La Sylphide - Colorado Ballet

Colorado Ballet’s
La Sylphide
Dancer: Maria Mosina
Photo by Allen Birnbach
A Study Guide for Students of All Ages
Provided by the Department of Education & Outreach
Colorado Model Content Standards for Education
Upon completion of this guide, students will have address each of the following standards.
DANCE
Students understand that dance performance requires technical competency.
Students demonstrate awareness of fitness, wellness, and the body’s potential for movement.
Students understand and appreciate a dance in terms of the culture in which it is performed.
Students demonstrate thinking skills such as describing, analyzing, interpreting, evaluating, and problemsolving through dance movement and verbal discussion.
GEOGRAPHY
Students provide an understanding of spatial perspectives and technologies for spatial analysis, awareness of
interdependence of world regions and resources.
Students learn how places are connected at local, national and global scales.
HISTORY
Students develop a moral understanding and create an appreciation of how things change.
Students build skills in judgment and decision-making.
History enhances student’s abilities to read varied sources and develop the skills to analyze, interpret and
communicate.
MUSIC
Students demonstrate the expressive elements of music.
Students make informed, critical evaluations of the effectiveness of musical works and performances on the
basis of aesthetic qualities, technical excellence, musicality, or convincing expression of feelings and ideas
related to cultural and ideological associations.
Students demonstrate a nuanced understanding of aesthetics in music, appropriate to the particular features of
given styles and genres.
PHYSICAL EDUCATION
Students demonstrate competent motor skills and movement patterns needed to perform a variety of physical
activity.
Students utilize knowledge and skills to enhance mental, emotional, and social well-being.
Students demonstrate understanding of movement concepts, principles, strategies, and tactics as they apply to
learning and performing physical activities.
READING & WRITING
Students write with a clear focus, coherent organization, sufficient elaboration, and detail.
Students effectively use content-specific language, style, tone, and text structure to compose or adapt writing
for different audiences and purposes.
Students evaluate how an author uses words to create mental imagery, suggest mood, and set tone.
Students collaborate effectively as group members or leaders who listen actively and respectfully pose
thoughtful questions, acknowledge the ideas of others, and contribute ideas to further the group’s attainment of
an objective.
Students gather information from a variety of sources; analyze and evaluate the quality and relevance of the
source; and use it to answer complex questions.
VISUAL ARTS
Students recognize, articulate, and debate that the visual arts are a means for expression.
Students recognize, demonstrate, and debate the place of art and design in history and culture.
Students create works of art that articulate more sophisticated ideas, feelings, emotions, and points of view
about art and design.
2
Table of Contents
Synopsis of the Ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
2 Choreographers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Ballet 101 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Pointe Shoe FAQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2 Composers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Marie Taglioni, 1st Sylphide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Picture to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Make a Potion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Romantic Era History (19th History). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Byron Poem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Kilts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Tutu History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Make Your Own Fog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Americans for the Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Principal Dancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
How to be a Good Theatre Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
The Education & Outreach Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Thank You! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..23
Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
This study guide is designed for educators to use as a resource in incorporating dance, in
particular, a field trip to see Colorado Ballet’s production of Swan Lake, into their curriculum.
Please let us know if these materials are useful to you, of if there is anything further we can do to
provide support for your efforts to integrate the arts into your core areas. Feedback is welcome any
time. Please consider filling out the evaluation at the end of this guide, or contact Anne O’Connor,
Director of Education & Outreach, at 303.339.1632 or education@coloradoballet.org. Thank you!
3
Synopsis of the Ballet
Act I
The young Scottish farmer, James, dozes in a large
armchair in the stage foreground. The Sylphide
kneels by his side. She dances her first solo and
kisses him on the forehead. James awakens,
confused. He is to be married that day to Effy, but
the Sylphide, who is in love with James, tempts him.
He runs after her, but she disappears up the
chimney.
The preparations for the wedding at the farm are in
full swing. The main hall is decorated, Effy's friends
come with gifts and she herself dances a little solo.
The old fortune-teller Madge has slipped in to the
warm herself by the fire. James wants to throw her
out but she is permitted to remain, gulps down a
couple of glasses of brandy and begins to tell fortunes.
Madge predicts that Gurn, James' rival will get Effy. James becomes furious and chases Madge out
who then curses him. Effy leaves to dress for the wedding. James is alone with his melancholy and
sadness.
The Sylphide shows herself at the window and in danced and mimed scenes declares her love for
James telling him that she has followed him and protected him for years when he went hunting in the
forest. James hides her in the chair when the wedding festivities begin. Gurn and James dance the
two male solos while the entire company dances the Scottish reel. James is obviously preoccupied
and perplexed. The Sylphide shows herself to him the entire time; immediately before the wedding
ceremony she succeeds in enticing him to join her in the forest. Effy dissolves in tears.
Act II
The second act begins with a witch' scene in the forest at night. Led by Madge, several witches are
cooking a diaphanous scarf in a magic cauldron. The fog then lifts, and we find ourselves in lovely
glade. James enters with the Sylphide who shows him her realm. She brings him berries and water
but avoids him when he tries to catch her. To cheer him up, she calls on her sisters and the forest fills
with sylphides dancing their airy dances for James who also joins in the grand divertissement.
Meanwhile, the young farmers have set out to look for James. Gurn finds his hat, but Madge
convinces Gurn to say nothing. Gurn proposes to the heart-broken Effy who says yes.
When they all have left, James emerges and Madge gives him the scarf, which will bind the Sylphide
to him, so she cannot fly away. James is delighted and when the Sylphide returns and sees the scarf,
she is also charmed by it and allows James to place it around her shoulders.
The disaster occurs immediately. Her wings fall off and the Sylphide dies. Effy and Gurn's wedding
procession is seen in the background while the Sylphide is born through the air by her sisters. James
collapses lifeless and Madge exults. Evil has triumphed.
4
2 Choreographers
THEN…
Filippo Taglioni
Taglioni was an Italian dancer and choreographer who developed
the Romantic style of ballets. He was born in Milan November 5,
1777. He received his dance training from Carlo Blasis and JeanFrancois Coulon. He made his debut at age 17 in Pisa in 1794. He
danced in many cities like; Livorno, Florence, Venice, and Paris. In
1803 he was designated principal dancer and ballet master in
Stockholm.
Taglioni and his wife, Sophie Karsten, settled in Vienna and had
two children, both who became dancers. His daughter, Marie
Taglioni, became one of the world’s greatest ballerinas. Filippo
Taglioni was Marie’s personal teacher. He was the original creator
of La Sylphide in 1832, his daughter premiered as the leading role
of the Sylphide. Taglioni designed La Sylphide to showcase his
daughter Marie. La Sylphide was the first of the Romantic “white
ballets” created and danced en pointe. Taglioni died February 5,
1871.
NOW…
August Bournonville
August Bournonville is the great name of The Royal Danish Ballet:
a key figure to the golden age of Danish romanticism. Bournonville
was a dancer, a choreographer and for more than 40 years the
artistic director of the Royal Danish Ballet. His style is unique and
his ballets are still being danced all over the world. August
Bournonville was born in Copenhagen, Denmark on August 21,
1805. He trained with his father Antoine Bournonville,
choreographer Vincenzo Galeotti and Auguste Vestris. He initiated
a unique style in ballet known as the Bournonville School.
Bournonville became solo dancer at the Royal Ballet in
Copenhagen. From 1830 to 1848 he was choreographer for the
Royal Danish Ballet, for which he created more than 50 ballets. He
created a number of ballets with varies settings that range from
Denmark to Italy, Russia to South America. A limited amount of
these works have survived.
August Bournonville’s 1836 La Sylphide is the most used
choreograph today. He created his own version of La Sylphide
based on the original libretto, with music by Herman Severin
Lovenskiold. The Bournonville version has been danced
in its original form by the Royal Danish Ballet ever since its
creation and remains one of Bournonville’s most celebrated works.
Bournonville died November 30, 1879.
5
Ballet 101
1st. Heels
together, toes
pointing in
opposing
directions,
creating a
straight line
2nd. Heels
approximatel
y ten inches
apart, toes
pointing in
opposing
directions.
3rd. Feet
parallel, heel
of front foot
touching
middle of
back foot.
4th. Feet
parallel,
front foot
approximately
eight inches
in front of
back foot.
5th. Feet
parallel,
front and
back foot
touching at
toes and
heels.
Preparatory. Arms dropped, elbows slightly
rounded so that the arm does not touch the
body, hands close but not touching.
1st. Arms raised at the level of the diaphragm,
elbows slightly bent, hands close but not
touching.
2nd. Arms opened to the sides, shoulders not
drawn back or raised, hands at the level of the
elbow.
3rd. Arms raised above, but just in front of the
head, elbows rounded, hands close but not
touching. Hands should be visible without
raising the head.
A Note on Hands: In her Basic Principles of
Classical Ballet, Agrippina Vaganova says,
The manner of holding the hands.is very
difficult to describe. All fingers are grouped
freely and they are soft in their joints; the
thumb touches the middle finger; the wrist is
not bent, but the hand continues the general
curved line of the arm from the shoulder..
6
Pointe Shoe FAQ
What are pointe shoes made of?
There are many different companies who produce pointe
shoes, and therefore many ways of making them.
However, contrary to popular belief, pointe shoes are not
made of wood or metal. The area around a dancer’s toes
is called the box, and is usually made out of a
plaster-like material which is applied in several
layers. A leather sole backs the shoe.
How do dancers personalize their shoes?
Each dancer sews her own ribbons onto her shoe,
to place them according to her preference. Also,
most dancers darn or even burn the edges of the
box (or platform) to give themselves better balance
and decrease slipping. To make the sole and box
more flexible, dancers may bend the shoes, and
bang them on the wall or floor.
Do they hurt?
Yes and no. If a dancer is strong and trained well
enough to dance en pointe, and has the proper shoe for her foot, pointe work should not cause bleeding
or disfigurement. However, dancing en pointe up to eight hours per day is bound to wear on a ballerina’s
feet. Some dancers choose to put small lamb’s wool pads over their toes. The amount of pain a dancer
endures also depends on the construction of the foot itself. For example, dancers with toes that are
relatively equal in length have the advantage of more support.
How long do they last?
Pointe shoes break down very quickly with frequent use. A ballerina made need a new pair of pointe
shoes after each performance of a full-length ballet. In fact, Evelyn Cisneros, former Prima Ballerina at
San Francisco Ballet, says that at least three pairs are required to get through Swan Lake. It is possible
that a professional dancer will need a new pair each week.
How much do they cost?
Since pointe shoes are painstakingly handmade and often imported, they can cost upwards of $90 per
pair.
When does a dancer begin dancing en pointe?
It is important that a ballet student does not begin dancing en pointe too early, before the bones in her
ankles have finished growing. Therefore, the age at which dancers begin pointe work varies. However, it
is usually around 11 years old.
When did ballerinas begin dancing en pointe?
Marie Taglioni is attributed with performing a full-length ballet en pointe for the first time, when her father
created the role of La Sylphide for her in 1832. However, her shoe was most likely just a satin slipper with
a leather sole, darned at the ends. Without a firm box for support, dancers from this period must have
relied heavily on their strength, and suffered quite a bit. In some cases, wires were rigged onstage to carry
ballerinas in a manner that resembled flight. The light, ethereal appearance of the ballerina en pointe
effectively launched the Romantic Era of ballet.
7
2 Composers
Scheitzhoeffer & Loveskjold
The first version of La Sylphide was composed by Jean
Schneitzhoeffer with choreography by Filippo Taglioni.
Then came the Danish ballet master August
Bournonville who had intended to present a revival of
Taglioni’s original version in Copenhagen with the Royal
Danish Ballet, but the Paris Opera demanded too high of
a price for Schneitzhoeffer’s score. In the end,
Bournonville mounted his own production of La Sylphide
based on the original libretto, with music by Herman
Severin Loveskjold.
Herman Severin Lovenskjold was a Norwegian
composer trained by composer Peter Casper Krossing.
Herman Severin Lovenskjold went on to compose many
other works but nothing was as successful as his
composition for La Sylphide.
Discussion Questions:
 Play Jean Schneitzhoeffer’s La Sylphide score while students are playing,
studying, reading or writing. Then play Herman Severin Levenskiold’s La
Sylphide score doing the same thing and have the students compare and
contrast the music.
 Ask students to write down how different excerpts of the score make them feel.
 Have students answer: If this music were a shape, what shape would it be? What
color? What animal? Make their answers into movements, and link them into a
dance.
 Have students compare the attributes of the score with the attributes of a forest.
8
Marie Taglioni, 1st Sylphide
“Her artistry inspired a devoted following and
forever changed the art form of ballet.”
Marie Taglioni was born in Stockholm on April 23, 1804 and moved with
her family to Vienna at a young age. Marie studied ballet in Vienna with
her father. Her career as a ballet dancer took off and reached the
unthinkable success in 1832, when she performed an outstanding role
in La Sylphide. Her father, Filippo Taglioni specifically choreographed
this title role for her.
This role became her signature and she was the first ballerina to
perform on pointe. She became known as La Taglioni. A special
costume created just for her for that part is now considered to be the
standard romantic tutu. She wore a form-fitting bodice baring her neck
and shoulders, a bell shaped skirt in a light, white material that ended
mid-calf and pink tights.
Onstage, Taglioni was known not only for her gracefulness but also for
her excellent character dancing. She performed with the Paris Opera
for the next 10 years, with her father as her primary teacher and
choreographer.
Marie’s style of dance included unusual posture and port de bras,
which have become an example of the Romantic ballet era. Many
historians believe that these movements and poses were originally
created by her father to compensate for a deformity in her back.
Whatever the handicap Taglioni became known for her very light and
delicate style, with curved arms overhead, framing her face, a forward
body posture with the legs in fourth position on pointe and the
shoulders slightly tilted in efface.
Marie gave her last performance in 1848, at the age of 44, after a 26
year career. In 1880, she moved to Marseilles, where she lived with
her son until her death on April 24, 1884 at the age of 80.
 Try the positions of the feet and arms in ballet (Page 6 ). Make sure to stand tall
and straight!
 Imagine you are traveling to France to see the Paris Opera Ballet perform La
Sylphide. Give a list of what it means to be a good audience member.
9
10
11
Make a Potion
What do you put in your cauldron?
Draw all your potions in the pot and write a paragraph on what you
are a making.
12
Romantic Era History (19th Century)
Historical context:





France elects Louis Napoleon as president
Czar Alexander II emancipates the serfs in Russia
Karl Marx and Friedrich Engels write the Communist
Manifesto
The Emancipation Proclamation is written
In the US, the Civil War and the California Gold Rush
occur
Science:




Darwin publishes Origin of the Species
Pasteur presents his theory of germs
Florence Nightingale introduces hygienic
methods
Isaac Singer invents the sewing machine
Literature:

Important literary works by
Dickens, Browning, Baudelaire,
Flaubert, Longfellow, Whiteman,
Twain, Thoreau, and Harriet
Beecher were published
13
Significant dances:








Quadrile- French imported the form from the English, a type of
line dance or square dance
Grand March- dancers paraded around the room in simple
formations, created for grand balls
Cotillon- a small group danced in a square formation
Waltz- means “to roll”, a couple’s dance introduced in Germany
traveling to France and England
Polka- a folk dance from Bohemia where dancers do a simple
waltz adding a chasse step and hop
Mazurka- a Polish folk dance with strong steps and hops
Polka Mazurka- combines the carefree jumping of the polka with
the earthy hops of the Mazurka
Galop- a simple traveling couple dance where the man and
woman simply chasse around
Visual Arts:

Monet, Corot, Ingres,
and Whistler
produced famous
works
Music:


Wagner, Verdi, Liszt,
Schumann, Bizet
composed significant
works
Swedish opera
singer Jenny Lind
tours the US
Daily life:







Industrial Revolution begins
Wells Fargo & Co. founded
Pony Express provides mail service in
the US
The New York Times, San Francisco
Chronicle, and the Examiner are
founded
The New York Symphony holds its first
public concert
Baseball becomes popular in New
York and Boston
Factories replace cottage industries
and home crafts
14
Byron Poem
She Walks In Beauty
By: Lord Byron
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that's best of dark and bright
Meet in her aspect and her eyes:
Thus mellowed to that tender light
Which heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o'er her face;
Where thoughts serenely sweet express
How pure, how dear their dwelling place.
And on that cheek, and o'er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
Questions to ask your students:

Can you paraphrase the poem?

What is the speaker’s tone?

What images does the poet use? How do the images relate to one another?

Are there any symbols? What do they mean?
15
Kilts
For anyone of Scottish ancestry, the kilt is a
symbol of honor for the clan which they belong.
First worn by those who lived in the Scottish
Highlands, the kilt was a manner of dress that
afforded the fighting army with possibly its most
useful tool. Prior to 1792 those who wanted to
wear the kilt in the Lowlands or Britain, had to
join the British army. The reason being that
because of the swift and competent movements
of the Highland armies, the English were afraid
that if they let anyone wear the kilt it would
spark the idea of revolution.
The kilt is more than just a covering. It allowed those who wore it to move much more
freely, especially in the Highlands of Scotland where the weather can become very
damp. With its tight weave of strong wool, it created a barrier between the rain and
skin. When the armies of the past were fighting in Scotland, the kilt with its pleat helped
protect the soldier much like armor would. When the nights became cold, this garment
was easily removed and spread out to create a blanket to keep the person who owned
it warm. Lastly, if the army needed to move with a much quicker force, the garment
could be easily removed, thus allowing the soldier more freedom of movement.
Today the kilt is the national dress of Scotland and worn by many. The various plaids
that one can see from time to time are the colors of the
particular clan that the wearer belongs to. It is much
shorter than the ones worn by the Highland armies of
yore, but still evokes the pride that was carried by those
who lived above the land of Scotland.
PROJECT TIME:
Have your students learn the history of their
nationality!!
 Make them create a poster
 Make them find one really cool cultural dance, item, song, etc. to
present
 Make a food from their nationality and have “A Day Around the World”
16
Tutu History
Though the first tutu was merely a skirt cut just above the
ankles to reveal a dancer’s feet, these skirts eventually
migrated north.
As ballet became more and more popular two types of tutu’s
emerged: the long romantic version and the shorter, more
provocative style (now often called the Classic tutu).
The first romantic tutu is often attributed to the famous
virtuoso ballerina Marie Taglioni. In 1800s Taglioni became
known as the first ballerina to dance “en pointe” (on her tiptoes in ballet slippers).
The tutus worn by Taglioni were often cut below the knee to
reveal the intricacies of her famous legwork. These romantic
tutus were delicate, feminine and were made of material that
allowed Taglioni to move about freely floating through the air and executing the precise
movements that gave her cult status.
The to this day the romantic tutu is still made to be long and flowing, giving the ballerina
a weightless, ethereal appearance.
As ballet continued to become more popular
connoisseurs of the art form demanded to see more;
when it came to the intricate dance movements that
dancers performed, again the tutu shrank.
The style of a tutu, commonly referred to as “classic” is
a short, stiff skirt that juts out horizontally from a
ballerina’s hipbones exposing her legs entirely. The
classic tutu is often worn with a leotard, which hugs the
dancer’s body.
Both romantic and classic tutus are designed to give
ballerinas a light, airy look, making it look as if they are
floating when they move across the stage.
Although the tutu has evolved significantly, tutus today still serve the same purpose as
those designed two hundred years ago.
17
Make Your Own Fog!
In La Sylphide there is a mystical forest that the Sylphide takes James to. To make this
image come to life on stage, this ballet and many others, use a fog machine. This
machine is hidden backstage and handled by the backstage crew. Ballets use the fog
to make the dancers look like they are dancing in a dream, on a cloud or in a creepy
forest. A great trick to make the ballet come alive!!
NOW… Let’s learn how to make our own FOG!!
This is an easy-peasy science experiment for kids to help them learn about the
weather: make fog in a bottle!
What you’ll need:
 Bottle
 Hot water
 Rubbing alcohol
 Ice cube
Step 1: You’ve probably seen fog. That’s because when fog is around, it’s about all you
can see. Well, fog is a cloud that forms very close to the ground.
Step 2: In nature, when a mass of cold air bumps into a mass of warm humid air,
millions of tiny droplets of water are formed. That’s FOG!
Step 3: Here’s a way to get some cold air and some warm air together and make fog:
Fill a bottle 1/3 full of very hot water. Add a few drops of rubbing alcohol. Put a piece of
ice over the top of the bottle and watch fog develop.
18
Americans for the Arts
The Power of the Arts to Affect Change
POSTED BY ROB SCHULTZ ON NOVEMBER - 26 - 2014
One of the most gratifying things about working at the Mesa Arts Center is the
opportunity to partner with local arts organizations, artists, and educators, help
present their work, and bring it to the attention of our patrons. These partnerships
come in all shapes and sizes, with varying degrees of success, affecting different
audiences in different ways. So, since this is an arts education-oriented blog, let’s
focus on one of my favorite partnerships, and favorite organizations: Phonetic
Spit.
Phonetic Spit was founded by spoken-word artists Tomas Stanton and Myrlin
Hepworth, with a mission to “create safe spaces to empower young people to
establish their voice and use it to become driven and contributing citizens of the world.” They work
throughout metro Phoenix with a number of arts groups and schools, offering teaching residencies
and performances for, about, and with teens and young adults, using poetry to develop their oral and
cultural literacy. One key method they utilize is open mic and poetry slam events. Happily, through
our residency partnership, we were able to host an All City Slam in one of our theaters in midNovember. I got to be a judge.
It was my first time judging a poetry slam. My evening consisted of watching/listening to 20
teens/young adults overcome their shyness, stage fright, and nerves to project themselves into a
microphone for three minutes each, bleed their emotions onto the audience, and then walk away from
the mic with looks of triumph at having put themselves out there, and relief at hearing their peers
respond with enthusiastic support.
Most of their poetry was raw, heartfelt, and unsettling. Of the 20, it seemed that half referenced
suicide or self-mutilation, and almost all spoke of the effects of bullying, neglect, hurt, heartbreak,
anger, or invisibility. While it’s easiest to downplay their feelings and assume that these kids are
simply frustrated teenagers, like all of us were at one time or other, and that they can’t possibly know
yet what life is about, taking the easiest course is wrong. Much harder is it to consider that this small
representative sampling indicates serious problems in our society, and that they could be merely the
tip of an iceberg of anguish that too many kids are suffering through in this, what’s reputed to be the
wealthiest and most opportunistic of countries.
But what I’ll also choose to take away is the power of the arts to affect change in people. Art is, at its
essence, the opportunity for individuals to express what they must express through their movements,
hands, eyes, and voice. That night, art provided a channel for these kids to share their innermost
emotions with others, to learn that there are other kids out there just like them who understand, and to
avoid the destruction that results from keeping all of the bitterness bottled up inside. That was the
most emotionally powerful two hours I’ve spent in a very long time. Thank you, Phonetic Spit.
19
Principal Dancer
Maria Mosina
Maria Mosina was born in Moscow and graduated from the Bolshoi
Ballet Academy in Russia. Upon graduation, Ms. Mosina joined the
Bolshoi Ballet Grigorovich Company and (immediately) was chosen
for principal roles. Mosina had toured the world appearing on all major
European, American, African and Asian stages. In 1995, Ms. Mosina
was invited by Colorado Ballet to join as a leading principal dancer.
Ms. Mosina performed all major parts in classical productions such as
Clara and Sugarplum Fairy in The Nutcracker, Sylphide in La
Sylphide, Odette-Odille in Swan Lake, Aurora and Princess Florine in
The Sleeping Beauty, Giselle in Giselle, Swanhilda in Coppelia, Kitri
in Don Quixote, Juliet in Romeo and Juliet, Talioni in Pas de Quatre,
The Dying Swan, Le Spectre de La Rose and pas de deux from Le
Corsaire, Talisman, Paquita, Les Sylphides. Ms. Mosina also had the
chance to show her talent in neoclassical, modern and contemporary
choreographed master pieces such as Balanchine’s Apollo, Rubies,
Theme and Variations, Western Symphony, Serenade, Concerto
Barocco, Stars and Stripes and Who Cares?, as well as Christopher
Weeldon’s A Midsummer Night's Dream, Peter Pucci’s Size Nine Spirit (as seen on PBS). She has also
performed Alvin Ailey’s River, Martha Graham’s monumental Appalachian Spring, Agnes de Mille's Rodeo,
Paul Taylor's Company B, F.Ashton's Facade, Antony Tudor's Leaves are Fading and Echoing of Trumpets,
Twyla Tharp's Nine Sinatra Songs and In The Upper Room, Glen Tetley’s The Rite of Spring, Michael Pink's
Dracula and Hunchback of Notre Dame, S.Welch's Of Blessed Memory, Val Caniparoli’s In Pieces, Martin
Fredmann and Alun Jones' Romeo and Juliet, and Ben Stevenson's Cinderella, A Little Love, Mon Dieu,
Sechertorte, Silent Woods and Dreamspace (as seen on PBS), Vebre's Where the Wild Things Are, Clark
Tippet's Bruch Violin Concerto No.1, Matthew Neenan's The Faraway, Lynn Taylor-Corbett's Great Galloping
Gottschalk, Lar Lubovitch's ...smile with my heart, Emery LeCrone’s Archetypes, Jodie Gates’ Embellish,
Sandra Brown's The Last Beat, and many more. Ms. Mosina was a featured dancer on the cover of Dance
Magazine. She holds a master’s degree in methodology and pedagogy from the Moscow State Academy of
Choreography. Ms. Mosina is also an active ballet instructor throughout the United States. She participated as
a master teacher and judge for the Youth American Grand Prix. Ms. Mosina performed leading roles in all
major productions as a member of the Company, as well as a guest artist with many other festivals, galas, and
companies. She is now in her 20th year with the Colorado Ballet.
20
How to be a Good Theatre Audience
Unlike actors on your television, performers on the stage are aware of their audience and want very
much to communicate their art to you, and feel your appreciation in return. By the time you arrive at a
theatre for a scheduled performance, many people (choreographers, composers, dancers,
technicians, costume and lighting designers, etc.) have worked very hard to bring you their best
efforts. In order to show respect for those efforts, every audience member must give the performance
their full attention and avoid any behavior that interferes with anyone else doing the same. We have
rules that help us accomplish this goal, and you should do your best to understand and follow them:
1. Always arrive at the theatre with plenty of time to find your seats and settle down into them. Late
arrivals mean disruption for everyone else, including the performers.
2. No shoving or running in the lobby.
3. No cameras or video recorders. Flashes are dangerous for dancers and unapproved photos and
videos violate copyright laws.
4. No hooting, whistling or yelling during the performance. The performance has begun when anyone
on stage starts talking or dancing, or when the orchestra starts playing. You are welcome to show
your appreciation for the performance with applause at the end of the ballet or sometimes at the end
of a section or solo. You are also welcome to laugh if someone on stage is being intentionally funny.
5. No talking or whispering during the performance. You will have plenty of time to discuss your
impressions at intermission or after the show.
6. No gum, candy or food in the theatre (it makes noise and sticky messes, and our new home is so
beautiful!).
7. Use the bathroom before the show begins or at intermission, not during the performance.
8. The screens on the seatbacks that help you follow the ballet are expensive technology. Once you
have pressed the button to see the text, please do not touch or scratch the screens.
9. Enjoy!
21
The Education & Outreach Department
Providing highest-quality educational opportunities for preschool through older adults, the Education and
Outreach Department has served the Colorado community for 16 years, reaching over 25 counties as well as
Kansas, Wyoming and Nebraska. The department serves over 200 schools annually and makes 60,000
contacts with under resourced youth, families, teachers, and people with special needs. Department staff have
worked with the Colorado Department of Education in the development of statewide K-12 standards and
assessments for dance education, and are frequent presenters at the National Dance Education Organization’s
annual conference.
Anne O’Connor, Director
Samantha Hyde, Programs Manager
303.339.1632
303.339.1619
education@coloradoballet.org
samantha.hyde@coloradoballet.org
Student Matinees
Started by Colorado Ballet Trustee Diane Nolen, the Student Matinee series allows students to attend the final
dress rehearsal of a Colorado Ballet production on a school field trip. Each year, one performance of The
Nutcracker is offered for FREE to highest Title 1% (free and reduced lunch) schools.
Dance Renaissance
Colorado Ballet’s afterschool residency program provides up to 20 classes in creative movement and ballet
foundations at 15-20 schools of ranging resources in the Denver Metro Area. Students may also be provided
with appropriate dancewear as well as tickets to a Colorado Ballet production.
From the Page to the Stage
A traveling interactive school assembly featuring seven Colorado Ballet Studio Company dancers, From the
Page to the Stage explores ballets based on Shakespeare and the Classics of literature. Storytelling through
movement, pointe shoes, male roles and athleticism in dance are discussed.
Workshops
In an effort to provide arts opportunities integrated with core curriculum initiatives, Colorado Ballet has created
unique experiences for students including Words in Motion (poetry/vocabulary and movement), Metamorphosis
Moves (the life cycle of a butterfly through movement, in partnership with the Butterfly Pavilion), as well as
technique classes rooted in history such as African dance, Colonial dance, and much more.
Be Beautiful, Be Yourself
In partnership with the Global Down Syndrome Foundation, Colorado Ballet has expanded to three classes each
week teaching children with Down Syndrome creative movement and ballet concepts, working with a
professional physical therapist to increase cognitive and developmental skills.
Rhythm and Grace
Based on Mark Morris’ training Dance for Parkinson’s, Rhythm and Grace brings up to 30 adults and their
caregivers to Colorado Ballet Studios for a seated, low-impact workout with live accompaniment incorporating
dance concepts and meditation. Company Principal Sharon Wehner is instructor.
Figaro
In addition to recognizing sponsors, Colorado Ballet was the first ballet company to use the Figaro seatback
titling system as an optional tool for new patrons. Its brief, text-like cues translate mime sequences, introduce
characters, and provide synoptic background. The service is available in English and Spanish.
Audio Description
One performance of each full-length Colorado Ballet production is audio described for blind and visually
impaired patrons. Education staff extemporaneously narrate the performance from the catwalk while speaking
directly to patrons through convenient headsets with adjustable volume.
22
Thank You! ¡Muchisimas Gracias!
Anna & John Sie Foundation
Bowen Family Performing Arts Fund
Ralph & Florence Burgess Trust
Virginia W. Hill Foundation
April Fund
ECA Foundation
Special thanks to these supporting organizations, as well as to Colorado Ballet’s
artistic and administrative staffs, the Board of Trustees, Joanne Posner Mayer and the
Education Committee.
Without you, these programs would not be possible.
23
Evaluation
Please mail to Colorado Ballet, Department of Education & Outreach: 1075 Santa Fe Dr. Denver, CO
80204, or fax to 303.861.7174. Thank you for your feedback!
Name_______________________________________School_______________________________
How did you hear about our educational programming?
Were you pleased with the learning experience provided for your students? Why or why not?
Were the supplementary materials useful to you? Why or why not?
Were you able to incorporate the field trip into your curriculum? How?
Are you confident that you will be able to incorporate movement activities in other lessons? If
so, how will you do so? If not, how could we offer further support?
Are there other areas of study that you wish we offered workshops in, or other program
options you wish we offered? If so, which ones?
Will you take advantage of our educational programming again?
Additional Comments:
24