Nureyev's Romeo & Juliet - Schools' Pack by English National Ballet

ROM EO & JULI ET by Rudolf Nureyev

Schools’ Pack

Contents 3 Introduction: How to use this pack

Who was Rudolf Nureyev?

Romeo & Juliet: Synopsis

What you didn’t know about Nureyev’s Romeo & Juliet

Working with Nureyev: An Interview with the original Juliet

Romeo & Juliet: Music

Schools’ Link Programme

Key Stage 1&2 Example Lesson Plan

Key Stage 3&4 Example Lesson Plan

Introduction: How to use this pack English National Ballet brings the world’s greatest love story to the stage with Rudolf Nureyev’s inventive and passionate choreography and Prokofiev’s exhilarating score performed live by English National Ballet Philharmonic. Full of action, humour and drama, Rudolf Nureyev’s award-winning production of Romeo & Juliet was especially created for English National Ballet in 1977 to celebrate the Queen’s Silver Jubilee. The Company has since performed it worldwide to critical acclaim. Supported by The Rudolf Nureyev Foundation, English National Ballet have produced this Schools’ Pack to provide teachers with creative ways to inspire students, learn more about Rudolf Nureyev, and bring his production to life in schools. This Schools’ Pack contains contextual information on both Rudolf Nureyev and Romeo & Juliet, which can be used by teachers as a reference. Throughout the pack, ideas for teaching tasks, cross-curricular links and things to look out for in Nureyev’s production, can be found using the key below. In addition to the Schools’ Pack, English National Ballet offers Creative Repertoire workshops in schools across the UK, and theatre visits through the Schools’ Link Programme. For further information about how you can book a workshop, and watch Romeo & Juliet at a theatre near you, turn to page 11 and visit www.ballet.org.uk/learning/schools.

TEACHING IDEA

Examples of teaching tasks and exercises.

CROSS-CURRICULAR Examples of ways to link Nureyev’s Romeo & Juliet across the curriculum.

LOOK OUT FOR…

Look and listen out for these Romeo & Juliet highlights 3

Who was Rudolf Nureyev? Rudolf Nureyev (17 March 1938 – 6 January 1993) was a Soviet-born ballet dancer, and one of the most celebrated of the 20th century. Nureyev’s artistic skills explored expressive areas of dance, providing a new role for the male ballet dancer who once served only as support to females, challenging public perceptions and expectations of ballet.

CHILDHOOD Nureyev was born on 17 March 1938, on a train on the Trans-Siberian railway, somewhere near Lake Baikal. He was the only boy of his parent’s four children.

Research the Trans-Siberian railway. When was it built? What is its route? How long is it?

“

There was simply from this quite early age the awareness that the only thing I wanted was to dance

“

Life was tough for Nureyev growing up; food was scarce, the roads unpaved, the winters long and extremely cold. When Nureyev began school he was laughed at for having no shoes and wearing one of his sisters’ overcoats. On New Year’s Eve, 1945, Nureyev’s mother, despite having only one ticket, smuggled all her children in to a performance of the ballet, Song of the Cranes. Mesmerized, this was the catalyst for Nureyev’s life as a dancer. Nureyev began to learn folk dancing at school, and following this began ballet lessons. His teachers, Anna Udeltsova and Elena Vaitovich, who had both danced professionally, saw Nureyev’s potential and urged him to study in Leningrad, where they had both trained. Nureyev’s father forbade him to continue dancing classes, and instead wanted him to focus on academic studies. Nureyev’s mother however, turned a blind eye when he sneaked off to lessons pretending he was taking part in other activities.

TRAINING When the company was on a tour stop in Moscow, Nureyev auditioned for the Bolshoi ballet company and was accepted. However, he felt that the Vaganova Academy (Kirov Ballet School) was the best, so he left the local touring company and bought a ticket to Leningrad. Owing to the disruption of Soviet cultural life caused by World War II, Nureyev was unable to enrol in a major ballet school until 1955, aged 17. He auditioned for the Vaganova Academy, and was successful, accepted with the comment "you’ll become either a brilliant dancer or a total failure - and most likely a failure". Upon graduation, Nureyev continued with the Kirov Ballet (now Marinsky Theatre) and went on to become a soloist.

Explore how Soviet cultural life changed as a result of WWII.

CAREER IN RUSSIA Nureyev spent three years with the Kirov Ballet and danced fifteen roles, (including lead roles in classic ballets Don Quixote, Giselle, La Bayadère, The Sleeping Beauty and Swan Lake) and became one of the Soviet Union’s best-known dancers. Very quickly he had a fan club eager to see his every performance, he was admired for his passion and individuality. He was given special permission to travel outside the Soviet Union. When the Kirov Ballet went to Paris in 1961 for its first foreign tour, Nureyev was watched very closely by political agents, who had suspicions he was going to attempt to defect. When the rest of the ballet company arrived at the airport to go to London for performances, Nureyev instead was given a ticket to Moscow and told he was needed for a gala performance. Disbelieving assurances that he would re-join the company in London, he was worried he would never be allowed out of Russia again, so he decided to seek asylum. With the help of friends and the French police, Nureyev was granted permission to stay in France. When Nureyev did not return to Russia, Russian officials attempted to damage his reputation, and he was sentenced to prison. Nureyev was immediately offered an engagement with the company Grand Ballet du Marquis de Cuevas, and so Nureyev’s dancing career in the West began.

Research other famous people from the world of ballet who defected from Russia, such as George Balanchine and Mikhail Baryshnikov.

CAREER IN THE WEST The Royal Ballet became Nureyev’s base until the 1970s, during which he frequently also appeared as a guest star with other ballet companies. A very quick learner, he danced over a hundred roles, by more than forty choreographers. Nureyev also created work during this time, including Romeo & Juliet for London Festival Ballet (now English National Ballet). Many roles were created specifically for him by an array of choreographers, including Frederick Ashton, George Balanchine, Martha Graham, and Kenneth MacMillan. Nureyev believed that a male should be allowed to dance as expressively as a female; exemplified when a soft, slow solo was added to Swan Lake for Nureyev. Nureyev was also one of the first ballet dancers, and by far the best known, to perform with contemporary dance companies.

In 1983, Nureyev was appointed director of the Paris Opera Ballet, where, as well as directing, he continued to dance and to promote younger dancers, including Sylvie Guillem. Nureyev staged new versions of traditional classical ballets and commissioning ground-breaking new choreographic work.

Research thes choreographers Nureyev worked with (Graham, Ashton, Balanchine and Baryshnikov) and compare their work to Nureyev’s choreography.

RETURN TO RUSSIA In 1989, Nureyev was finally given permission from the Soviet authorities to return to Russia. He performed La Sylphide at the Kirov Theatre in Leningrad, where he had not returned since 1961. He was also able to visit his dying mother during this time.

DEATH Sadly, Nureyev was diagnosed as HIV positive in 1984. Nureyev died on 6 January 1993, aged 54, at the Hôpital du Perpétual Secours in Levallois-Perret, near Paris. He is buried at the Russian cemetery of Sainte-Geneviève-des-Bois near Paris.

"The main thing is dancing, and before it withers away from my body, I will keep dancing ‘til the last moment, the last drop." Rudolf Nureyev

Create a timeline or map of Rudolf Nureyev’s career.

Information taken from The Rudolf Nureyev Foundation website: http://www.nureyev.org/rudolf-nureyev-biography-index

Romeo & Juliet : Synopsis ACT I

“Some consequence, yet hanging in the stars, Shall bitterly begin his fearful date With this night’s revels...” Act I Scene IV

Compare and contrast the opening of Nureyev’s production with Shakespeare’s play.

SCENE I – THE MARKET SQUARE The city of Verona is split by a feud between the Montague and Capulet families. Romeo, a young Montague, is paying court to Rosaline but she rejects his advances. An encounter between the retainers of the rival families turns into a brawl. Benvolio tries to pacify his followers, the Montagues, but Tybalt encourages the Capulets. Mercutio, who is friendly with both families, joins in cheerfully on both sides. The quarrel is interrupted by the arrival of the Prince of Verona and peace is temporarily restored.

SCENE II – JULIET’S ANTEROOM Juliet is playing with her companions and her nurse. Her parents, Lord and Lady Capulet, and Juliet’s cousin, Tybalt, arrive. Juliet is introduced to Paris, a young man whom her parents have chosen to be her husband and who has brought Juliet a wedding dress as a gift. 7

SCENE III – OUTSIDE THE CAPULET HOUSE The Capulet family members welcome guests to their ball; Lord Capulet invites Mercutio and his friends to join them. Meanwhile, Romeo is dismayed by another rejection from Rosaline, and Mercutio and his friends mock the discomforting effects of love and persuade Romeo to accompany them to the Capulet’s ball in disguise.

In the ballroom scene, how can you tell who the Montagues and the Capulets are?

SCENE IV – THE BALL Tybalt leads the dancing with Lady Capulet, and the whole assembly celebrates its solidarity against the Montagues. Juliet enters and performs a betrothal duet with Paris. Romeo enters with Mercutio and Benvolio and they join in the dance. At the first touch of their hands, Romeo and Juliet fall in love. Romeo is recognised and Tybalt tries to throw him out but Lord Capulet intervenes. Everyone joins in a final Wheel of Fortune dance.

SCENE V – THE CAPULET’S GARDEN Romeo is hiding outside in the Capulet’s garden. Mercutio and Benvolio come in search of him but Tybalt’s arrival disturbs them. As Juliet comes out into the garden Romeo emerges and they pledge their love for each other.

ACT II

“Now Romeo is beloved and loves again” Act I Scene V

SCENE I – THE MARKET SQUARE Romeo is waiting for news from Juliet. Juliet’s nurse has a letter for Romeo but she cannot find him. Mercutio and Benvolio tease them both. The square fills up with market crowds, acrobats and entertainers. The Nurse finally finds Romeo and delivers the letter. Romeo reads that Juliet has arranged for Friar Lawrence to marry them secretly in his chapel.

Create one or a series of still images depicting this scene.

SCENE II – A CHAPEL Romeo is waiting in the chapel. Juliet arrives and the two lovers are married by Friar Lawrence.

SCENE III – THE MARKET SQUARE The rival factions vie with each other in displays of dancing. Mercutio and Benvolio arrive followed by Tybalt, who is angrily looking for Romeo. He tries to provoke Romeo to fight and, when Romeo refuses, accuses him of effeminacy. At this insult Mercutio challenges Tybalt. He jokes as they fight, but Tybalt is serious: a knife flashes and the revellers find that Mercutio has been killed. The Montagues force a sword into Romeo’s hand and he fights with Tybalt and kills him. The Prince arrives with Juliet, who finds that her new husband has become her cousin’s murderer. Romeo is condemned to leave the next morning for exile in Mantua.

ACT III

Create a Montague and Capulet family tree.

“Come, nurse. I’ll to my wedding bed, And death, not Romeo, take my maidenhead!” Act III Scene III

SCENE I – JULIET’S BEDROOM While Paris discusses his marriage to Juliet with Lord and Lady Capulet, Juliet sits in her room filled with dread. Romeo steals in by the window and their marriage is consummated. Day breaks and he must leave for Mantua. Juliet’s family returns and forces her to prepare for her wedding to Paris. Juliet, in despair, tries to find the courage to kill herself, but the memory of her marriage to Romeo inspires her to seek the help of Friar Lawrence.

SCENE II – A CHAPEL Juliet runs to Friar Lawrence for advice, but finds Paris discussing the wedding. Friar Lawrence gets Paris to leave and explains to Juliet a way out of her predicament. She is to drink a potion which will send her into a deep sleep. Thinking her dead, her parents will place her in the family crypt. Meanwhile, Friar John will have warned Romeo in Mantua and he will return at night to carry her away when she awakes. Juliet foresees herself reunited with Romeo. 9

SCENE III – JULIET’S BEDROOM Juliet pretends to agree to marry Paris. Left alone, she is filled with doubts. Should she choose suicide using Tybalt’s dagger thereby preserving the family honour, or follow the advice to live for love? Finally she decides to drink the potion.

SCENE IV – JULIET’S ANTEROOM Paris arrives to greet Juliet with his marriage retinue of musicians and dancers. But when her family tries to wake her she appears to be dead. The wedding turns into a funeral. Benvolio hurries away to tell Romeo.

SCENE V – THE ROAD TO MANTUA On the way to Mantua with Friar Lawrence’s letter to Romeo, Friar John is attacked, robbed and killed. Romeo never receives Friar John’s message.

SCENE VI – MANTUA Ignorant of all that has happened in Verona since he left, Romeo dreams of Juliet. He is woken by Benvolio bringing news of Juliet’s apparent death. Seized with despair, he leaves for Verona.

SCENE VII – THE CAPULET CRYPT Juliet is laid to rest in the Capulet crypt. When the mourners have gone, Romeo steals in to say farewell. He finds Paris there and kills him, then distracted by grief, he poisons himself. Juliet wakes to find Romeo dead beside her and kills herself with his dagger. The families are finally united in grief.

“Capulet, Montague, See what a scourge is laid upon your hate, That heaven finds means to kill your joyswith love.” Act V Scene III

Explore William Shakespeare’s original text and draw comparisons between this and Nureyev’s ballet. As an extension, compare Nureyev’s ballet with other interpretations of Shakespeare’s text, such as American musical, West Side Story and Baz Luhrmann’s 1996 film.

What you didn’t know about Nureyev’s Romeo & Juliet In 1977, the legendary Rudolf Nureyev created his own version of the ballet Romeo & Juliet for English National Ballet (formally London Festival Ballet). The weeks of creation were an intense period for all of the dancers and staff involved. Here are some fun background facts about it.

IF IT HAD BEEN UP TO NUREYEV, JULIET WOULD HAVE BEEN DANCED BY A BOY! Nureyev had originally studied the play in Russian and was intrigued by the fact that in Shakespeare’s time there were no female actors. According to Patricia Ruanne, the original Juliet, he had thought about having this role performed by a man too!

Look at the role of men and women in theatre throughout history.

NUREYEV’S ORIGINAL MUSIC CHOICE WAS NOT PROKOFIEV’S SCORE. The story has it that Nureyev’s original plans involved using 13th and 14th century music (the period in which the story is set), specially arranged for the choreography, instead of Prokofiev’s famous score. As bold as that idea was, Nureyev soon realised that over “two hours of that in the theatre might be very tiresome” and returned to the dramatic music of Prokofiev.

Listen to 13th and 14th century music. How does this differ to the 20th century score that Nureyev eventually chose?

THE FIRST REHEARSALS HAD TO HAPPEN AT NIGHT. When Nureyev first started working on Romeo & Juliet , he was still busy filming Valentino (a film directed by Ken Russell in which he played the role of 1920s silent movie star Rudolph Valentino). To work around his schedule, he asked principal dancers Patricia Ruanne (Juliet), Frédéric Jahn (Tybalt), Nicholas Johnson (Mercutio) and Elizabeth Anderton (Nurse) to work with him late in the evenings and on Sundays. Those rehearsals often took place at the Donmar Studios in Covent Garden (now the Donmar Warehouse theatre).

THE FINAL SCENE WAS NEVER PROPERLY REHEARSED. One of the consequences of Nureyev’s full schedule was that he and Patricia Ruanne (Juliet), never found the time to rehearse the final death scene. “We only discussed it over dinner”, said Ruanne. Changes were thus made throughout the 1977 run to refine it to what it is today.

THE WORLD PREMIERE RUN LASTED OVER 3 WEEKS. Its opening run was an epic 3½ weeks totalling 25 performances (2 -25 June 1977) at the London Coliseum, at the height of Nureyev’s fame. Both Patricia Ruanne and Rudolf Nureyev danced the leading roles at all performances, including matinees – no mean feat considering the demands of the choreography. This was another result of Nureyev’s hyper activity: he hadn’t had the time to rehearse any other cast.

Working with Nureyev: An Interview with the original Juliet Patricia Ruanne was the young dancer chosen by Rudolf Nureyev to dance the role of Juliet, with him as Romeo. Having created the role of Juliet and danced it so many times with such a star, the role really belongs to Ruanne. She and the original Tybalt, Frédéric Jahn, have returned to stage Romeo & Juliet many times since then for English National Ballet and here she discusses her experiences.

HOW DID RUDOLF COME TO CREATE ROMEO & JULIET FOR THE COMPANY? Rudolf had recently left the Royal Opera House and needed a ‘base’ company in London and enjoyed the atmosphere of this Company, London Festival Ballet as it was then. Rehearsals had already begun for Barry Moreland’s Romeo & Juliet but the success of Rudolf’s The Sleeping Beauty with the Company must have influenced the Director’s decision.

WAS THERE A SENSE OF EXCITEMENT? Naturally! The combination of very unusual and challenging choreography, Rudolf’s own contagious enthusiasm, plus a very brief rehearsal period for a created work was very stimulating!

WHAT KIND OF CHOREOGRAPHER WAS NUREYEV? Very interesting… he required a strong classical base, but was very influenced by contemporary dance, especially Martha Graham, Jerome Robbins and even Hollywood musicals.

Identify the key features of these choreographic styles which can be seen in Nureyev’s ballet.

IS THE ROLE OF TYBALT MORE TECHNICALLY DEMANDING THAN OTHER CHOREOGRAPHY HE HAS PRODUCED? Not demanding in terms of ‘steps’ but very demanding to produce good, convincing fight scenes, and quite challenging to overcome the view of Tybalt as a ‘bad guy’. Rudolf required us as actors just as much as dancers.

How do the dancers use classical mime to convey the story?

HOW DID THE OPENING PERFORMANCE GO? Exceptionally well, considering that it was still a work in progress, for example Romeo and Juliet’s death scene was discussed over dinner, but never rehearsed! Many changes were made during that first season, which is one reason why there were no alternate casts for the principal roles and changes were usually made at the half-hour call before we went on!

WHAT ARE THE MAIN DIFFERENCES BETWEEN NUREYEV’S ROMEO & JULIET AND OTHER VERSIONS? The Nureyev version is more faithful to Shakespeare’s play and it involves the whole Company dancing a lot, as opposed to it just being a love story between Romeo and Juliet.

Look out for other themes explored in the ballet, such as fate, friendship and feuds, loyalty and time.

YOU HAVE TAUGHT THE PRODUCTION AT MANY DIFFERENT COMPANIES, DOES IT FEEL DIFFERENT COMING ‘HOME’ TO TEACH IT? It’s always a joy to be back with this Company. The thing we enjoy most is the ‘British’ tradition of finding the theatrical sense of a production without sacrificing interpretation on the altar of technique… just as Rudolf would have wished.

Romeo & Juliet : Music Play Prokofiev’s score to your students and try to pick out themes, characters and moods.

Ask your students to think about making their own version of Romeo & Juliet. What music would they use? Would it sound similar to Prokofiev’s score?

Explore the use of motifs in music, and how this is similar to motifs in dance.

Look out for music that you may recognise already!

Sergei Prokofiev’s score for Romeo & Juliet is recognised as ‘a masterpiece of dance and music’. Many of its themes are familiar to audiences who never go to the ballet or classical concerts. Shakespeare’s play attracted numerous choreographers before the mid-20th century, who turned to a variety of composers to provide music, but since the mid-1940s, when Prokofiev’s score became familiar internationally, it is this version that has provided the foundation for most ballets of Shakespeare’s tragedy. The quality of Prokofiev’s score is a contributing factor to Romeo & Juliet featuring in the repertoire of most ballet companies. Prokofiev’s published score dramatically shapes the tragic events and characterises individuals. For example, for Juliet’s character, Prokofiev often uses a slow tempo, with mostly string and woodwind instruments. Throughout the score, Prokofiev lays a firm basis of musical strife and evokes the idea of a force of destiny that underpins the plot. 15

HOW DOES PROKOFIEV’S MUSIC AND NUREYEV’S CHOREOGRAPHY WORK TOGETHER? Prokofiev’s descriptive music sets up the drama, but choreographers will often request modifications to fit the vision of their individual production. Nureyev’s production emphasises the role of fate, with the production opening to a scene of scurrying gamblers, and an immediate awareness of mortality with the bodies of plague victims visible. To give this dramatic opening more weight, Nureyev’s version introduces the music written for the feuding between Capulets and Montagues, which is later repeated at the start of Act III to remind the audience of Romeo’s banishment. Some abridging also occurs in Act II with music being reassigned to different sections of choreography, for example, Romeo performs a solo after receiving Juliet’s letter. Similarly, music is rearranged in the last act to allow the inclusion of scenes showing the unsuccessful delivery of the message about Juliet’s faked death, Romeo’s dream and Benvolio’s meeting with Romeo in Mantua. Although changes have been made, no one could really accuse Nureyev of distorting the score. Both Nureyev and Prokofiev took their inspiration from Shakespeare’s play and drew from it the drama they brought to the ballet.

Schools’ Link Programme Why not book a Romeo & Juliet Schools’ Link workshop for your students? Creative repertoire workshops provide an insight into Romeo & Juliet and other English National Ballet productions, and include a range of themes appropriate for different Key Stages.

"Outstanding teaching, clear, informative and able to capture the boys understanding of ballet in a fun way" Vivienne Edwards, Teacher, Aldwickbury School High-quality artistic practice is at the core of English National Ballet’s Schools’ Link programme. Workshops are offered in schools, colleges and universities throughout the UK, giving students the opportunity to engage with the world of ballet. We offer two distinct options; Creative Repertoire workshops, exploring the stories, characters and themes in English National Ballet repertoire, and Ballet Essentials workshops, focusing on the physical and technical skills of ballet.

SPECIAL TICKET OFFER As part of the Schools’ Link package, we offer all workshop bookers 11 FREE TICKETS (10 students and 1 teacher) for an English National Ballet performance. All additional ticket are then discounted at our special schools’ rate. More information about performance dates and repertoire workshops can be found on our website at www.ballet.org.uk/learning/schools.

WHAT DO WORKSHOPS INCLUDE? ― ― ― ― ―

Professional artists to inspire and challenge students both physically and creatively, developing posture, co-ordination, stamina and engaging with live music Support for students completing their Arts Award Cross-curricular links tailored to different Key Stages, offering students a deeper understanding of this creative art form Links with English National Ballet – connecting students to one of the world’s greatest ballet companies and developing students’ cultural and artistic understanding Discounted tickets to English National Ballet performances

HOW CAN I FIND OUT MORE? Visit our website or contact English National Ballet’s Engagement Department for more information on 020 7581 1245 or email engagement@ballet.org.uk.

― As a group, discuss the key characters of Rudolf Nureyev’s Romeo & Juliet. What are their character traits? ― In a circle, ask the students to create and share gestures/short movement phrases to represent each character. E.g. Juliet is young and in love, so her gesture could be to gently place both hands on the heart. ― Moving from the circle, ask the students to travel around the space (this could be combined with the Lords and Ladies activity). As a character’s name is called, the students should perform the gesture for that character.

Who’s Who?

Character Task

― Ask students to imagine that they are at the Capulet ballroom. ― Thinking about posture and expression, discuss how they would walk as a nobleman, Lord or a Lady. ― Ask students to imagine that they are at the busy marketplace. ― Thinking about posture and expression, discuss how they would move amongst the hustle and bustle of the Verona market. ― At the teacher’s call, students respond and travel around the space either embodying this noble and pompous style of moving, or as if they are in the midst of the market.

Lords and Ladies/Marketplace

Warm Up Task

― As the students travel around the room and pass each other in the space, develop by adding character interaction in a ‘meet and greet’. Each student performs a gesture to their partner, and they have to guess which character they are portraying.

― As a development ask the students to respond to musical cues instead of teacher call outs. ― Play with the speed, direction and levels of travel, building up the energy throughout the activity. ― Add gentle joint mobility exercises, e.g. rolling up and down the spine.

DIFFERENTIATION/DEVELOPMENTS

SAFETY CONSIDERATIONS/ TEACHING POINTS

― Images of key characters.

― Music of your choice in any style/genre.

RESOURCES/ MUSIC

― to inspire and challenge students physically, developing posture, co-ordination, and stamina ― to respond creatively to music ― to develop choreographic skills

Through a variety of creative and practical tasks, learn about Rudolf Nureyev’s Romeo & Juliet.

ACTIVITY

LEARNING OBJECTIVES

LESSON AIM OVERALL

The lesson plan below can be used in conjunction with the information provided in this Schools’ Pack, to deliver an inspiring exploration of this timeless production, and bring Rudolf Nureyev’s Romeo & Juliet to life in school.

Key Stage 1&2 Example Lesson Plan

― Put all of the above material together: the Montagues perform their section, followed by the Capulets performing their sections. Each student then finds their partner and performs their individual duel. ― To finish all students come together and create a final tableaux showing the relationships between all of the characters that they have explored throughout the session.

Finale

― As a development to the above, ask each of the Montagues to pair with a Capulet. ― Take a section of the material that they have already created in their groups and ask them to travel this movement forwards and backwards, towards and away from their partner as if in battle.

Family Feuds

― Split the students into 4 groups. Groups A&B will be the Montagues and groups C&D will be the Capulets. ― Using the gestures devised in the Character task ‘Who’s Who’, ask each group to create a short section of movement that represents their family, ending in a tableaux. ― Ask each group to perform their section to the other family, and then ask both groups to perform their sections at the same time, ending in their tableaux.

Montagues and Capulets

Creative Task

― ‘Dance of the Knights’ opens the Capulet’s Ballroom scene. You are Lord/Lady Capulet, stood in the downstage corner of the space waiting to greet your guests. ― In pairs, ask students to walk from the opposite corner thinking about the posture (recall Lords and Ladies warm up task). Encourage students to think about timing and musicality as they walk to the strong beat of the music. ― As they reach you, ask the students to create a tableaux, as if introducing themselves to Lord/Lady Capulet before they enter the ballroom.

Dance of the Knights

Travelling Task

ACTIVITY

― Develop this exercise by including specific movements that the students must include. ― For example, a roll on the floor, a jump, or a balance. ― Allow groups to share their material with the rest of the class and vice versa.

― Develop this exercise by using different floor patterns and changes of direction. ― Try putting on different pieces of music and see how this changes the atmosphere of the task.

DIFFERENTIATION/DEVELOPMENTS

― Some students/groups may need input from the teacher when creating material. Inspire the students with images, music, and reminders of the characters. ― After a group has shared their work, allow and encourage discussion relating to the characters, music, and themes.

― Ensure your students have regular opportunities to have some water to stay hydrated. ― When the students are not dancing, ask the students to line up at the side of the room to keep the space clear for those who are dancing. ― When waiting for their turn, ask students to watch others dance, and reflect on what they are observing. ― Encourage praise and improvement.

SAFETY CONSIDERATIONS/ TEACHING POINTS

― ‘Dance of the Knights’ music, or any other Romeo & Juliet music.

― ‘Dance of the Knights’ music.

RESOURCES/ MUSIC

― Return to the earlier task of walking around the room as a Lord or a Lady. ― Begin with high energy and gradually slow the pace down as the guests of the ballroom become more tired. ― When the pace has slowed down, bring the students into a circle and ask them as if they are guests at the ball, to curtsey or bow to each other to say goodnight, and end the lesson.

Leaving the Ballroom

Cool Down

ACTIVITY

― Add gentle stretches throughout the cool down. ― Add gentle joint mobility exercises. ― Add gentle breathing exercises to calm the body systems down

DIFFERENTIATION/DEVELOPMENTS

― Slowing, continual activity such as walking allows for cooling of muscles after physical activity. ― It important to slow the heart rate to prevent post-activity muscle soreness.

SAFETY CONSIDERATIONS/ TEACHING POINTS

― Calming and tranquil music of your choice.

RESOURCES/ MUSIC

― As a group, discuss the key characters of Rudolf Nureyev’s Romeo & Juliet. What are their character traits? ― In a circle, ask the students to create and share gestures/ short movement phrases to represent each character. E.g. Juliet is young and in love, so her gesture could be to gently place both hands on the heart. ― Moving from the circle, ask the students to travel around the space. As a character name is called, the students should perform the gesture for that character.

Who’s Who?

Character Task

― Ask students to imagine that they are at the busy marketplace. ― Thinking about posture and expression, discuss how they would move amongst the hustle and bustle of the Verona market. ― Build into the task interaction beginning with simple eye contact, to a nod of the head, to a wave, to a point of contact, e.g. a handshake/embrace. ― Develop by asking students to vary the point of contact using different body parts.

Marketplace Meet and Greet

Warm Up Task

― Allow groups of students to share their material with the rest of the class and vice versa.

― As a development, the points of contact could include counterbalances – using the weight of the body to lean in towards or away from your partner. ― Play with the speed, direction and levels of travel building up the energy throughout the activity. ― Add gentle joint mobility exercises, e.g. rolling up and down the spine.

DIFFERENTIATION/DEVELOPMENTS

― Ask the students to be mindful of each other in the space as they move from the circle. ― Make sure that the students are spreading out to use all available space in the room rather than grouping together. ― Offer reminders of the characters if the students need more input. Is the character a Montague or a Capulet?

― Ensure the room is clear and floor is clean (no sharp objects/spillages). The room must also be a good temperature for physical activity, i.e. not too hot or too cold. ― Ensure students are dressed appropriately for physical activity with safe footwear/bare feet (no socks). ― Gradually build up the intensity of activity to avoid injury and ensure safe practice. ― As the energy builds throughout the class, ensure you can be heard clearly over any music.

SAFETY CONSIDERATIONS/ TEACHING POINTS

― Images of key characters.

― Music of your choice in any style/genre with a moderate pace for warm up..

RESOURCES/ MUSIC

― to inspire and challenge students physically, developing posture, co-ordination, and stamina ― to respond creatively to music and text ― to develop choreographic skills

Through a variety of creative and practical tasks, learn about Rudolf Nureyev’s Romeo & Juliet.

ACTIVITY

LEARNING OBJECTIVES

LESSON AIM OVERALL

Key Stage 3&4 Example Lesson Plan

― ‘Dance of the Knights’ opens the Capulet’s Ballroom scene. The students are Lords and Ladies who are guests at the ball. ― Contrasting to the posture and dynamic of the marketplace in the warm up task, ask the students to start by walking around the space thinking about the pompous posture and expression of the Lords and Ladies at the ball. ― They must also think about timing and musicality as they walk to the strong beat of the music. ― Following this, introduce stage directions. Downstage (the front of the room), upstage (the back of the room), stage left and stage right (the sides of the room from the students’ perspective). ― As a group, design a floor pattern using these directions and create a sequence to ‘Dance of the Knights’. ― Walk for 6 counts in the direction then hold a position demonstrating the Lords and Ladies pompous style. Repeat following the floor pattern.

Dance of the Knights

Travelling Task

― As a development of the above, discuss as a group what would happen if two of these characters met. ― Number each student either 1 or 2. As they continue to move around the space, call out a character name for each number, e.g. 1’s are Juliet and 2’s are Tybalt. ― Students should find a partner of the opposite number and using the gestures devised earlier, explore how the characters would perform these to each other and interact, e.g. are the characters friends or enemies?

Hot Seat

ACTIVITY

― To develop a port de bras (arm sequence) could be added to each 6 counts of walks. A spiralling through the torso could also be added. ― Try putting on different pieces of music and see how this changes the atmosphere of the task. ― Perform the sequence in small groups for each other.

DIFFERENTIATION/DEVELOPMENTS

SAFETY CONSIDERATIONS/ TEACHING POINTS

― ‘Dance of the Knights’ music.

RESOURCES/ MUSIC

― A key theme of Nureyev’s Romeo & Juliet is fate. Explore this using chance choreography - a technique developed by choreographer, Merce Cunningham. ― Ask the students to choose 6 movement, e.g. jump, roll, turn, slide, walk, balance, and number these 1-6. Then ask the students to think of six movement qualities, e.g. slowly, sharply, gently, quickly, free, restricted, and number these 1-6. ― Ask the students to find a partner and give each pair 2 dice. ― The students should roll both dice in turn and create a chance sequence based on the roll of the dice. ― E.g. if a pair rolls 1&4 followed by 5&3, there sequence would start with a jump performed quickly, followed by a walk performed gently.

Fate

― Choose specific lines of text from Shakespeare’s play (e.g. the lines highlighted in the synopsis – page 3, which correlate with each act). Split the students into small groups and assign a section of text to each group. ― Focusing on the line as a whole, rather than miming each word, ask the students to think about the feeling, mood or scenario of the line. ― First ask the students to create a tableaux to represent this. ― Then ask the students to make this tableaux come to life and create a short phrase of movement representing the line of text, which brings them back to a tableaux to finish. This tableaux could be the same as the starting tableaux or different.

Using the Text

Creative Task

ACTIVITY

― Half of the pairs can perform their chance sequences to the other half of the class, and vice versa. ― The movement created through both creative tasks can be put together to create a longer piece of movement that can be performed. ― Encourage reflective discussion of the work that they’ve seen and created

DIFFERENTIATION/DEVELOPMENTS

SAFETY CONSIDERATIONS/ TEACHING POINTS

― Any music from Romeo & Juliet. ― Experiment with different pieces of music to see how this affects the mood/atmosphere/ meaning of the choreography

RESOURCES/ MUSIC

― Ask the students to imagine that they have taken the sleeping potion that Juliet uses in Act II. Begin by asking the students to walk around the space gradually slowing the pace and winding down the energy. Incorporate gentle stretching and mobility exercises. ― Once slowed right down, form a circle. ― As the sleeping potion take its effect, by isolating the different body parts, imagine that it first affects the head and shoulders. Ask the students to relax the head and shoulders, and roll down the spine until the whole upper body is ‘asleep’, with an easy bend in the knees. ― Gradually roll up to standing and repeat using slow deep breaths to encourage relaxation through the whole body, drawing the class to an end.

Sleeping Potion

Cool Down

ACTIVITY

― Add gentle stretches throughout the cool down. ― Add gentle joint mobility exercises. ― Add gentle breathing exercises to calm the body systems down.

DIFFERENTIATION/DEVELOPMENTS

― Slowing, continual activity such as walking allows for cooling of muscles after physical activity. ― It important to slow the heart rate to prevent post-activity muscle soreness.

SAFETY CONSIDERATIONS/ TEACHING POINTS

― Calming and tranquil music of your choice.

RESOURCES/ MUSIC

This Schoolsâ&#x20AC;&#x2122; Pack has been produced by English National Ballet, supported by The Rudolf Nureyev Foundation. ballet.org.uk Tel: +44 (0) 20 7581 1245 Fax: +44 (0)20 7225 0827 Markova House, 39 Jay Mews, London SW 7 2ES Registered in England and Wales. No 735040. Charity no. 214005

Registered Charity 214005

Design: Gaelle Lochner Images ÂŠ Dominic Photography, Patrick Baldwin, Belinda Lawley