end. It is
not courteous to the dancers to get up or walk out during the performance.

Do not eat or chew gum during the performance. The sound of rustling wrappers and the smell
of food disturb the dancers and others around you.

Cell phones and pagers must be turned off, and no electronic devices may be used during the
performance. This also means no texting. The light emitted from these devices is distracting to
the dancers and those around you.

There is absolutely no photography or videography allowed during the performance. It is
distracting to those around you and dangerous for the dancers.
13
Don’t Judge Me by My Tights
Being a male dancer means battling many stereotypes. But the rewards of my job are limitless.
March 17, 2008 by Sascha Radetsky
Photo by Nathan Perkel for Newsweek
My business attire is a pair of tights. All right, there it is. I wear
makeup onstage, and some of my colleagues are gay. Can we move on
now? Can we leave behind the tired male-ballet-dancer stigma—that
ballet is not a masculine pursuit—in order to move toward an appreciation
of the athleticism and artistry involved in this line of work?
On an average day at the job, I handle lithe, lovely women,
engage in duels and delight in the experience of an exotic locale. I move
like a gymnast or martial artist and embody the vilest of pimps or the most
chivalrous and passionate of lovers. I constantly expand the borders of my
physical capabilities, and I hone my mind to a quick-learning, focused
edge. Come 8 p.m., I'll fuse dynamic movement and storytelling with the
grandeur of a full live orchestra.
Yes, I'm proud of my profession. Yet I find myself slightly guarded
when I tell people what I do. Like some sort of incurable blight, the
male-dancer stereotype has taken root and metastasized in our cultural
consciousness. Pioneers like Baryshnikov or Nureyev might have opened
some minds, but their days have long passed, and despite the noble
efforts of a handful of current ballet leaders to expose fresh audiences to
our art form, a whole new generation looks at male dancing with skewed
vision. Some of my peers are foreigners; in many other countries male
dancers are held in higher esteem. I studied in Russia for a year and
always marveled at the way Russians celebrated their artists, whether
their medium was dance, music or the written word. But I'm American, and I want to live in my own country, as a dancer,
with some respect.
The most irritating aspect of the male-dancer stereotype is the underlying insinuation that we in some way lack
strength of character or a courageous spirit. Male and female, all dancers undergo strenuous training from a very young
age, and constantly wrestle with injuries and fatigue. But male dancers must possess a special type of will and fortitude
if they are to become professionals, for, like fish swimming upstream, we have to fight through the current of thinly veiled
contempt that much of society harbors for our chosen path. In our culture, girls are encouraged to take ballet; boys
receive no such endorsement, except of course from ballet teachers or exceptionally supportive parents. The boy who
perseveres in dance must have a genuine hunger for it, must be uniquely motivated and dedicated, and must develop a
truly thick skin.
I started taking ballet when I was 5. My open-minded parents thought it was a good way to channel my
rambunctious behavior. A few years later I was hooked. I loved the physicality and, of course, the girls, but I also learned
that not everyone recognized the value of dance the way I did. I don't remember the first fight I got into for being a kid
who took ballet, but I remember fighting a lot before I realized that maybe I should keep my extracurricular activities to
myself. But ballet was rewarding enough to be worth a fat lip or a black eye, and I emerged from my years of dance
training more focused than ever. My background is not unusual among my American colleagues—they share similar
stories of discouragement, harassment and even violence. But these experiences served to harden resolve and develop
courage, and I know I can always count on several of my dancer buddies for steadfast support—they got my back!
Ironically, the stereotype of the sissy male dancer has given rise to a male dancer who is anything but.
It's frustrating that I feel obliged to extol the virtues and describe the rigors of my profession. I'd just like to make
it known that the path of the male dancer isn't necessarily easy—as with any truly worthwhile endeavor—but the rewards
can be limitless. I feel lucky to have discovered a vocation that has allowed me to glimpse the great depth of human
potential, both physical and mental, and has given me the opportunity to bring joy to so many people in so many places.
I feel there is honor in the arts, in the world of dance, in the realm of male ballet dancing.
Exposure to ballet is all that is needed to open minds, for the combination of athletic movement, ardent drama
and beautiful music can instill a profound appreciation in an audience. But for you out there who still feel compelled to
malign male dancers with half-truths and petty stereotypes, well, maybe we need to step outside. I'll leave my tights on.
14
Pre-Performance
Activity
Performance
Etiquette
Pre- or PostPerformance
Activities
General Topics
PostPerformance
Activities
A fun way to review rules of etiquette is to get students involved with a project such
as Etiquette Posters or writing their own Etiquette Poem or Rap. Remind them to
include the rules listed on Page 13.

What is a nutcracker? Why do you think it was considered a special gift? A long
time ago, people could not buy nuts that had already been taken out of their
shells—they had to crack the shells themselves in order to eat nuts. Nuts were
a special treat to have at a party. It was exciting for Clara to get a fancy
nutcracker to use at the party that looked like a soldier doll.
Even though the story of The Nutcracker takes place long ago, many of its themes
and events are universal and relate to experiences you have probably had.
 Party in Act 1:
 What kinds of parties do you have, and what do you do at them?
 What occasions do you celebrate with parties?
 Who comes to your parties, and why do you invite them?
 Do you ever dance at parties? What kind of dancing do you do?
 The family interactions at the party and Clara’s conflict with her brother Fritz:
 Do you have disagreements with your brothers and sisters or other family
members?
 What do you argue about?
 How do you resolve these conflicts?
 Clara’s special gift:
 What special gifts have you received and what made them special?
 Have you ever given someone a special gift? What was it and to whom
did you give it?
 What is the most special gift one can give or receive?
 Clara’s journey to a fantasy land:
 Have you ever been away on a trip? How did you travel?
 Where did you go? Was that place similar or different to where you live?
 If you went to the “Land of Sweets,” what foods would you find there?
 Where would you go if you could choose any fantasy or real place to
visit?





General Topics



Was the ballet as you pictured it in your mind?
Who were the characters?
Draw a picture of your favorite characters.
How did the ballet make you feel?
What was your favorite part of the ballet?
Was there any part of the ballet you did not like? Why?
Describe in great detail one specific movement or scene from the ballet as if you
were trying to bring it to life for someone who had not seen it.
Do you think The Nutcracker relates to life today, or is it just a fantasy image of
an old-fashioned time?
15
Pre- or Post -

What kinds of dancing have you done before? Have you ever made up a dance?
When do you dance and why? Do you ever dance in a group? See Page 8 for
examples.

What is ballet? What makes it different from other kinds of dance?

Why do you think dancers, both men and women, wear tights as part of their
costumes? What activities do you do that require tights or leggings?

How do you think a story can be told onstage in a ballet without using words?
Discuss elements of dance, music, mime, costumes, scenery, lighting and how they
all work together to create a story onstage.

Have you ever expressed something to someone else without using words?
Discuss how people frequently use gestures, facial expressions and movements to
express themselves without words (nodding yes and no, stamping the foot in anger,
jumping for joy, etc.); these actions are related to the mime and acting they will see on
stage

When does everyday movement become dance? Some ideas include: when music is
added, when movement expresses moods or feelings, when it is stylized or arranged
in sequence for performance or when it communicates a story or idea.

What are some different ways dancers can move and use the space of the stage?
Performance
Activities
Dance

Movements can be smooth, sharp, fluid or syncopated.

Dancers can make round or angular shapes and poses with their bodies.

Dancers can move very quickly, very slowly and at different speeds in
between.

Dancers can use different levels of space—sometimes they are down on the
ground and other times they jump or are lifted high into the air.

Dancers can make patterns individually by moving in different directions
around the stage (think of the way you can trace ice skaters’ movement
patterns by the lines their skates leave on the ice) and they can make patterns
with each other when dancing in groups (circles, pinwheels, straight lines).

Where does ballet come from? Who is involved in creating a ballet? Discuss the
roles of the choreographer, composer and designers who develop the concept and
then create the dance, music and designs for scenery, lighting and costumes. Then
discuss the roles of the people who make the ballet happen: the dancers who execute
the choreography; the musicians and conductors who perform the music; the
carpenters, electricians, and stagehands who build and set up the scenery and
lighting and the costume wardrobe staff who design and maintain the costumes.

Play portions of the music and have the children move around the room pretending
that they are flowers. Show them a basic waltz step as they move in time to the music.
Encourage them to twirl and hold their arms out like ballet dancers.

Ask each student to show you a character type. Ideas include Wizard, Hippopotamus,
Cat, Older Person, Young Person, Soldier, Fairy, etc.

Ask each student to show you the emotion you call out with their face and bodies.
Ideas include sad, happy, angry, crazy, confused, proud, shy, scared.

Ask students to pantomime walking to school. Then walking to school in the pouring
rain...after a big snowstorm and there is a foot of snow on the ground...you stayed up
late so you are very tired walking to school...it is the last day of school and you can’t
wait to get there... Discuss how they changed their body movements.
16
Pre- or Post-

Students recreate the foot positions (see page 12). Check for accuracy.
Performance

Call out, in random order, the foot positions.
Activities

Choreograph a short sequence of positions and set them to music.

Ask students how they feel. Which were challenging? Were they able to
maintain balance?

Try spinning on one foot or standing on one foot for a set period of time. How
long can they stay poised?

What did you have to do to maintain your balance?

What can you say about ballet just from this exercise?

Change the point of view by writing the story from the Nutcracker’s perspective.
Or write a sequel. Or write a whole new story entitled “Land of the Sweets.”

Write a letter to a friend describing your day at the theater. In the letter, you may
include the following: What did you wear? How did you get to the theater? With
whom did you come? What did the theater look like? Describe the dancing and
music and how you felt watching the performance. Who was your favorite
character?

Write a diary entry about your trip to the ballet, describing the theater and
performance.

Write a review of what you saw for the local newspaper.

Write a letter to the person who first reviewed The Nutcracker in 1892.

Write a backstory for your favorite character: Where does he/she come from?
What does he/she dream about? Does he/she fear anything?

Discuss the different nationalities represented by the sweets and dances in
Act II. Can you find the different countries that are represented on a map?
When the ballet was created, these foreign delicacies were very special and
rare. People did not travel the world the way they do now, and foreign products
were much harder to find. That is why these foods were considered special
enough to be part of Clara’s fantasy world.
Physical
Education
Pre- or PostPerformance
Activities
Reading,
Writing and
Communicating
Pre- or PostPerformance
Activity
Social Studies/
Geography
17
Pre- or Post-

How is theater used for live performances similar to and different from a movie
theater or a sports stadium, such as where the Broncos, Rockies or Nuggets
play? Discuss whether each venue has seating all the way around the
performance space or just on one side, whether there is a front curtain, whether
there is a backstage or behind-the-scenes area, whether there is an orchestra pit
and what the seats are like.

How do you think people are expected to act at a ballet as opposed to a movie
or a sports game? Discuss how audience members express themselves at each
event and whether or not it is appropriate to yell, cheer, applaud, move around,
or talk, whether you can eat while watching and what you would wear.

Bring a wooden nutcracker as a model and make nutcrackers out of empty
paper towel rolls decorated with paper, beads, etc.

Make the Miniature Pine Cone Tree For Nutcracker and Sugar Plum Fairy Dolls,
see page 21.

Draw or paint a picture of your favorite section of the ballet.

Imagine you are a designer. Draw or paint your own costumes and scenery for
any section of the ballet.
Performance
Activities
Drama and
Theater Arts
Pre- or PostPerformance
Activities
Visual Arts
Pre- or PostPerformance
Activity
Music
Play some music from The Nutcracker and note how each song in the Land of
Sweets is connected to a different country and how each of the various styles,
rhythms and instruments help set the mood. Ask students to look for the different
styles of movement and costumes when they attend the performance.
Listen to the music from The Nutcracker. Imagine you are going on an adventure.
What types of instruments do you hear? What do you think of when you hear the
music? How do the instruments and different sounds make you feel? What is the
weather like on your imaginary journey? What colors do you see on the way? What
characters do you meet along the way? Write a poem describing you journey.
Play excerpts of music from The Nutcracker. For each selection, discuss the
following:

How would you describe the mood of the music?

What types of movements do you imagine the dancers will do along with this
music? (fast, slow, smooth, sharp, etc.)

What types of costumes do you imagine goes with this music? (color, style,
shape, etc.)

What kind of scenery do you imagine goes with this music?

What other activities does this music inspire you to do? (jump, spin, hum, close
your eyes, etc.)

What instruments do you hear in the music?
18
Fill in the Blank
The Nutcracker
1. Clara’s godfather’s name is __________________.
2. Clara’s brother, _____________, has a lot of spunk.
3. Clara receives the gift of a ___________________.
4. As the clock strikes midnight, her __________________________ tree grows
to an enormous size.
5. The Nutcracker and his army of _____________________ fight off the mice.
6. Clara saves her Nutcracker by hitting the Mouse King with a ____________ .
7. Clara’s unconditional love of her Nutcracker turns it into a _______________.
8. Clara is surrounded by dancing _____________________ when she enters
the Land of Snow.
9. Clara and her companion visit the Kingdom of ________________________.
10.Clara and her companion are rewarded with Spanish, Chinese and
______________________ dances.
19
Question and Answer:
Q: Can you name three remarkable things that happen in the Stahlbaum living room at midnight?
_____________________________________________________________________________
Q: Who gives Clara the nutcracker?
_____________________________________________________________________________
Q: How does Clara save the Nutcracker Prince?
_____________________________________________________________________________
Q: Where does the Prince take Clara first?
_____________________________________________________________________________
Q: Where does Act I take place?
_____________________________________________________________________________
Q: Where does Act II take place?
_____________________________________________________________________________
Q: Who wrote the story of The Nutcracker?
_____________________________________________________________________________
Q: Who wrote this music for the ballet The Nutcracker?
_____________________________________________________________________________
20
How to Make the Miniature Pine Cone Tree For Nutcracker and Sugar Plum Fairy Dolls
Tree: Fill a 1-1/2 inch lid from a large juice bottle with the kind of modeling clay that never dries.
Turn a pine cone upside down and stick it firmly upright into the modeling clay.
Decorations: Squeeze white glue out and allow it to grow tacky. Use a toothpick to put this glue on
the tips of the pine cone. Add sparkly beads and sequins or sprinkle with glitter.
Frosting: Pine Cone Trees can also be frosted with a mixture of aerosol shaving cream and
white glue mixed in equal parts. The mixture will dry with a smooth glossy finish.
Dolls: If available, arrange small figures to represent the Nutcracker and the Sugar Plum
Fairy or family members around the tree.
Materials for Tree: Pine cones, lids, modeling clay, glue, toothpicks, beads, glitter or aerosol
shaving cream mixed with white glue.
21
Color the Characters from The Nutcracker
22
Color The Nutcracker
23
24
Fill in the Blank Answers
The Nutcracker
1. Clara’s godfather’s name is Drosselmeyer.
2. Clara’s brother, Fritz, has a lot of spunk.
3. Clara receives the gift of a nutcracker.
4. As the clock strikes midnight, the Christmas tree grows to an enormous size.
5. The Nutcracker and his army of toy soldiers fight off the mice.
6. Clara saves her Nutcracker by hitting the Mouse King with a lollipop .
7. Clara’s unconditional love of her Nutcracker turns it into a Prince.
8. Clara is surrounded by dancing snowflakes when she enters the Land of Snow.
9. Clara and her companion visit the Kingdom of Sweets.
10.Clara and her companion are rewarded with Spanish, Chinese and Arabian
dances.
25
Question and Answer:
Q: Can you name three remarkable things that happen in the Stahlbaum living room at midnight?
A: The Christmas tree grows, the toys come to life, the Nutcracker awakens and leads his army
of toy soldiers into battle with the Mouse King and his army of mice.
Q: Who gives Clara the nutcracker?
A: Godfather Drosselmeyer
Q: How does Clara save the Nutcracker Prince?
A: She hits the Mouse King with a lollipop.
Q: Who wrote the story of The Nutcracker?
A: E.T.A. Hoffman
Q: Who wrote the music for the ballet The Nutcracker?
A: Peter Tchaikovsky
Q: Where does the Prince take Clara first?
A: The Land of Snow
Q: Where does Act I take place?
A: The Stahlbaum’s living room (and the Land of Snow)
Q: Where does Act II take place?
A: The Kingdom of Sweets
26
Internet Sources Used in this Publication:
dance.about.com/od/stepsandmoves/ss/Ballet_Five.htm
dance.about.com/od/balletterms/g/En_Pointe.htm
en.wikipedia.org/wiki/The_Nutcracker#Story
en.wikipedia.org/wiki/Peter_Ilyich_Tchaikovsky
en.wikipedia.org Dance Pages
www.balletmet.org
www.cantonballet.com/documents/NutcrackerStudyGuide.pdf
www.funlessonplans.com/awinter/nutcrack.pdf
www.icfw.org/ballet-sg.html
www.nfballet.org
www.nutcrackerballet.net
www.nycballet.com/nutcracker/intro/activities.html
www.schooltimeseries.com/documents/NutcrackerBallet.pdf
www.sfballet.org/media/pdf/nutcracker_guide_9.pdf
www.stlouisballet.org/images/NutcrackerStudyGuide.pdf
27