Here - English National Ballet

ROM EO
& JULI ET
by Rudolf Nureyev
Schools’ Pack
Contents
3Introduction: How to use this pack
2
4
Who was Rudolf Nureyev?
7
Romeo & Juliet: Synopsis
11 What you didn’t know about Nureyev’s
Romeo & Juliet
13 Working with Nureyev:
An Interview with the original Juliet
15
Romeo & Juliet: Music
17
Schools’ Link Programme
18
Key Stage 1&2 Example Lesson Plan
21
Key Stage 3&4 Example Lesson Plan
Introduction:
How to use this pack
English National Ballet brings the world’s greatest love story to the stage
with Rudolf Nureyev’s inventive and passionate choreography and Prokofiev’s
exhilarating score performed live by English National Ballet Philharmonic.
Full of action, humour and drama, Rudolf Nureyev’s award-winning production
of Romeo & Juliet was especially created for English National Ballet in 1977
to celebrate the Queen’s Silver Jubilee. The Company has since performed
it worldwide to critical acclaim.
Supported by The Rudolf Nureyev Foundation, English National Ballet have
produced this Schools’ Pack to provide teachers with creative ways to inspire
students, learn more about Rudolf Nureyev, and bring his production to life
in schools.
This Schools’ Pack contains contextual information on both Rudolf Nureyev
and Romeo & Juliet, which can be used by teachers as a reference.
Throughout the pack, ideas for teaching tasks, cross-curricular links
and things to look out for in Nureyev’s production, can be found using
the key below.
In addition to the Schools’ Pack, English National Ballet offers Creative
Repertoire workshops in schools across the UK, and theatre visits through
the Schools’ Link Programme. For further information about how you can
book a workshop, and watch Romeo & Juliet at a theatre near you, turn to
page 11 and visit www.ballet.org.uk/learning/schools.
TEACHING IDEA
Examples of teaching tasks
and exercises.
CROSS-CURRICULAR
Examples of ways to link
Nureyev’s Romeo & Juliet
across the curriculum.
LOOK OUT FOR…
Look and listen out for these
Romeo & Juliet highlights
3
Who was
Rudolf Nureyev?
Rudolf Nureyev (17 March 1938 – 6 January 1993) was a Soviet-born ballet dancer, and
one of the most celebrated of the 20th century. Nureyev’s artistic skills explored expressive
areas of dance, providing a new role for the male ballet dancer who once served only as
support to females, challenging public perceptions and expectations of ballet.
CHILDHOOD
Nureyev was born on 17 March 1938,
on a train on the Trans-Siberian railway,
somewhere near Lake Baikal. He was the
only boy of his parent’s four children.
Research the Trans-Siberian railway.
When was it built? What is its route?
How long is it?
“
There was simply from this
quite early age the awareness
that the only thing I wanted
was to dance
4
“
Life was tough for Nureyev growing up; food
was scarce, the roads unpaved, the winters
long and extremely cold. When Nureyev began
school he was laughed at for having no shoes
and wearing one of his sisters’ overcoats. On
New Year’s Eve, 1945, Nureyev’s mother, despite
having only one ticket, smuggled all her children in
to a performance of the ballet, Song of the Cranes.
Mesmerized, this was the catalyst for Nureyev’s life
as a dancer.
Nureyev began to learn folk dancing at school,
and following this began ballet lessons. His teachers,
Anna Udeltsova and Elena Vaitovich, who had both
danced professionally, saw Nureyev’s potential and
urged him to study in Leningrad, where they had
both trained.
Nureyev’s father forbade him to continue dancing
classes, and instead wanted him to focus on academic
studies. Nureyev’s mother however, turned a blind
eye when he sneaked off to lessons pretending he
was taking part in other activities.
TRAINING
When the company was on a tour stop in Moscow, Nureyev auditioned for the Bolshoi ballet
company and was accepted. However, he felt that the Vaganova Academy (Kirov Ballet
School) was the best, so he left the local touring company and bought a ticket
to Leningrad.
Owing to the disruption of Soviet cultural life caused by World War II, Nureyev was unable
to enrol in a major ballet school until 1955, aged 17. He auditioned for the Vaganova
Academy, and was successful, accepted with the comment "you’ll become either a
brilliant dancer or a total failure - and most likely a failure". Upon graduation, Nureyev
continued with the Kirov Ballet (now Marinsky Theatre) and went on to become a soloist.
Explore how Soviet cultural life changed as a result of WWII.
CAREER IN RUSSIA
Nureyev spent three years with the Kirov Ballet and danced fifteen roles, (including lead
roles in classic ballets Don Quixote, Giselle, La Bayadère, The Sleeping Beauty and Swan
Lake) and became one of the Soviet Union’s best-known dancers. Very quickly he had a fan
club eager to see his every performance, he was admired for his passion and individuality.
He was given special permission to travel outside the Soviet Union.
When the Kirov Ballet went to Paris in 1961 for its first foreign tour, Nureyev was watched
very closely by political agents, who had suspicions he was going to attempt to defect.
When the rest of the ballet company arrived at the airport to go to London for
performances, Nureyev instead was given a ticket to Moscow and told he was needed for
a gala performance. Disbelieving assurances that he would re-join the company in London,
he was worried he would never be allowed out of Russia again, so he decided to seek
asylum. With the help of friends and the French police, Nureyev was granted permission
to stay in France. When Nureyev did not return to Russia, Russian officials attempted to
damage his reputation, and he was sentenced to prison. Nureyev was immediately offered
an engagement with the company Grand Ballet du Marquis de Cuevas, and so Nureyev’s
dancing career in the West began.
Research other famous people from the world of ballet who defected from Russia, such as
George Balanchine and Mikhail Baryshnikov.
CAREER IN THE WEST
The Royal Ballet became Nureyev’s base until the 1970s, during which he frequently also
appeared as a guest star with other ballet companies. A very quick learner, he danced over
a hundred roles, by more than forty choreographers. Nureyev also created work during this
time, including Romeo & Juliet for London Festival Ballet (now English National Ballet).
Many roles were created specifically for him by an array of choreographers, including
Frederick Ashton, George Balanchine, Martha Graham, and Kenneth MacMillan. Nureyev
believed that a male should be allowed to dance as expressively as a female; exemplified
when a soft, slow solo was added to Swan Lake for Nureyev. Nureyev was also one of
the first ballet dancers, and by far the best known, to perform with contemporary dance
companies.
5
In 1983, Nureyev was appointed director of the Paris Opera Ballet, where, as well
as directing, he continued to dance and to promote younger dancers, including
Sylvie Guillem. Nureyev staged new versions of traditional classical ballets and
commissioning ground-breaking new choreographic work.
Research thes choreographers Nureyev worked with (Graham, Ashton, Balanchine and
Baryshnikov) and compare their work to Nureyev’s choreography.
RETURN TO RUSSIA
In 1989, Nureyev was finally given permission from the Soviet authorities to return to
Russia. He performed La Sylphide at the Kirov Theatre in Leningrad, where he had not
returned since 1961.
He was also able to visit his dying mother during this time.
DEATH
Sadly, Nureyev was diagnosed as HIV positive in 1984. Nureyev died on 6 January 1993,
aged 54, at the Hôpital du Perpétual Secours in Levallois-Perret, near Paris. He is buried
at the Russian cemetery of Sainte-Geneviève-des-Bois near Paris.
"The main thing is dancing,
and before it withers away from my body,
I will keep dancing ‘til the last moment,
the last drop."
Rudolf Nureyev
Create a timeline or map of Rudolf Nureyev’s career.
Information taken from The Rudolf Nureyev Foundation website:
http://www.nureyev.org/rudolf-nureyev-biography-index
6
Romeo & Juliet :
Synopsis
ACT I
“Some consequence, yet hanging in the stars,
Shall bitterly begin his fearful date
With this night’s revels...”
Act I Scene IV
Compare and contrast the opening of Nureyev’s production with Shakespeare’s play.
SCENE I – THE MARKET SQUARE
The city of Verona is split by a feud between the Montague and Capulet families. Romeo,
a young Montague, is paying court to Rosaline but she rejects his advances. An encounter
between the retainers of the rival families turns into a brawl. Benvolio tries to pacify his
followers, the Montagues, but Tybalt encourages the Capulets. Mercutio, who is friendly
with both families, joins in cheerfully on both sides. The quarrel is interrupted by the arrival
of the Prince of Verona and peace is temporarily restored.
SCENE II – JULIET’S ANTEROOM
Juliet is playing with her companions and her nurse. Her parents, Lord and Lady Capulet,
and Juliet’s cousin, Tybalt, arrive. Juliet is introduced to Paris, a young man whom her
parents have chosen to be her husband and who has brought Juliet a wedding dress
as a gift.
7
SCENE III – OUTSIDE THE CAPULET HOUSE
The Capulet family members welcome guests to their ball; Lord Capulet invites Mercutio
and his friends to join them. Meanwhile, Romeo is dismayed by another rejection from
Rosaline, and Mercutio and his friends mock the discomforting effects of love and
persuade Romeo to accompany them to the Capulet’s ball in disguise.
In the ballroom scene, how can you tell who the Montagues and the Capulets are?
SCENE IV – THE BALL
Tybalt leads the dancing with Lady Capulet, and the whole assembly celebrates its solidarity
against the Montagues. Juliet enters and performs a betrothal duet with Paris. Romeo enters
with Mercutio and Benvolio and they join in the dance. At the first touch of their hands, Romeo
and Juliet fall in love. Romeo is recognised and Tybalt tries to throw him out but Lord Capulet
intervenes. Everyone joins in a final Wheel of Fortune dance.
SCENE V – THE CAPULET’S GARDEN
Romeo is hiding outside in the Capulet’s garden. Mercutio and Benvolio come in search
of him but Tybalt’s arrival disturbs them. As Juliet comes out into the garden Romeo
emerges and they pledge their love for each other.
8
ACT II
“Now Romeo is beloved
and loves again”
Act I Scene V
SCENE I – THE MARKET SQUARE
Romeo is waiting for news from Juliet. Juliet’s nurse has a letter for Romeo but she cannot
find him. Mercutio and Benvolio tease them both. The square fills up with market crowds,
acrobats and entertainers. The Nurse finally finds Romeo and delivers the letter. Romeo
reads that Juliet has arranged for Friar Lawrence to marry them secretly in his chapel.
Create one or a series of still images depicting this scene.
SCENE II – A CHAPEL
Romeo is waiting in the chapel. Juliet arrives and the two lovers are married by Friar Lawrence.
SCENE III – THE MARKET SQUARE
The rival factions vie with each other in displays of dancing. Mercutio and Benvolio arrive
followed by Tybalt, who is angrily looking for Romeo. He tries to provoke Romeo to fight and,
when Romeo refuses, accuses him of effeminacy. At this insult Mercutio challenges Tybalt.
He jokes as they fight, but Tybalt is serious: a knife flashes and the revellers find that Mercutio
has been killed. The Montagues force a sword into Romeo’s hand and he fights with Tybalt
and kills him. The Prince arrives with Juliet, who finds that her new husband has become
her cousin’s murderer. Romeo is condemned to leave the next morning for exile in Mantua.
ACT III
Create a Montague and Capulet family tree.
“Come, nurse. I’ll to my wedding bed,
And death, not Romeo, take my
maidenhead!”
Act III Scene III
SCENE I – JULIET’S BEDROOM
While Paris discusses his marriage to Juliet with Lord and Lady Capulet, Juliet sits in her
room filled with dread. Romeo steals in by the window and their marriage is consummated.
Day breaks and he must leave for Mantua. Juliet’s family returns and forces her to prepare
for her wedding to Paris. Juliet, in despair, tries to find the courage to kill herself, but the
memory of her marriage to Romeo inspires her to seek the help of Friar Lawrence.
SCENE II – A CHAPEL
Juliet runs to Friar Lawrence for advice, but finds Paris discussing the wedding. Friar Lawrence
gets Paris to leave and explains to Juliet a way out of her predicament. She is to drink a potion
which will send her into a deep sleep. Thinking her dead, her parents will place her in the family
crypt. Meanwhile, Friar John will have warned Romeo in Mantua and he will return at night
to carry her away when she awakes. Juliet foresees herself reunited with Romeo.
9
SCENE III – JULIET’S BEDROOM
Juliet pretends to agree to marry Paris. Left alone, she is filled with doubts. Should she choose
suicide using Tybalt’s dagger thereby preserving the family honour, or follow the advice to live
for love? Finally she decides to drink the potion.
SCENE IV – JULIET’S ANTEROOM
Paris arrives to greet Juliet with his marriage retinue of musicians and dancers. But when
her family tries to wake her she appears to be dead. The wedding turns into a funeral.
Benvolio hurries away to tell Romeo.
SCENE V – THE ROAD TO MANTUA
On the way to Mantua with Friar Lawrence’s letter to Romeo, Friar John is attacked, robbed
and killed. Romeo never receives Friar John’s message.
SCENE VI – MANTUA
Ignorant of all that has happened in Verona since he left, Romeo dreams of Juliet. He is woken
by Benvolio bringing news of Juliet’s apparent death. Seized with despair, he leaves for Verona.
SCENE VII – THE CAPULET CRYPT
Juliet is laid to rest in the Capulet crypt. When the mourners have gone, Romeo steals in to
say farewell. He finds Paris there and kills him, then distracted by grief, he poisons himself.
Juliet wakes to find Romeo dead beside her and kills herself with his dagger. The families
are finally united in grief.
“Capulet, Montague,
See what a scourge is laid upon your hate,
That heaven finds means to kill
your joyswith love.”
Act V Scene III
Explore William Shakespeare’s original text and draw comparisons between this and Nureyev’s ballet.
As an extension, compare Nureyev’s ballet with other interpretations of Shakespeare’s text, such as
American musical, West Side Story and Baz Luhrmann’s 1996 film.
10
What you didn’t know about
Nureyev’s Romeo & Juliet
In 1977, the legendary Rudolf Nureyev created his own version of the ballet Romeo & Juliet
for English National Ballet (formally London Festival Ballet). The weeks of creation were an intense
period for all of the dancers and staff involved. Here are some fun background facts about it.
IF IT HAD BEEN UP TO NUREYEV, JULIET WOULD HAVE BEEN DANCED BY A BOY!
Nureyev had originally studied the play in Russian and was intrigued by the fact that in
Shakespeare’s time there were no female actors. According to Patricia Ruanne, the original
Juliet, he had thought about having this role performed by a man too!
Look at the role of men and women in theatre throughout history.
NUREYEV’S ORIGINAL MUSIC CHOICE WAS NOT PROKOFIEV’S SCORE.
The story has it that Nureyev’s original plans involved using 13th and 14th century music
(the period in which the story is set), specially arranged for the choreography, instead of
Prokofiev’s famous score. As bold as that idea was, Nureyev soon realised that over
“two hours of that in the theatre might be very tiresome” and returned to the dramatic
music of Prokofiev.
Listen to 13th and 14th century music. How does this differ to the 20th century
score that Nureyev eventually chose?
THE FIRST REHEARSALS HAD
TO HAPPEN AT NIGHT.
When Nureyev first started working
on Romeo & Juliet , he was still busy
filming Valentino (a film directed
by Ken Russell in which he played
the role of 1920s silent movie star
Rudolph Valentino). To work around his
schedule, he asked principal dancers
Patricia Ruanne (Juliet), Frédéric Jahn
(Tybalt), Nicholas Johnson (Mercutio)
and Elizabeth Anderton (Nurse) to work
with him late in the evenings and on
Sundays. Those rehearsals often took
place at the Donmar Studios in Covent
Garden (now the Donmar Warehouse
theatre).
11
THE FINAL SCENE WAS NEVER PROPERLY REHEARSED.
One of the consequences of Nureyev’s full schedule was that he and Patricia Ruanne (Juliet),
never found the time to rehearse the final death scene. “We only discussed it over dinner”,
said Ruanne. Changes were thus made throughout the 1977 run to refine it to what it is today.
THE WORLD PREMIERE RUN LASTED OVER 3 WEEKS.
Its opening run was an epic 3½ weeks totalling 25 performances (2 -25 June 1977) at the
London Coliseum, at the height of Nureyev’s fame. Both Patricia Ruanne and Rudolf Nureyev
danced the leading roles at all performances, including matinees – no mean feat considering
the demands of the choreography. This was another result of Nureyev’s hyper activity:
he hadn’t had the time to rehearse any other cast.
12
Working with Nureyev:
An Interview with the original Juliet
Patricia Ruanne was the young dancer chosen by Rudolf Nureyev to dance the role of Juliet,
with him as Romeo. Having created the role of Juliet and danced it so many times with such a
star, the role really belongs to Ruanne. She and the original Tybalt, Frédéric Jahn, have returned
to stage Romeo & Juliet many times since then for English National Ballet and here she
discusses her experiences.
HOW DID RUDOLF
COME TO CREATE
ROMEO & JULIET FOR
THE COMPANY?
Rudolf had recently left the
Royal Opera House and needed
a ‘base’ company in London and
enjoyed the atmosphere of this
Company, London Festival Ballet
as it was then. Rehearsals had
already begun for Barry Moreland’s
Romeo & Juliet but the success of
Rudolf’s The Sleeping Beauty with
the Company must have influenced
the Director’s decision.
WAS THERE A SENSE OF
EXCITEMENT?
Naturally! The combination of very
unusual and challenging choreography,
Rudolf’s own contagious enthusiasm,
plus a very brief rehearsal period for a
created work was very stimulating!
WHAT KIND OF CHOREOGRAPHER
WAS NUREYEV?
Very interesting… he required a strong
classical base, but was very influenced by contemporary dance, especially Martha Graham,
Jerome Robbins and even Hollywood musicals.
Identify the key features of these choreographic styles which can be seen in Nureyev’s ballet.
13
IS THE ROLE OF TYBALT MORE TECHNICALLY DEMANDING THAN OTHER
CHOREOGRAPHY HE HAS PRODUCED?
Not demanding in terms of ‘steps’ but very demanding to produce good, convincing fight
scenes, and quite challenging to overcome the view of Tybalt as a ‘bad guy’. Rudolf required
us as actors just as much as dancers.
How do the dancers use classical mime to convey the story?
HOW DID THE OPENING PERFORMANCE GO?
Exceptionally well, considering that it was still a work in progress, for example Romeo and
Juliet’s death scene was discussed over dinner, but never rehearsed! Many changes were
made during that first season, which is one reason why there were no alternate casts for the
principal roles and changes were usually made at the half-hour call before we went on!
WHAT ARE THE MAIN DIFFERENCES BETWEEN NUREYEV’S ROMEO & JULIET
AND OTHER VERSIONS?
The Nureyev version is more faithful to Shakespeare’s play and it involves the whole
Company dancing a lot, as opposed to it just being a love story between Romeo and Juliet.
Look out for other themes explored in the ballet, such as fate, friendship and feuds, loyalty and time.
YOU HAVE TAUGHT THE PRODUCTION AT MANY DIFFERENT COMPANIES, DOES IT
FEEL DIFFERENT COMING ‘HOME’ TO TEACH IT?
It’s always a joy to be back with this Company. The thing we enjoy most is the ‘British’ tradition
of finding the theatrical sense of a production without sacrificing interpretation on the altar of
technique… just as Rudolf would have wished.
14
Romeo & Juliet : Music
Play Prokofiev’s score to your students and try to pick out themes, characters and moods.
Ask your students to think about making their own version of Romeo & Juliet.
What music would they use? Would it sound similar to Prokofiev’s score?
Explore the use of motifs in music, and how this is similar to motifs in dance.
Look out for music that you may recognise already!
Sergei Prokofiev’s score for Romeo
& Juliet is recognised as ‘a masterpiece
of dance and music’. Many of its
themes are familiar to audiences who
never go to the ballet or classical
concerts. Shakespeare’s play attracted
numerous choreographers before
the mid-20th century, who turned to
a variety of composers to provide
music, but since the mid-1940s,
when Prokofiev’s score became
familiar internationally, it is this
version that has provided the
foundation for most ballets of
Shakespeare’s tragedy. The
quality of Prokofiev’s score is a
contributing factor to Romeo
& Juliet featuring in the
repertoire of most ballet
companies.
Prokofiev’s published score
dramatically shapes the tragic
events and characterises
individuals. For example, for
Juliet’s character, Prokofiev
often uses a slow tempo,
with mostly string and
woodwind instruments. Throughout the score, Prokofiev lays a firm basis of musical strife and
evokes the idea of a force of destiny that underpins the plot.
15
HOW DOES PROKOFIEV’S MUSIC AND NUREYEV’S CHOREOGRAPHY
WORK TOGETHER?
Prokofiev’s descriptive music sets up the drama, but choreographers will often request
modifications to fit the vision of their individual production. Nureyev’s production emphasises
the role of fate, with the production opening to a scene of scurrying gamblers, and an
immediate awareness of mortality with the bodies of plague victims visible. To give this
dramatic opening more weight, Nureyev’s version introduces the music written for the
feuding between Capulets and Montagues, which is later repeated at the start of Act III
to remind the audience of Romeo’s banishment.
Some abridging also occurs in Act II with music being reassigned to different sections of
choreography, for example, Romeo performs a solo after receiving Juliet’s letter. Similarly,
music is rearranged in the last act to allow the inclusion of scenes showing the unsuccessful
delivery of the message about Juliet’s faked death, Romeo’s dream and Benvolio’s meeting
with Romeo in Mantua. Although changes have been made, no one could really accuse
Nureyev of distorting the score. Both Nureyev and Prokofiev took their inspiration from
Shakespeare’s play and drew from it the drama they brought to the ballet.
16
Schools’ Link Programme
Why not book a Romeo & Juliet Schools’ Link workshop for your students? Creative
repertoire workshops provide an insight into Romeo & Juliet and other English National Ballet
productions, and include a range of themes appropriate for different Key Stages.
"Outstanding teaching, clear, informative and
able to capture the boys understanding
of ballet in a fun way"
Vivienne Edwards, Teacher, Aldwickbury School
High-quality artistic practice is at the core of English National Ballet’s Schools’ Link
programme. Workshops are offered in schools, colleges and universities throughout
the UK, giving students the opportunity to engage with the world of ballet. We offer two
distinct options; Creative Repertoire workshops, exploring the stories, characters and
themes in English National Ballet repertoire, and Ballet Essentials workshops, focusing
on the physical and technical skills of ballet.
SPECIAL TICKET OFFER
As part of the Schools’ Link package, we offer all workshop bookers 11 FREE TICKETS
(10 students and 1 teacher) for an English National Ballet performance. All additional ticket
are then discounted at our special schools’ rate. More information about performance dates
and repertoire workshops can be found on our website at www.ballet.org.uk/learning/schools.
WHAT DO WORKSHOPS INCLUDE?
―
―
―
―
―
Professional artists to inspire and challenge students both physically and creatively, developing posture, co-ordination, stamina and engaging with live music
Support for students completing
their Arts Award
Cross-curricular links tailored to different Key Stages, offering students a deeper understanding of this creative art form
Links with English National Ballet – connecting students to one of the world’s greatest ballet companies and developing students’ cultural and artistic understanding
Discounted tickets to English National Ballet performances
HOW CAN I FIND OUT MORE?
Visit our website or contact
English National Ballet’s
Engagement Department
for more information
on 020 7581 1245 or email
[email protected].
17
18
― As a group, discuss the key characters of Rudolf
Nureyev’s Romeo & Juliet. What are their character
traits?
― In a circle, ask the students to create and share
gestures/short movement phrases to represent each
character. E.g. Juliet is young and in love, so her gesture
could be to gently place both hands on the heart.
― Moving from the circle, ask the students to travel around
the space (this could be combined with the Lords and
Ladies activity). As a character’s name is called, the
students should perform the gesture for that character.
Who’s Who?
Character Task
― Ask students to imagine that they are at the Capulet
ballroom.
― Thinking about posture and expression, discuss how
they would walk as a nobleman, Lord or a Lady.
― Ask students to imagine that they are at the busy
marketplace.
― Thinking about posture and expression, discuss how they
would move amongst the hustle and bustle of the Verona
market.
― At the teacher’s call, students respond and travel around
the space either embodying this noble and pompous style
of moving, or as if they are in the midst of the market.
Lords and Ladies/Marketplace
Warm Up Task
― As the students travel around the room
and pass each other in the space, develop
by adding character interaction in a ‘meet
and greet’. Each student performs a gesture
to their partner, and they have to guess which
character they are portraying.
― As a development ask the students to respond
to musical cues instead of teacher call outs.
― Play with the speed, direction and levels of
travel, building up the energy throughout the
activity.
― Add gentle joint mobility exercises, e.g. rolling
up and down the spine.
DIFFERENTIATION/DEVELOPMENTS
― Ask the students to be mindful of each
other in the space as they move from the
circle.
― Make sure that the students are spreading
out to use all available space in the room
rather than grouping together.
― As a development ask the students to
respond to musical cues instead of teacher
call outs.
― Play with the speed, direction and levels
of travel, building up the energy throughout
the activity.
― Add gentle joint mobility exercises,
e.g. rolling up and down the spine.
SAFETY CONSIDERATIONS/
TEACHING POINTS
― Images of key
characters.
― Music of your
choice in any
style/genre.
RESOURCES/
MUSIC
― to inspire and challenge students physically, developing posture, co-ordination, and stamina
― to respond creatively to music
― to develop choreographic skills
Through a variety of creative and practical tasks, learn about Rudolf Nureyev’s
Romeo & Juliet.
ACTIVITY
LEARNING OBJECTIVES
LESSON AIM OVERALL
The lesson plan below can be used in conjunction with the information provided in this Schools’ Pack, to deliver an inspiring exploration of this
timeless production, and bring Rudolf Nureyev’s Romeo & Juliet to life in school.
Key Stage 1&2 Example Lesson Plan
19
― Put all of the above material together: the Montagues
perform their section, followed by the Capulets
performing their sections. Each student then finds their
partner and performs their individual duel.
― To finish all students come together and create a final
tableaux showing the relationships between all of the
characters that they have explored throughout the
session.
Finale
― As a development to the above, ask each of the
Montagues to pair with a Capulet.
― Take a section of the material that they have already
created in their groups and ask them to travel this
movement forwards and backwards, towards and
away from their partner as if in battle.
Family Feuds
― Split the students into 4 groups. Groups A&B will be the
Montagues and groups C&D will be the Capulets.
― Using the gestures devised in the Character task
‘Who’s Who’, ask each group to create a short section
of movement that represents their family, ending in a
tableaux.
― Ask each group to perform their section to the other
family, and then ask both groups to perform their
sections at the same time, ending in their tableaux.
Montagues and Capulets
Creative Task
― ‘Dance of the Knights’ opens the Capulet’s Ballroom
scene. You are Lord/Lady Capulet, stood in the
downstage corner of the space waiting to greet your
guests.
― In pairs, ask students to walk from the opposite corner
thinking about the posture (recall Lords and Ladies warm
up task). Encourage students to think about timing and
musicality as they walk to the strong beat of the music.
― As they reach you, ask the students to create a tableaux,
as if introducing themselves to Lord/Lady Capulet before
they enter the ballroom.
Dance of the Knights
Travelling Task
ACTIVITY
― Develop this exercise by including specific
movements that the students must include.
― For example, a roll on the floor, a jump, or a
balance.
― Allow groups to share their material with the
rest of the class and vice versa.
― Develop this exercise by using different floor
patterns and changes of direction.
― Try putting on different pieces of music and
see how this changes the atmosphere of the
task.
DIFFERENTIATION/DEVELOPMENTS
― Some students/groups may need input
from the teacher when creating material.
Inspire the students with images, music, and
reminders of the characters.
― After a group has shared their work, allow
and encourage discussion relating to the
characters, music, and themes.
― Ensure your students have regular
opportunities to have some water to stay
hydrated.
― When the students are not dancing, ask the
students to line up at the side of the room
to keep the space clear for those who are
dancing.
― When waiting for their turn, ask students to
watch others dance, and reflect on what they
are observing.
― Encourage praise and improvement.
SAFETY CONSIDERATIONS/
TEACHING POINTS
― ‘Dance of the
Knights’ music, or
any other Romeo &
Juliet music.
― ‘Dance of the
Knights’ music.
RESOURCES/
MUSIC
20
― Return to the earlier task of walking around the room as a
Lord or a Lady.
― Begin with high energy and gradually slow the pace down
as the guests of the ballroom become more tired.
― When the pace has slowed down, bring the students into
a circle and ask them as if they are guests at the ball, to
curtsey or bow to each other to say goodnight, and end
the lesson.
Leaving the Ballroom
Cool Down
ACTIVITY
― Add gentle stretches throughout the cool
down.
― Add gentle joint mobility exercises.
― Add gentle breathing exercises to calm the
body systems down
DIFFERENTIATION/DEVELOPMENTS
― Slowing, continual activity such as walking
allows for cooling of muscles after physical
activity.
― It important to slow the heart rate to prevent
post-activity muscle soreness.
SAFETY CONSIDERATIONS/
TEACHING POINTS
― Calming and tranquil
music of your
choice.
RESOURCES/
MUSIC
21
― As a group, discuss the key characters of Rudolf
Nureyev’s Romeo & Juliet. What are their character
traits?
― In a circle, ask the students to create and share gestures/
short movement phrases to represent each character.
E.g. Juliet is young and in love, so her gesture could be to
gently place both hands on the heart.
― Moving from the circle, ask the students to travel around
the space. As a character name is called, the students
should perform the gesture for that character.
Who’s Who?
Character Task
― Ask students to imagine that they are at the busy
marketplace.
― Thinking about posture and expression, discuss how
they would move amongst the hustle and bustle of the
Verona market.
― Build into the task interaction beginning with simple
eye contact, to a nod of the head, to a wave, to a point
of contact, e.g. a handshake/embrace.
― Develop by asking students to vary the point of contact
using different body parts.
Marketplace Meet and Greet
Warm Up Task
― Allow groups of students to share their material
with the rest of the class and vice versa.
― As a development, the points of contact could
include counterbalances – using the weight of
the body to lean in towards or away from your
partner.
― Play with the speed, direction and levels of
travel building up the energy throughout the
activity.
― Add gentle joint mobility exercises, e.g. rolling
up and down the spine.
DIFFERENTIATION/DEVELOPMENTS
― Ask the students to be mindful of each
other in the space as they move from the
circle.
― Make sure that the students are spreading
out to use all available space in the room
rather than grouping together.
― Offer reminders of the characters if the
students need more input. Is the character
a Montague or a Capulet?
― Ensure the room is clear and floor is clean
(no sharp objects/spillages). The room must
also be a good temperature for physical
activity, i.e. not too hot or too cold.
― Ensure students are dressed appropriately for
physical activity with safe footwear/bare feet
(no socks).
― Gradually build up the intensity of activity
to avoid injury and ensure safe practice.
― As the energy builds throughout the class,
ensure you can be heard clearly over any
music.
SAFETY CONSIDERATIONS/
TEACHING POINTS
― Images of key
characters.
― Music of your
choice in any
style/genre with
a moderate pace
for warm up..
RESOURCES/
MUSIC
― to inspire and challenge students physically, developing posture, co-ordination, and stamina
― to respond creatively to music and text
― to develop choreographic skills
Through a variety of creative and practical tasks, learn about Rudolf Nureyev’s
Romeo & Juliet.
ACTIVITY
LEARNING OBJECTIVES
LESSON AIM OVERALL
The lesson plan below can be used in conjunction with the information provided in this Schools’ Pack, to deliver an inspiring exploration of this
timeless production, and bring Rudolf Nureyev’s Romeo & Juliet to life in school.
Key Stage 3&4 Example Lesson Plan
22
― ‘Dance of the Knights’ opens the Capulet’s Ballroom scene.
The students are Lords and Ladies who are guests at the
ball.
― Contrasting to the posture and dynamic of the
marketplace in the warm up task, ask the students to start
by walking around the space thinking about the pompous
posture and expression of the Lords and Ladies at the ball.
― They must also think about timing and musicality as they
walk to the strong beat of the music.
― Following this, introduce stage directions. Downstage
(the front of the room), upstage (the back of the room),
stage left and stage right (the sides of the room from the
students’ perspective).
― As a group, design a floor pattern using these directions
and create a sequence to ‘Dance of the Knights’.
― Walk for 6 counts in the direction then hold a position
demonstrating the Lords and Ladies pompous style.
Repeat following the floor pattern.
Dance of the Knights
Travelling Task
― As a development of the above, discuss as a group what
would happen if two of these characters met.
― Number each student either 1 or 2. As they continue to
move around the space, call out a character name for
each number, e.g. 1’s are Juliet and 2’s are Tybalt.
― Students should find a partner of the opposite number
and using the gestures devised earlier, explore how
the characters would perform these to each other and
interact, e.g. are the characters friends or enemies?
Hot Seat
ACTIVITY
― To develop a port de bras (arm sequence)
could be added to each 6 counts of walks.
A spiralling through the torso could also be
added.
― Try putting on different pieces of music and
see how this changes the atmosphere of the
task.
― Perform the sequence in small groups for each
other.
DIFFERENTIATION/DEVELOPMENTS
― Ensure your students have regular
opportunities to have some water to stay
hydrated.
― When the students are not dancing, ask the
students to line up at the side of the room
to keep the space clear for those who are
dancing.
― When waiting for their turn, ask students to
watch others dance, thinking about what
they like.
SAFETY CONSIDERATIONS/
TEACHING POINTS
― ‘Dance of the
Knights’ music.
RESOURCES/
MUSIC
23
― A key theme of Nureyev’s Romeo & Juliet is fate.
Explore this using chance choreography - a technique
developed by choreographer, Merce Cunningham.
― Ask the students to choose 6 movement, e.g. jump,
roll, turn, slide, walk, balance, and number these 1-6.
Then ask the students to think of six movement qualities,
e.g. slowly, sharply, gently, quickly, free, restricted, and
number these 1-6.
― Ask the students to find a partner and give each pair
2 dice.
― The students should roll both dice in turn and create
a chance sequence based on the roll of the dice.
― E.g. if a pair rolls 1&4 followed by 5&3, there sequence
would start with a jump performed quickly, followed
by a walk performed gently.
Fate
― Choose specific lines of text from Shakespeare’s play
(e.g. the lines highlighted in the synopsis – page 3,
which correlate with each act). Split the students into
small groups and assign a section of text to each group.
― Focusing on the line as a whole, rather than miming each
word, ask the students to think about the feeling, mood
or scenario of the line.
― First ask the students to create a tableaux to represent
this.
― Then ask the students to make this tableaux come to life
and create a short phrase of movement representing the
line of text, which brings them back to a tableaux to finish.
This tableaux could be the same as the starting tableaux
or different.
Using the Text
Creative Task
ACTIVITY
― Half of the pairs can perform their chance
sequences to the other half of the class, and
vice versa.
― The movement created through both creative
tasks can be put together to create a longer
piece of movement that can be performed.
― Encourage reflective discussion of the work
that they’ve seen and created
DIFFERENTIATION/DEVELOPMENTS
― Some students/groups may need input
from the teacher when creating material.
Inspire the students with images, music, and
reminders of the characters.
― After a group has shared their work, allow
and encourage discussion relating to the
characters, music, and themes.
SAFETY CONSIDERATIONS/
TEACHING POINTS
― Any music from
Romeo & Juliet.
― Experiment with
different pieces of
music to see how
this affects the
mood/atmosphere/
meaning of the
choreography
RESOURCES/
MUSIC
24
― Ask the students to imagine that they have taken the
sleeping potion that Juliet uses in Act II. Begin by asking
the students to walk around the space gradually slowing
the pace and winding down the energy. Incorporate
gentle stretching and mobility exercises.
― Once slowed right down, form a circle.
― As the sleeping potion take its effect, by isolating the
different body parts, imagine that it first affects the head
and shoulders. Ask the students to relax the head and
shoulders, and roll down the spine until the whole upper
body is ‘asleep’, with an easy bend in the knees.
― Gradually roll up to standing and repeat using slow deep
breaths to encourage relaxation through the whole body,
drawing the class to an end.
Sleeping Potion
Cool Down
ACTIVITY
― Add gentle stretches throughout the cool
down.
― Add gentle joint mobility exercises.
― Add gentle breathing exercises to calm the
body systems down.
DIFFERENTIATION/DEVELOPMENTS
― Slowing, continual activity such as walking
allows for cooling of muscles after physical
activity.
― It important to slow the heart rate to prevent
post-activity muscle soreness.
SAFETY CONSIDERATIONS/
TEACHING POINTS
― Calming and tranquil
music of your
choice.
RESOURCES/
MUSIC
This Schools’ Pack has been produced by English National Ballet,
supported by The Rudolf Nureyev Foundation.
ballet.org.uk
Tel: +44 (0) 20 7581 1245
Fax: +44 (0)20 7225 0827
Markova House, 39 Jay Mews, London SW 7 2ES
Registered in England and Wales. No 735040. Charity no. 214005
Registered Charity 214005
Design: Gaelle Lochner
Images © Dominic Photography, Patrick Baldwin, Belinda Lawley