the nutcracker – a canadian tradition study guide

Transcription

THE NUTCRACKER – A CANADIAN TRADITION
STUDY GUIDE
Kindergarten – Grade 8
The Nutcracker – A Canadian Tradition Study Guide
1
TABLE OF CONTENTS
About Ballet Jörgen Canada
3
A Note from the Choreographer
5
The Nutcracker, a Canadian Tradition –
Characters
The Nutcracker, a Canadian Tradition –
Synopsis
6
7
9
The Group of Seven Landscape Artists
Historical Background
10
About Piotr Ilyich Tchaikovsky
11
Before the Show
13
During the Show
14
After the Show
Exploring the Story & Visual Arts
Exploring Dance & Movement
Exploring Music
15
20
11
Resources
Writing a Dance Critique
The Creation & Performance of a Ballet
22
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Worksheets
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ABOUT BALLET JÖRGEN CANADA
Now in its 23rd successful season, Ballet Jörgen Canada is recognized as the only Canadian ballet
company with a repertoire consisting exclusively of original works, and as a centre of excellence in the
development of ballet choreography. Founded in 1987, Ballet Jörgen Canada is Ontario’s second
largest dance company with 16 full time dancers.
Since our inception, we have created over 100 ballets and supported the development of over 40
different choreographers. The impact of this work is substantial; many of the works created have
gone into the repertoire of other companies such as the Royal Winnipeg Ballet, Les Ballets Jazz de
Montréal, Ohio Ballet and The Hong Kong Ballet.
Ballet Jörgen Canada is now the country’s fifth largest dance company, in operating size and number
of dancers. We have made an impact by creating critically acclaimed, innovative and unique ballets
and bringing those ballets to communities that would otherwise not have an opportunity to see the
dance form. With the second largest tour audiences of any ballet company, we serve more Canadian
communities than any of our provincial counterparts. We have long been recognized as a company
that strives for nothing but excellence in its product, its outreach and its impact on audiences.
Six choreographers who have benefited from Ballet Jörgen Canada’s creative programs, including
company co-founder Bengt Jörgen, have gone on to win the Clifford E. Lee Award for Choreography,
administered by the Banff Centre for the Arts.
Ballet Jörgen Canada is one of the few Canadian dance companies with a true national reach, serving
close to 50 communities annually. It is heavily involved in community outreach and educational
initiatives and has a strong provincial, national and international reputation. The company focuses on
underserved communities and urban neighbourhoods and has attracted strong community partners
such as George Brown College in Toronto and Symphony Nova Scotia in Halifax. With George Brown
College the company runs George Brown Dance, the only college-level dance program in Canada.
Ballet Jörgen Canada engages annual audiences of over 50,000 in communities across the country
with performances that challenge convention. By developing relevant works reflecting contemporary
sensibilities by local artists, Ballet Jörgen Canada is successfully building audiences and interest in
the art form across Canada. We receive a 99% approval rating in audience feedback and the passion
we inspire in our audiences is the reason Ballet Jörgen Canada has had such positive impact on
provincial and national attendance numbers for dance.
“Ballet Jörgen Canada is easily the most exciting chamber company in dance today.”
– The Hamilton Spectator
“A rare and exhilarating find.” – The New York Times
“Magical, innovative, whimsical and utterly magnificent, just the kind of beauty the world needs now.”
– Washington’s Original Arts NewsMagazine
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BALLET JÖRGEN CANADA – 2010/2011 SEASON
ARTISTIC DIRECTOR AND CEO
Bengt Jörgen
CO-FOUNDER
Susan Bodie
DANCERS
Sanija Abilmajineva
Hannah Mae Cruddas
Daniel Da Silva
Taylor Gill
Cristina Graziano
Gustavo Hernandez
Yoo Sang Hong
Jennifer Lee
Heather Lumsden-Ruegg
Preston McBain*
Kealan McLaughlin
Livan Pujada
Danielle Rosengren
Ayva Rossouw-Holland
Hiroto Saito
Alyssa Stevens
Cristina Tucciarone
*Appear courtesy of Canadian Actors’ Equity Association
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A NOTE FROM THE CHOREOGRAPHER ABOUT THE THE NUTCRACKER, A CANADIAN TRADITION
My goal in creating this production was to recreate the Nutcracker so it would fit in a Canadian context but
still tell the basic Nutcracker story. It evolved from our old Nutcracker production which was very traditional,
set in an upper middle class household in Europe. By setting our new production in a small rural
community in Ontario, I was able to connect the production to a more interesting set of characters and also
firmly anchor it in our own heritage. The traditional dances in the Second Act are from cultures around the
world, marking Canada’s diverse cultural landscape. I was also able to transform the Second Act into a
summery forest scene in Algonquin Park with the dances in the second act representing distinct animals
found in this area such as Loons, Raccoons and Bears.
The choreography is classically based but many of the dances, particularly in the First Act’s School House
Scene, are folksier and reflect the characters in that scene. Much of the choreography is what could be
described as neo-classical which is freer and flows more than strictly classical ballet.
I have tried to build into the quality of the movement the characterizations for each character, for instance
the Snowflakes are very crisp, sharp and fast moving to indicate a snow flurry. The Loons have very long
gentle movements to indicate a very graceful quality, while our teenage rough-housing Bears are big and
strong and unrefined in their quality, to give a sense of they move in real life.
The use of Group of Seven Paintings to frame the story naturally provides for a very Canadian view point
and helped shape the overall story for the ballet. I am particularly delighted to have created a ballet
connected to one of my own favourite pastimes, canoeing in Ontario’s Algonquin Park.
I hope in the end that this production succeeded in some small way to combine the magic of painting with
the magic of dancing into an enjoyable and, dare I say it, moving perspective of Canadian art.
Bengt Jörgen
Artistic Director & CEO
Ballet Jörgen Canada
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THE NUTCRACKER, A CANADIAN TRADITION
CHARACTERS, IN ORDER OF APPEARANCE
Act I
Well-to-do Family
Daughter
Father
Mother
Maid
Farming Family
Son
Daughters
Mother
Father
Lumber Jacks
Woodchopping Girl
Young Woman
Younger Sister
Grandma
Grandpa
Immigration Aid Worker
Klara
School Teacher
Painter
Sock Bunny
Horned Owl
Nutcracker
Red Fox
Skunk
Wolf
Skipping Rope Handles
Mounties
King Bat
White-Tailed Deer
Snowflakes
Act II
Beavers
Frogs
Young Dragonflies
First Bear Cub
Squirrels
Lord & Lady Birch
Raccoons
Loons
Dragon Fly
Bears
Mother Spruce
Squirrels
Chipmunks
Second Bear Cub
Trillium Flowers
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THE NUTCRACKER
The Nutcracker is a fairy tale-ballet in two acts, three scenes. It was commissioned by the Imperial
Theatres, St. Petersburg, Russia, and it premiered at the Mariinsky Theatre in 1892. Composed by Pyotr
Ilyich Tchaikovsky, the choreography was Marius Petipa and based on Alexandre Dumaspère's
adaptation of The Nutcracker and the Mouse King by E.T.A. Hoffmann.
The Nutcracker, a Canadian Tradition premiered on November 21, 2008 at the Confederation
Centre of the Arts, Charlottetown, PEI, with new Choreography and Story Adaptation by Bengt
Jörgen, to the music of Pyotr Ilyich Tchaikovsky. This version has Sets & Costumes by Sue LePage
and the Original Lighting Design is by Bonnie Beecher.
THE NUTCRACKER, A CANADIAN TRADITION SYNOPSIS
Act 1
It is Christmas Eve 1912, in the small village of Bisset, Ontario, north of Algonquin Park. The
community is preparing for a holiday celebration and a rare respite from every-day hard labour.
People are gathering, a Christmas tree is cut and everyone heads to the school house for the
festivities. Klara, a young girl recently orphaned and sent to Canada to join her older sister, arrives.
With the party already in full swing, Klara is warmly welcomed by everyone except by the daughter of
the one well-to-do couple in the community with whom Klara’s sister is employed as a maid. The
celebrations are interrupted by the arrival of a painter who brings hand made toys for the kids and a
painting for his sweetheart, the local school teacher. Klara is left without a wooden toy, since she is an
unexpected arrival. She then brings out the one heirloom from her home, a beautifully decorated
Nutcracker which immediately makes her the centre of attention. The daughter of the well-to-do family
grabs the Nutcracker and in a fit of jealous anger, throws it into the wood stove. An inconsolable Klara
stomps off, hides behind a school desk and falls asleep. As the Party comes to an end and everyone
is leaving, Klara’s sister is growing worried. When she cannot find her sister she rushes out together
with the painter and the teacher to look for Klara.
When Klara wakes up she finds the school house deserted and growing cold. She is all alone! She
notices the painter’s beautiful coat and as she puts it on, her world starts to change. Creatures of the
wood are intruding; giant sized toys come alive and from the stove pops a life size Nutcracker. Klara
is no longer alone. She has a friend! Together they have to face the attacks of King Bat and his
cunning compatriots. A wild battle ensues, ebbing back and forth. Bowling pin Mounties join the fray,
but it is Klara and the Nutcracker who save the day and defeat King Bat. As the walls of the school
house fade away, Klara and the Nutcracker enter the beautiful snow covered forest on a sleigh drawn
by white tailed deer. Out of the snow lovely snow flakes appear, mesmerizing and blowing Klara and
the Nutcracker deep into the forest. As the snow starts to fall, Klara and The Nutcracker realize they
are lost. Tired they fall asleep in the snow.
Act 2
Klara wakes to find all the snow gone and the forest in full summer bloom. Amazed she wakes the
Nutcracker. The ice has turned to water with beavers, frogs and squirrels guiding Klara and the
Nutcracker ever deeper into the forest until they come face to face with Lady and Lord Birch. Klara
and the Nutcracker, explaining that they are lost, are welcomed to stay to meet
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some of the animals and flowers of the woods. Raccoons, loons, dragonflies, bears, flowers, a giant
spruce tree and the small animals living under its branches, entertain the two guests of the forest.
Finally Lord and Lady Birch sway their majestic crowns in a twirling pas de deux. Klara is exhilarated
by the warm welcome and applauds them all. Bidding farewell Klara and the Nutcracker fall asleep as
they are escorted out of the forest by two bears.
When Klara wakes, she is back in the school house and alone. It was all just a dream! She runs to
the window, but sees no one, as she disappointedly turns back she notices her old wooden
Nutcracker on the school desk and remembers her dream - she is not alone – her new world is full of
beauty – places, people and creatures to meet!
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THE GROUP OF SEVEN LANDSCAPE ARTISTS
"We had commenced our great adventure. We lived in a continuous blaze
of enthusiasm. We were at times very serious and concerned, at other
times hilarious and carefree. Above all, we loved this country and
loved exploring and painting it." – Lawren S. Harris
The story of the Group of Seven Artists began in the early 1900s when several Canadian Artists –
Tom Thomson, J.E.H. MacDonald, Arthur Lismer, Frederick Varley, Frank Johnston and Franklin
Carmichael – began noticing a similarity in their distinct painting style. Later, A.Y. Jackson, James
MacCallum, L.L. FitzGerald and Lawren S. Harris joined the group. In early 1917, tragedy struck when
Tom Thomson drowned in Algonquin Park's Canoe Lake, under suspicious circumstances. In 1920,
the artists mounted their first exhibit and formally called themselves the Group of Seven. The Group's
final joint exhibit was in December 1931 and after J.E.H. MacDonald died in 1932, the group
disbanded.
FRANKLIN CARMICHAEL
(1890 - 1945)
Church and Houses at Bisset
c.1931, oil on paperboard
25.2 x 30.4 cm
L.L. FITZGERALD
(1890 – 1956)
Trees and Wildflowers c.1922
chalk pastel on paperboard
56.0 x 65.4 cm
An excellent designer and graphic artist, Franklin Carmichael was
born in Orillia and many of his finest paintings feature subjects
from this region of Ontario. Work responsibilities throughout the
1920s restricted travel to locations close to home and
Carmichael’s work consistently reflects the rich celebration of
nature that typifies Group of Seven paintings. Like A.J. Casson,
Carmichael also enjoyed capturing images of small towns in his
work and Church and Houses at Bisset, circa 1931, features
houses and a church set in a rural composition that was likely
recorded during one of Carmichael’s sojourns in southern Ontario
and along the shores of Lake Superior throughout the 1930s. The
scene suggests the same intimacy that A.Y. Jackson creates in
his paintings of remote Quebec villages.
L.L. FitzGerald represented the western Canadian voice of the
Group of Seven. Working from Winnipeg, his membership
helped to fulfill the national aspirations of the Group, although his
association with them came very late. A teacher by occupation,
FitzGerald is noted for his accomplished pointillist* canvases that
combine common subjects with intensity of vision leaving simple
compositions, such as a backyard scene, a house plant, or
garage impressed in the viewers’ mind. Trees and Wildflowers,
completed in 1922, is an example of a FitzGerald drawing in
chalk pastel that complements the work of other Group of Seven
members. FitzGerald often drew subjects in pencil, pen and ink
and curators consider these works to be as complete as any of
his paintings and afford them a place of importance in Canadian
graphic art.
*Pointillism is a style of painting in which small distinct points of
primary colours create the impression of a wide selection of secondary
and intermediate colours.
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TOM THOMSON
(1877 – 1917)
Snow in the Woods c.1916
oil on wood panel
21.9 x 27.0 cm
Tom Thomson was a seminal figure in the early days of the
artistic movement which would eventually become known as the
school of the Group of Seven. His natural artistic gifts and
passion for nature inspired his colleagues to explore remote
regions of the country, document the land and develop the
definitive style that was to become the signature of the Group.
Though he died under mysterious circumstances before the
Group officially formed in 1920, Thomson’s name is synonymous
with the famous band of Canadian artists and he remains a
national icon.
ABOUT THE MCMICHAEL CANADIAN ART COLLECTION
The McMichael Canadian Art Collection ranks among Canada’s top public galleries in size and
significance. Almost 6,000 distinctively Canadian works of art comprise the remarkable collection that
includes oil paintings, watercolours, field sketches, sculpture, and archival photographs. The
McMichael is renowned for exclusively showcasing 20th-century Canadian art, featuring exhibitions by
the Group of Seven, First Nations, Inuit, and contemporary artists. The relevance of the gallery to its
ever-growing audience is attributed to major touring exhibitions that broaden perspective on Canadian
art and identity. These exhibitions honour the original mandate to exhibit artists who have made a
contribution to the development of Canadian art. The gallery welcomes on average 120,000 visitors
annually, including international tourists and school children, and is located in the historic and
charming village of Kleinburg. Special thanks to Janine Butler, Scott McDonald, Peter Ross & Tom
Smart. Visit www.mcmichael.com.
Ballet Jörgen Canada’s The Nutcracker, a Canadian Tradition was developed in collaboration with the
McMichael Canadian Art Collection
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HISTORICAL BACKGROUND: THE NUTCRACKER
First performed at the Mariinsky Theatre in St.
Petersburg, Russia, on December 17, 1892, The
Nutcracker was judged as a complete failure by
critics and audiences alike. It is ironic then that a
ballet so disliked at the time of its creation became
one of the world’s most famous ballets.
The ballet had uncertain beginnings. Both Marius
Petipa and Pyotr Tchaikovsky refused the
commission offered by the Imperial Theatre to
create The Nutcracker, but were eventually
convinced to take on the project. (Petipa and
Tchaikovsky had previously created The Sleeping
Beauty together.) The ballet was adapted from
E.T.A Hoffman’s story Der Nüssknacker und Der
Mausekönig (The Nutcracker and the Mouse King),
a very dark and disturbing story. The French writer
Alexander Dumas changed the story to appeal to a
wider audience, and it was this version that Petipa
simplified for his ballet. Petipa fell ill before
completing the choreography and Petipa’s
assistant Lev Ivanov stepped in to complete it.
Petipa and Tchaikovsky worked closely together.
Petipa provided Tchaikovsky with very detailed
instructions on the rhythm, tempo and number of
measures for each dance, leaving him little room
for personal creation. Tchaikovsky wrote that he
‘liked the plot of the Nutcracker very little’ and
found the second act ‘particularly feeble.’ To save
time, he recycled materials from some of his earlier
works. However, his interest in the ballet was
renewed after a trip to Paris where he discovered a
newly invented instrument, the celesta. The belllike tones of the celesta inspired the music for the
Dance of the Sugar Plum Fairy, which was very
appropriate for Petipa’s instructions that the Sugar
Plum Fairy was to be represented in music with
‘the sound of water, as if falling from a fountain.’
Tchaikovsky had the instrument secretly shipped
to St. Petersburg, as he was afraid other
composers would learn about the instrument and
use it in an orchestra before he had the chance to.
the lack of a logical plot line, the abundance of
divertissement dancing in the second act and
uninteresting dramatic action. In spite of the initial
failure, the ballet was re-staged and continues to
be re-staged all over the world. Some notable restagings include the first mounted outside of
Russia at the Sadler’s Wells Theatre, London
(1934) and a version by George Balanchine for
the New York City Ballet (1954). The Nutcracker
remains a Christmas tradition for many families, a
ballet is pretty, delightful, carefree and meant for
pure enjoyment
The second act, filled with divertissements, is
reminiscent of the early ballets of court pageants in
France. Set during the holiday season, it
celebrates prosperity and good times. The dances
highlight a variety of international treats, such as
chocolate, tea, coffee and the most famous, the
sugarplum. These treats emphasize the opulence
of that traditionally marks the holiday season. Act
II’s international theme coincides with Russia’s
increased presence in the world market after years
of isolation at the time of the ballet’s creation.
Ballet Jörgen Canada’s The Nutcracker, a
Canadian Tradition premiered on November 21,
2008, with original choreography and a truly
Canadian theme. As there are no children in the
Company, Ballet Jörgen incorporates children into
the ballet from the communities where it performs.
Musical Note:
The celesta was invented in Paris in 1886 and
resembles a miniature upright piano. It is actually a
percussion instrument, as it is sounded by mallets
that strike steel tuning forks in the soundbox. The
mallets are controlled by keys on the keyboard.
The celesta sounds one octave higher than the
written notes.
With such accomplished composers and
choreographers, why was the ballet at first such a
disappointment? One critic wrote that ‘it can under
no circumstances be called a ballet.’ Many fans of
ballet were disappointed that the ballerina only
appeared in divertissement roles and that children
played the lead characters. Others were put off by
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PYOTR ILYICH TCHAIKOVSKY
Tchaikovsky was born in Votkinsk, Russia in 1840.
It is documented that he was a highly emotional
and neurotic personality. Tchaikovsky is one of the
most frequently performed Romantic composers
and his operas, Eugene Onegin and The Queen of
Spades, continue to be performed today, as do his
ballets, The Sleeping Beauty, The Nutcracker and
Swan Lake.
Tchaikovsky studied at the St. Petersburg
Conservatory from 1863 to 1865, during which
time he wrote his first symphony, Winter
Daydreams, and his first opera, Voyevod.
From 1869 to 1870, Tchaikovsky wrote three more
operas and many other compositions, such as his
Piano Concerto No. 1 in B Flat, and his first
fantasy overture, Romeo & Juliet. In 1876, he
completed his first full-length ballet score, Swan
Lake and in 1877, composed the opera Eugene
Onegin, based on the nineteenth-century Russian
poet Aleksandr Pushkin’s work of the same name.
That year and now living in Moscow, Tchaikovsky
married his pupil Antonina Ivanova Miliukova, an
unhappy union that lasted only nine weeks. His
brother, Modest, took him back to St. Petersburg,
where Tchaikovsky suffered a nervous breakdown.
While in St. Petersburg, he started a relationship
with a wealthy widow, who agreed to be his patron
under the conditions that they should never meet.
This relationship and his increasing number of
commissions allowed Tchaikovsky to give up his
teaching job and live a rather elegant lifestyle.
During this time, he produced his second ballet
score, The Sleeping Beauty.
In 1890, his patron terminated their relationship
because of her fears of going bankrupt. This was
devastating to Tchaikovsky, but he carried on,
creating his powerful opera The Queen of Spades
in 1890. In 1891, Tchaikovsky traveled to New
York to share in the opening ceremonies of
Carnegie Hall.
When Tchaikovsky returned to Russia, he began
work on The Nutcracker with choreographer
Marius Petipa, his last ballet. Following this,
Tchaikovsky began work on his Sixth Symphony,
known as Pathétique, a work into which he ‘put his
soul.’ Tchaikovsky died a week after this
symphony premiered in St. Petersburg, performed
under his direction. Tchaikovsky is remembered in
the ballet world as a composer who elevated the
writing of ballet scores to a serious art form.
MUSIC AND BALLET
Music for ballet has changed greatly since its
beginnings. Today, dance often uses pieces of
music not specially composed for dance, but this
was not always the case.
During the Renaissance, dancers had their own
director and their own orchestra. The ballet master
was expected to be both the musical expert and
dance expert. Through the 19th Century, opera
composers wrote a dance divertissement for
productions, even though ballet had separated
from opera in the early 19th Century. Opera was
viewed as being far more serious than ballet
music, and dance music was often subordinate to
opera.
This changed starting in the late 19th Century. Leo
Délibes’ score for Coppélia is cited as the reason
for the ballet’s longevity and was one of the first
compositions to stimulate a sense of movement in
the music. Tchaikovsky’s compositions, such as
Swan Lake, suggest a sympathy for movement. He
also composed The Sleeping Beauty and The
Nutcracker.
During the late 19th and early 20th Centuries,
Russian composers dominated the art form.
Diaghilev loved Stravinsky’s Fireworks and
immediately commissioned him to compose The
Firebird. Stravinsky also wrote Petrushka and La
sacre au printemps. The Russian composer,
Sergei Prokofiev, composed full-length ballets,
such as Romeo and Juliet and Cinderella.
By the 20th Century, choreographers were using
any existing music as an accompaniment for
dance.
Want to know more about Tchaikovsky? Visit:
www.naxos.com
www.classicalarchives.com
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Group of Seven Nutcracker Study Guide
BEFORE THE SHOW
THEATRE ETIQUETTE
It is important to go over appropriate behaviour during a ballet performance. Here are some tips to keep in mind.
To respect the performers and other audience members, stay quiet throughout the performance and remain
in your seat with your feet on the floor.
Do not bring food into the theatre or open candy wrappers during the performance. The noise will be
distracting to the performers and other audience members.
Clap to show your appreciation at the end of a performance. However, if there is a moment in the
performance that you particularly liked, feel free to show the dancers your appreciation by clapping. Laughing
is great too!
Remember, no photos of any kind are to be taken during the performance. Flash photography is
distracting and dangerous for the dancers on stage.
For teachers and parents, be sure to turn off all pagers and cell phones before the performance begins.
PRE-SHOW ACTIVITIES
Worksheet Provided
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Read a version of the Nutcracker story. You can also use the Ballet Jörgen Canada synopsis provided in this
guide. Have the students identify elements of the story:
Characters
Setting
Time
Plot
Central Idea
Discuss what a ballet is. Do the dancers speak to tell the story? What can the dancers use to tell the story
without talking (i.e. movement, facial expressions, gestures)?
What other elements help bring a story to life (i.e. music, setting, costumes)? Introduce the terms costume,
set, props, choreographer, mime.
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How do the students think the story will be told through dance? Have them pick (or assign) a scene for them
to interpret without using words, only movement, facial expressions, basic mime or tableau (suggestions
below). Compare later with what they saw in the show.
Battle between King Bat and his animal compatriots (Owl, Skunk, Fox and Wolf) against Klara and the
Toys (Nutcracker, Sock Bunny, Mounties and Skipping Rope Handles)
The town of Bisset Christmas Eve Celebration
Klara telling her story to Lord and Lady Birch
What kind of costumes do the students think the performers will wear? What kind of sets will be used?
Listen to a selection of The Nutcracker by composer Pyotr Ilyich Tchaikovsky. What does the music make
them think about (i.e. winter, holidays, a party)? What kind of dances could be used (i.e. groups, solos)?
Have them demonstrate, draw or write about their ideas.
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THINGS TO WATCH FOR DURING THE SHOW
What props are used, when and by whom?
What kinds of costumes are worn? Are the clothes at the Christmas party what would be worn today? What
about the costumes in the second act?
What countries are represented by dances in the second act?
How does the music help tell the story?
How many scenes are Klara and the Nutcracker in?
Notice how the kinds of shoes change from character to character. Why do you think this is? (i.e. “character”
shoes for dancing at the Christmas Party, “pointe” shoes for Snowflakes, Trillium Flowers etc.)
How can you tell each of the characters apart? (i.e. costume, movements, music)
What kinds of shapes or formations do the dancers form in group dances?
Do any of the dancers perform more than one role during the ballet?
Notice the Group of Seven paintings which are used as backdrops. How many times is the ballet set in each
of the 3 scenes (identified by the painting)?
DID YOU KNOW?
In one performance of Ballet Jörgen Canada’s Nutcracker, 485 turns and pirouettes are performed!
Each night, a Ballet Jörgen Canada Company Member may perform up to five roles!
It would take 48.5 hours to perform the 2008 Nutcracker tour without interruptions or intermissions.
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AFTER THE SHOW
Worksheet Provided
Most activities in this guide are suitable for grade levels Kindergarten to Grade 8. The activities may be
modified in terms of complexity for each grade. Those that are for a specific level have been labelled as such.
At the end of each section, curriculum connections are listed.
EXPLORING THE STORY
The Plot and Themes
(K – Gr. 2) This story takes place during the Christmas season. What other holidays and celebrations take
place during the winter? Ask others in the class what holidays they celebrate and how they are celebrated.
Share family traditions with the class.
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(Gr. 3 – 8) Have the students put together how winter holidays would be celebrated for the following
categories. Students can explore ideas through plays, visual art (i.e. posters, murals, collage), writing, orally.
Grade 3 – Pioneer Times
Grade 4 – Medieval Times
Grade 5 – Early Civilizations
Grade 6 – Canadian Aboriginal Cultures
Grade 7 – New France (17th and 18th Centuries)
Grade 8 - In Canada during WWI
The Nutcracker, a Canadian Tradition is a Canadian ballet. Have the students identify and describe the
Canadian elements in the work.
Imagine in this ballet that King Bat and his compatriots won the battle. Brainstorm ideas and write a short
story, play or description of what would have happened (this can be done as a class, in groups or
individually). Their theories can be acted out as well.
Assume the role of a reporter and write a review for the show. Kindergarten to Grade 3, students pick words
that best describe the ballet. Use the ‘tips for writing a dance critique’ included at the end of this guide.
(Gr. 4 – 8) In groups, students choose a scene and illustrate it by drawing a storyboard to draw important
moments in the scene – they may add captions, symbols, etc. Students then use tableau and movement to
bring the storyboard to life.
(K – Gr. 2) During the Christmas Party, the children must follow many rules and one is broken when a girl
throws Klara’s Nutcracker doll into the oven. In groups, discuss what rules must be followed at home when
friends come to visit. Why are these rules in place?
(Gr. 5 – 8) In the Nutcracker, Klara immigrates to Canada. As a class, brainstorm some of the issues that
immigrants to Canada must face upon their arrival. Have groups act out these situations.
The ballet features music from different cultural regions in the world. (Russian Dance – Bears; Spanish
Dance – Raccoons; Chinese Dance – Dragonflies). Have students identify other elements outside of the
music which help identify culture (costumes, dance movements). How are these scenes reflective of
Canadian culture?
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The Characters
In the role of Klara or the Nutcracker, write a journal entry about your journey and experiences.
Klara meets many creatures and characters during her adventure. Write a series of letters between Klara and
Lord and Lady Birch or the Chipmunks.
In pairs, one student assumes the role of Klara, and the other a television or radio host. Ask her to recount
her experiences.
The students brainstorm words (K-Gr.3) or write character sketches (Gr. 4-8) to describe characters from the
ballet (i.e. Klara, Nutcracker, Painter).
Make a drawing of your favourite character in the ballet. Why were they your favourite? What was their role?
In the Battle Scene, the toys (Sock Bunny, Mounties and Skipping Rope handles) fight King Bat with Klara
and the Nutcracker. In pairs, one student takes on the role of a reporter, the other a toys. Interview about
what happened during the battle. What are the toys’ reactions to what happened?
(Gr. 6 – 8) King Bat was an evil character, hating all the toys. Design posters, cartoons, media works, etc,
of a possible rebellion by the toys against King Bat.
The Setting
Most of this ballet takes place in two Seasons – A Snowy Winter Land and Warm Summer Land. Students
draw what they think these worlds look like.
Create a mural of one of the scenes of the ballet (i.e. in the Kingdom of Snow, dancing at the Christmas
party).
Have students locate Algonquin Park, the setting of Act 2, on a map of Ontario (South-East of North Bay).
Draw a map of the travels of Klara and the Nutcracker, using their map skills.
Gr. 1 – use of scale (i.e. small objects to represent large ones)
Gr. 2 – use of symbols, colours, directions
Gr. 3 – use of colours, map legends
Gr. 4 & 5 – use of cardinal and intermediate directions, non-pictorial symbols, colour
Gr. 6 – use of shading/colour to indicate variations in characteristics
Gr. 7 & 8 – create thematic maps, identify natural resources, routes
EXPLORING VISUAL ARTS
The Nutcracker features three paintings from the Canadian Group of Seven Landscape Artists as part of the
set.
(Gr. 3 – 8) Have students identify similarities and differences between the paintings (subject matter in
landscapes, elements of design)
How did each painting contribute to the ballet (to establish location, season, mood)?
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CURRICULUM CONNECTIONS – EXPLORING THE STORY
K-Grade 1
Social Studies

Demonstrate an
understanding of the need
for rules & responsibilities

Present the results of
focussed inquiries using
simple demonstrations,
drawings, & oral & written
descriptions

Make & read simple
models & maps of familiar
areas.
Grade 2
Social Studies

Share family
traditions with members of
the class

Identify community
celebrations that reflect
their own heritage and
Canadian identity

Communicate the
results of inquiries for
specific purposes

Use legends &
recognize pictorial
symbols on simple maps
Grade 3
Social Studies

Describe the
lifestyles of male & female
pioneers, & the various
roles of individuals in a
pioneer settlement

Communicate
information using media
works, oral presentations,
written notes & drawings

Construct & read a
variety of graphs, charts,
diagrams, maps & models
for specific purposes.
Language Arts
Organize information
so that writing conveys a
clear message.
Visual Arts
Use the elements of
design (colour, line,
shape, form, space,
texture), in ways
appropriate for this grade,
when producing and
responding to works of art
Drama/Dance

Demonstrate an
understanding of basic
elements in drama &
dance

Communicate
understanding of works in
drama & dance through
discussion, movement &
visual art
Language Arts
Communicate ideas
for specific purposes
Produce short pieces
of writing using simple
forms
Talk about characters
& situations in stories, &
information & ideas in nonfiction materials.
Visual Arts
Use the elements of
shape, form, space,
texture), in ways
when producing and
Drama/Dance

Describe basic
elements of drama &
dance

Communicate
understanding of works in
drama & dance through
discussion, movement &
visual art
Language Arts

Write materials
that show a growing ability
to express their points of
view and reflect on their
own experiences

Retell stories,
demonstrating an
understanding of basic
story structure & including
information about
characters, action & story
ending.
Visual Arts
Use the elements of
shape, form, space,
texture), in ways
when producing and
Drama/Dance

Describe basic
elements of drama &
dance

Interpret &
communicate the meaning
of stories, poems, plays &
other material, using basic
drama & dance techniques
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Grade 4
Social Studies

Communicate
information using media
written notes & drawings

Identify
distinguishing features of
medieval society

Construct & read a
for specific purposes.
Grade 5
Social Studies

Demonstrate an
understanding of some of
the values & beliefs on
which life in early
civilizations was based

Communicate
information about early
communities using media
written notes &
descriptions, maps etc.

Construct & read a
Grade 6
Social Studies

Describe the
relationship between
Aboriginal peoples & their
environment

Formulate questions
to serve as a guide to
gathering information

Construct & read a
Language Arts

Communicate a
main idea about a topic &
describe a short sequence
of events

Express &
respond to ideas &
opinions concisely &
clearly

Communicate
ideas & information for a
variety of purposes & to
specific audiences
Visual Arts
Use the elements of
shape, form, space,
texture), in ways
when producing and
Drama/Dance

Demonstrate
the principles involved in
the structure of works in
drama & dance

Communicate, orally
& in writing, their response
to their own & others’ work
in drama & dance
Language Arts
Communicate ideas &
information for a variety of
purposes & to specific
audiences
Communicate a main
idea about a topic &
describe a sequence of
events
Contribute & work
constructively in groups
Visual Arts
Use the elements of
shape, form, space,
texture), in ways
when producing and
Drama/Dance

Demonstrate
the principles involved in
the structuring of works in
drama & dance

Describe, orally & in
writing, their response to
their own & others’ work in
drama & dance & gather
others’ responses
Language Arts
Communicate a main
ideas about a topic &
describe a series of events
Use writing for a
variety of purposes in a
range of contexts
Communicate ideas &
information for a variety of
purposes & to specific
audiences
Visual Arts
Use the elements of
shape, form, space,
texture), in ways
when producing and
Drama/Dance

Demonstrate an
understanding of the
principles involved in the
structuring of works in
drama & dance

Evaluate, orally & in
writing, their own & others’
work in drama & dance
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Grade 7
History
Demonstrate an
understanding of
economic, political & social
life in New France
Communicate the
specific purposes &
audiences, using media
etc.
Geography
Produce maps for a
variety of purposes
Grade 8
History
Demonstrate an
understanding of the
impact of the war on
veterans, their families etc
Communicate the
specific purposes &
audiences, using media
works, political cartoons,
etc.
Geography
Produce a variety of
maps for specific purposes
Language Arts
Express & respond to
a range of ideas &
opinions concisely, clearly
& appropriately
Listen to &
communicate related ideas
& narrate real & fictional
events in a sequence
Visual Arts
Use the elements of
shape, form, space,
texture), in ways
when producing and
Drama/Dance

Describe the overall
effects of various aspects
of drama & dance

Evaluate, orally & in
work in drama & dance,
using criteria developed by
the class
Language Arts
Listen to &
communicate connected
ideas & relate carefully
constructed narrative
about real & fictional
events
Express & respond to
a range of ideas &
opinions concisely, clearly
& appropriately
Visual Arts
Use the elements of
shape, form, space,
texture), in ways
when producing and
Drama/Dance

Evaluate the overall
effect of various aspects of
drama & dance

Critique, orally & in
work in drama & dance,
using criteria developed
independently & in a group
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EXPLORING DANCE & MOVEMENT
Students (or the teacher) write a word that can be acted out on a slip of paper (i.e. animal, verb, emotion).
Put all the words into a box (bag, hat, etc). Sitting in a circle, students pick out a word and act it out for the
rest of the class (no words may be used). The other students must guess what words they are acting out.
Working in groups, students choose a character from the ballet (i.e. Klara, Painter, King Bat). In the ballet,
each character has a specific way of moving. The groups perform their character for the rest of the class,
who has to guess what character they are. Students should remember to use facial expressions in
addition to movement.
(Gr. 4-8) Students are assigned a scene from the ballet. In groups, students create a series of tableaux
that recreate the scene. Discuss why or why not the tableaux were effective.
Because dance does not use words, facial expressions are very important. The teacher calls out an
emotion for the students to express, just using their face. Later their whole bodies can be incorporated.
The class forms a circle (or break into groups and form a circle). The teacher starts by making a simple
movement. The next student then repeats the movement and adds one of their own. This continues
around the circle until back at the teacher.
CURRICULUM CONNECTIONS – EXPLORING DANCE & MOVEMENT
D ra ma & D a nc e
K-Grade 1
Create short dance
pieces, using techniques
learned in this grade
Grade 2
Create short dance
pieces, using techniques
Grade 3
Create short dance
pieces using techniques
Grade 4

Interpret &
communicate the meaning
of stories, poems, plays &
other material, drawn from
a variety of sources &
cultures, using basic
drama & dance techniques
Grade 5
Create dance pieces,
using a variety of
techniques
Grade 6
Create dance pieces,
using a variety of
techniques
Grade 7
Create dance pieces
using a variety of
techniques
Grade 8

Create dance &
drama pieces, selecting &
using a variety of
techniques
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EXPLORING MUSIC
What kind of moods do the various pieces of music in the Nutcracker create? How did the composer create
them? Was it well suited to the action in the story? (Examples, the Dance of Lady Birch, Russian Bear
Dance, Battle Scene).
•
•
•
•
•
Tchaikovsky used a very specific instrument, the celesta, to create the music for Lady Birch. What
instruments would the students use for parts of the Nutcracker and why? Instruments may also be invented.
Russian Dance – Bears
Spanish Dance – Raccoons
Chinese Dance – Dragonflies
Snowflakes
Battle between Rat King and the Toys
(K – Gr. 3) Listen to a selection of music. Students provide words that describe that piece of music (i.e. sad,
quick, funny). With a list of words, encourage students to describe the words through movement or facial
expressions.
(Gr. 4 – 8) Listen to a selection of music. Students write a reaction to the music or a description of what could
be happening in the music. Students may also create a short dance/movement sequence describing the
music.
Students create their own ‘body percussion’ to represent a specific character or event in the ballet.
CURRICULUM CONNECTIONS – EXPLORING MUSIC
Music
K-Grade 1
Communicate their
response to music in ways
appropriate for this grade
Grade 2
Recognize a variety of
sounds & use some in
performing & creating
music
Communicate their
Grade 3
Create & perform
music, using a variety of
sound sources
Communicate their
Grade 4

Identify and perform
music from various cultures
and historical periods

Create & perform
sound sources

Communicate their
Grade 5
Create & perform
sound sources
Communicate their
Grade 6
Create & perform
sound sources
Communicate their
Grade 7
Create & perform
sound sources
Communicate their
Grade 8

Create & perform
sound sources

Communicate their
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TIPS FOR WRITING A DANCE CRITIQUE
When critiquing a dance performance it is important to remember that it is about your opinions of the
performance. It is not a description of the performance, but is your own reaction, and should reflect your
own opinion. Try not only to say what you liked or did not like. Think about why you had these reactions.
Back up your ideas with examples and provide the reasoning behind your thinking. Below are some
things to consider.
General Impressions
•
As you are watching the ballet, write words or phrases that come into your mind.
•
Did you like the ballet? Why or why not?
•
Were there elements of the ballet that you did not understand?
•
How does the ballet make you feel?
•
Have you seen this ballet performed before (in dance, theatre, opera etc)? How does it compare?
Story Line
•
Was the story easy to follow?
•
Would you know the story without reading the synopsis?
•
Did the story line make sense?
•
Did the dancers have good characterization, i.e. could you tell the personality of their character?
Choreography
•
Did the movement clearly express the story?
•
What was your emotional reaction to the choreography?
•
How did the choreography relate to the music?
•
How did the choreography help to define the characters?
•
How would you describe the choreographer’s style?
Production
The Set and Props
•
Was the set effectively used?
•
Did it distract from the ballet or enhance the telling of the story?
•
Was the use of props appropriate?
Lighting
•
Was the lighting effectively used?
•
Was the lighting distracting or did it enhance the ballet?
•
Could the production be done without special lighting?
•
How did the colours used in the lighting effect the look of the costumes?
Costumes
•
Did the costumes help to define the characters?
•
Were the costumes distracting?
•
How are the main characters differentiated from the rest of the cast?
Ballet Technique
*only those with ballet experience should attempt to critique this aspect of the ballet.
•
Were the dancers technically proficient?
•
Did all the dancers seem to have the same level of ability?
•
Did the dancers work well in unison? In ensemble pieces?
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THE CREATION & PERFORMANCE OF A BALLET
A ballet takes a great deal of time to be completed and involves many people. It begins with a simple
idea, then grows into the production you see on stage. Ballet Jörgen Canada is a small ballet company,
so the way it approaches the creation of a ballet is unique. Larger companies have many more people
involved who have very specific tasks, whereas at Ballet Jörgen Canada, some tasks overlap.
First the choreographer comes up with an idea. It takes time for them to think it through and explore
how their idea will come to life. The choreographer may consult with other dance professionals, such as
their ballet mistress/master, other choreographers and dancers, to get their thoughts. If it is an existing
story, such as Cinderella, the choreographer may research the story, or previous ballets. The
choreographer may listen to existing music, or commission a score for their ballet. If a score is
commissioned, the choreographer and composer discuss what is needed for the music, i.e. the mood,
the feeling, the tempos, length of the score and lengths of scenes within the score. The composer
creates something from the choreographer’s ideas, then meets again with the choreographer and makes
changes as needed. If the score already exists, the choreographer will listen to the music to determine
the mood they want to create, what formations of dancers will work for certain sequences of music, etc.
Once the idea is established, many other people come into play, including a costume, set and lighting
designer, and production manager. In a small company like ours, the set and costume designer, or set
and lighting designer may be the same person, but one person never does all three jobs.
The set designer creates the ‘look’ of the ballet with the choreographer. After consulting with the
choreographer, the designer makes and initial model. The designer and choreographer consider this
model, make changes, then the designer makes a colour model (which will also help the costume
designer) that the choreographer can take away with them and work with. Once the choreographer and
set designer have decided that the design will work, the designer creates working drawings of the set,
which go on to be built, then on to be painted. A props person may be hired later to make small props,
such as brooms and buckets and other things the dancers need to carry, but the set designer is in
charge of making larger props.
The costume designer goes through a similar process. They meet with the choreographer to exchange
ideas, then the designer creates rough sketches for the choreographer to look at. The costume designer
will also look at the set design so the costumes and sets compliment each other. The sketches are
discussed, then colour sketches of the actual costumes that will be used in the ballet are created. These
are then sent away to be built. The costume designer chooses the fabric they will be made of and
oversees the construction process.
The lighting designer, who at Ballet Jörgen Canada is often the same person as the set designer,
designs the lighting, taking into consideration not only the mood that the choreographer would like to
create, but also the colours of the costumes and sets. This is to determine which lights will be most
effective in expressing the emotions and action of the ballet.
At Ballet Jörgen Canada, the production manager is also involved in various stages of the development
of sets and costumes, that is, the technical aspects of the ballet. The production manager is interested in
details, such as the size of the sets, how the set is put together and how it works, and thinks about how
the sets and costumes can be transported.
At the same time that the designers are working on the technical aspect of the production the dancers,
choreographer and ballet mistress are in the studio working on the choreography. While the
conception of the ballet comes directly from the choreographer, the creation of the choreography is not
done in isolation. The dancers give input where they can, and the ballet mistress is crucial in providing
direction and clarifications for the dancers. The rehearsals are filled with experimentation, and not only
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are the steps themselves worked out, but also the feeling behind the movement, and the personalities of
the characters they are portraying. It is all critical to the creation of the ballet. The choreography takes
weeks to complete.
During rehearsals, the sets and costumes are incorporated to ensure that they will stand up to the rigours
of the choreography. The set designer must ensure the dancers can dance on the set pieces, move them
easily and have enough room to dance around them. The costume designer makes sure that the dancers
can move freely in their costumes, without the costumes being damaged. Costumes may have to be
changed and set pieces modified, but at this point, the changes are very minor.
Once the designs are complete, the sets and costumes built, the lighting designed and choreography
created, the show is ready to be performed. Ballet Jörgen Canada is a touring company, so there are
many people involved behind the scenes to make it work.
The production manager works in conjunction with the touring director and artistic director to put together
the touring season. Then the production manager makes a detailed schedule of the tour, including times
to load the set into the theatre, rehearsal time on stage, what time the Company will travel to the next
community, etc. Ballet Jörgen Canada usually tours with two crew technicians – one who runs the sound,
the other who creates the lighting plot after receiving technical information from the theatre, as well as
the lighting cues. With the crew, the production manager lays the dance floor, puts the sets together,
and, during the performance, the production manager acts as stage manager, calling the sound, lighting
and curtain cues to the theatre technicians. The production manager ensures that everything runs as it
should during the show.
On top of the technicians and dancers, there are also administrative tasks to ensure the show runs
smoothly. Posters, advertisements, etc. are designed and distributed to advertise the show, and
programs are written and designed for each community. Hotels, flights and cars are booked in order for
the dancers to travel from community to community. Outreach activities, such as master classes and preand post-show chats are planned and pre- or post-show receptions organized.
A ballet company is a very interconnected organization. In order to make every performance successful,
all members of the organization must work together. A ballet is not something that can be quickly thrown
together at a moment’s notice – it takes much time and planning by artistic, technical and administrative
staff to become what you see on stage today.
24
WORKSHEET 1 – DANCE TERMS
Match up the dance terms and definitions.
Choreographer
The art of ‘signing’ emotions and parts of the story. It
is usually structured to the music.
Choreography
An outfit worn to create the appearance
characteristic of a particular period, person, place,
or thing
Costume
Accompanies the dancers, enhances the mood of
the ballet and helps express emotions.
Set
Small items the dancers use to clarify the action of
the story.
Props
Tells where the action is taking place in the story.
Music
The person involved in a production that invents and
arranges the dances.
Mime
An arrangement of dance and movement.
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WORKSHEET 2 - SET AND COSTUME DESIGN
Lady Birch
Painter
A Snowy Winter Land
Warm Summer Land
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WORKSHEET 3 – FAVOURITE CHARACTERS
Character: _______________________________________
Role in The Nutcracker
Why was this character a favourite?
Drawing
27
School Performance Evaluation Form
We want to ensure that our performances and programs are both educational and entertaining. Your
feedback is important to us and critical to the development of our education programs. Please take the
time to fill in this form.
Date of performance and time:
School Name (optional):
Please circle the appropriate rating for each category
Educational
Value
Excellent
Very Good
Good
Fair
Poor
Interactive
Component
Excellent
Very Good
Good
Fair
Poor
Curriculum
Connections
Excellent
Very Good
Good
Fair
Poor
Study Guide
Excellent
Very Good
Good
Fair
Poor
What did your students enjoy the most?
Was the Study Guide useful (please elaborate)?
What would you like to see included in future study guides?
What suggestions would you make for future performances?
Do you feel you were adequately prepared for this performance?
Please elaborate
Yes
No
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Would you recommend this performance to other teachers?
Please elaborate
Yes
No
Further Comments
Thank you for taking the time to complete this form. Please return after your performance:
Attn: Education & Outreach
Ballet Jörgen Canada
George Brown College, Casa Loma Campus
160 Kendal Avenue
Building C, Room 126
Toronto, ON M5R 1M3
Fax 416-415-2865
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