American Ballet Theatre Digital Student Performance - Educator's Packet

Christine Shevchenko and James Whiteside in Don Quixote. Photo by Gene Schiavone.

AMERICAN BALLET THEATRE Educator Packet Digital Student Performance Wednesday, June 2, 2021

TABLE OF CONTENTS About the Company

3

About the Leadership

4-5

Things to Prepare you for the Performance

6

About the Program

7

About the Ballet

8

Assessment for Students ABT Resources

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OVERVIEW

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About The Music Center

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Glorya Kaufmann Presents Dance at The Music Center

DIGITAL STUDENT PERFORMANCE AMERICAN BALLET THEATRE

The Music Center is thrilled to be able to provide middle school and high school students with a digital student performance. We hope that this will be an engaging and inspiring experience for you and your students, and we look forward to when we can safely invite you and your students back to The Music Center!

WHEN Wednesday, June 2, 2021 10:00a.m.

SPONSORED BY Glorya Kaufman Dance Foundation Center Dance Arts Anita Mann Kohl and Allen D Kohl

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ABOUT THE COMPANY American Ballet Theatre is considered one of the greatest dance companies in the world, revered as a living national treasure since its founding in 1939. Few ballet companies rival ABT in size, scope, and outreach. Though located in New York City, ABT annually tours the United States – performing for 300,000 people annually – and is the only major cultural institution to do so. The Company has made more than 30 international tours to 45 countries in order to share American ballet with the world, and on many of these engagements ABT received sponsorship from the State Department of the United States Government.

In the Autumn of 1939, ABT was launched with the mission of developing a repertoire of the best ballets from the The original cast of Pillar of Fire (1942). Photo by Maurice Seymour. past, and the creation of new works by gifted choreographers, wherever they might be found. Under the direction of Lucia Chase and Oliver Smith (1945 – 1980), the Company more than fulfilled this mission.

Perhaps unmatched in the history of ballet, ABT’s repertoire includes full-length classics from the nineteenth century: Swan Lake, The Sleeping Beauty and Giselle; the finest works from the early twentieth century: Apollo, Les Sylphides, Jardin aux Lilas and Rodeo; and acclaimed contemporary masterpieces including Airs, Push Comes to Shove and Duets. Throughout the curation of this exquisite repertoire, ABT has commissioned works by the choreographic geniuses of the twentieth century: George Balanchine, Antony Tudor, Jerome Robbins, Agnes de Mille and Twyla Tharp, among others.

Mikhail Baryshnikov became Artistic Director of American Ballet Theatre in 1980, succeeding Lucia Chase and Oliver Smith. Under his leadership, numerous classical ballets were staged, restaged, and refurbished and ABT strengthened and refined the classical tradition. In 1990, Jane Hermann and Oliver Smith succeeded Baryshnikov and established an agenda dedicated to maintaining the great traditions of the past while aggressively pursuing a vital and innovative future.

In October 1992, former American Ballet Theatre Principal Dancer Kevin McKenzie was appointed Artistic Director and serves as such today. McKenzie, steadfast in his vision of ABT as “American”, is committed to maintaining the Company’s vast repertoire and bringing the art of dance theater to the great stages of the world. In upholding this mission, the Company has enjoyed successful engagements in Abu Dhabi, Brisbane, Havana, Hong Kong, Paris, Singapore and Beijing.

On April 27, 2006, by an act of Congress, American Ballet Theatre was designated America’s National Ballet Company®.

AMERICAN BALLET THEATRE WEBSITE: https://www.abt.org/

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ABOUT THE LEADERSHIP KEVIN MCKENZIE

ARTISTIC DIRECTOR, HAMILTON E. JAMES CHAIR Photo by Fabrizo Ferri.

A native of Vermont, Kevin McKenzie received his ballet training at the Washington School of Ballet. In 1972, Mr. McKenzie was awarded a Silver medal at the Sixth International Competition in Varna, Bulgaria. He was a leading dancer with both the National Ballet of Washington and The Joffrey Ballet before joining American Ballet Theatre as a Soloist in March 1979. McKenzie was appointed a Principal Dancer the following December and danced with the Company until 1991.

As a Principal Dancer with American Ballet Theatre, McKenzie performed leading roles in all the major full-length classics including Solor in La Bayadère, Don Jose in Carmen, the Prince in Mikhail Baryshnikov’s production of the full-length Cinderella, Franz in Coppélia, Basil and Espada in Don Quixote (Kitri’s Wedding), Albrecht in Giselle, Romeo and Mercutio in Romeo and Juliet, Prince Désiré in The Sleeping Beauty, Prince Siegfried in Swan Lake, and James in La Sylphide. His repertoire also includes the Gentleman With Her in Dim Lustre, Her Lover in Jardin aux Lilas, the Friend in Pillar of Fire, the Champion Roper in Rodeo, leading roles in The Garden of Villandry, The Leaves Are Fading, Other Dances, Paquita, Raymonda (Grand Pas Hongrois), Les Sylphides, Sylvia Pas de Deux and Theme and Variations, and a featured role in Requiem. He created the role of Amnon in Martine van Hamel’s Amnon V’Tamar and a leading role in Clark Tippet’s S.P.E.B.S.Q.S.A. During his performing career, McKenzie performed as a guest artist in cities throughout the world, including Spoleto, Italy, Paris, London, Tokyo, Havana, Moscow, Vienna and Korea, dancing with, among others, the London Festival Ballet, the Bolshoi Ballet, the National Ballet of Cuba and the Universal Ballet in Seoul. In September 1989, McKenzie was appointed a permanent guest artist with The Washington Ballet, and, in 1991, he was named Artistic Associate of that company. He also acted as Associate Artistic Director and a choreographer for van Hamel’s New Amsterdam Ballet.

McKenzie was appointed Artistic Director of American Ballet Theatre in October 1992. His previous choreographic credits include Groupo Zambaria (1984) and Liszt Études (1991), both for van Hamel’s New Amsterdam Ballet, and Lucy and the Count (1992) for The Washington Ballet. His choreography for ABT includes the full-length classics The Nutcracker (1993), a new production of Swan Lake (2000), and a new production of The Sleeping Beauty (2007, with Gelsey Kirkland and Michael Chernov). His staging credits include Don Quixote (1995, in collaboration with Susan Jones), Raymonda (2004, with choreography by Anna-Marie Holmes), and a new production of Raymonda Divertissements (2014, with Irina Kolpakova).

McKenzie holds honorary degrees of Doctor of Arts from Saint Michael’s College in Colchester, Vermont (1993) and Doctor of Fine Arts from Adelphi University (2019). He received the Dance Magazine Award in 1999. In addition, he appeared in two Emmy Award winning broadcasts, The Unicorn, the Gorgon and the Manticore (1970) and American Ballet Theatre in Le Corsaire (1998) both for PBS’ Dance in America series. McKenzie is a founding board member of Kaatsbaan International Dance Center in Tivoli, New York.

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KARA MEDOFF BARNETT EXECUTIVE DIRECTOR Photo by Chris Taggart.

Kara Medoff Barnett was appointed Executive Director of American Ballet Theatre, America’s National Ballet Company, in February 2016 following nearly nine years as a senior executive at Lincoln Center for the Performing Arts. At ABT, Barnett has advanced innovation and inclusion, supporting a robust slate of new productions and increasing diversity in the training pipeline. Since 2016, the Company has performed in Paris, Muscat, Washington D.C., Los Angeles, Chicago, Detroit, Singapore and Hong Kong, bringing extraordinary art to audiences worldwide.

During her tenure at Lincoln Center, Barnett served as Director of Strategy and Business Development and Senior Director of the Capital Campaign for the transformative redevelopment of Lincoln Center’s iconic 16-acre campus. In 2012, Barnett became the founding Managing Director of Lincoln Center International (LCI), established to extend Lincoln Center’s brand, facilitate artistic exchange, and advise government leaders, philanthropists, and developers on the planning and management of cultural infrastructure projects around the globe. Under Barnett’s leadership, LCI launched the Lincoln Center Global Exchange, an annual conference for international leaders and change agents to advance the role of art and culture in addressing critical challenges facing our collective future.

Barnett has produced plays on and off Broadway, and she received a Tony® Award for the 2003 Broadway revival of Long Day’s Journey Into Night. She is a member of the Advisory Committee of the American Theatre Wing, a member of the Harvard Business School Alumni Board and a 2015 Henry Crown Fellow of the Aspen Institute. In 2014, she was named as a member of “40 Under 40” in Crain’s New York Business.

Barnett attended Duke University on a Trinity Scholarship, graduating summa cum laude, and received her M.B.A. from Harvard Business School.

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THINGS TO PREPARE YOU FOR THE PERFORMANCE American Ballet Theatre’s Mission: To create, to present, to preserve and to extend the great repertoire of classical dancing, through exciting performances and educational programming of the highest quality, presented to the widest possible audience.

Here are some things to observe and heighten your senses: I.

Observe how the section of the ballet begins and ends. Are the performers already on stage or do they make an entrance? What is the mood or image at the beginning of each piece? Does it change? How does each piece end?

II.

How do the costume designs and color choices support the mood and intent of each dance? Included with costumes are hats and shoes, or a choice of bare feet.

III.

Listen closely to the music. What sounds do you hear? What instruments? What is the style of the music? What mood is evoked by the music?

IV.

Notice the lighting choices. How do the color choices of the lighting create different moods?

V.

Feel the emotions communicated. Think about the meaning for you. Do images, thoughts or memories come up in your mind?

American Ballet Theatre, Don Quixote. Photo by Karsten Moran for The New York Times.

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ABOUT THE PROGRAM

Catherine Hurlin and Aran Bell perform Act III Pas de Deux, Don Quixote. Photo by Erin Biano.

DON QUIXOTE (excerpt – Act III Pas de Deux) CHOREOGRAPHED AFTER: Marius Petipa and Alexander Gorsky STAGED BY: Kevin McKenzie and Susan Jones MUSIC: Ludwig Minkus ARRANGED BY: Jack Everly SCENERY AND COSTUMES DESIGN: Santo Loquasto LIGHTING BY: Natasha Katz WORLD PREMIERE: June 12, 1995, Metropolitan Opera House, New York, NY Please click on the underlined links to find out more about the creative team on www.abt.org.

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ABOUT THE BALLET | DON QUIXOTE Based on Miguel de Cervantes’ sweeping tale of romance and chivalry, this classic ballet features the misadventures of the titular knight-errant of la Mancha and his devoted squire, Sancho Panza. These beloved characters are positively heroic when it comes to aiding the spirited maiden Kitri and her charming amour.

SYNOPSIS Prologue: Driven by the vision of Dulcinea, the tarnished, yet inspired, Don Quixote begins his adventures with his trusty squire Sancho Panza in tow.

Act I: Sevilla. Kitri, Lorenzo’s daughter, is in love with Basilio. Much to her chagrin, she learns of her father’s plans to marry her to Gamache, a foppish nobleman. Don Quixote and Sancho Panza enter the village, causing great commotion. Noticing Kitri, Don Quixote wonders if he has, at last, found his Dulcinea. At the height of merriment, Kitri and Basilio, aided by their friends, Espada and Mercedes, sneak off followed by Don Quixote and Sancho Panza. Gamache and Lorenzo attempt to pursue the young couple.

Act II. Scene 1: Gypsy Camp. Don Quixote and Sancho Panza discover the fleeing couple in a friendly gypsy camp. All are inspired by the romance of the night. As the vision of Dulcinea appears to him, Don Quixote realizes Kitri is not his “ideal”, but indeed belongs with Basilio. Suddenly the wind gains momentum. Don Quixote foolishly attacks a windmill, believing it to be a giant threatening Dulcinea’s safety. Failing miserably, he collapses into a deep sleep.

Act II, Scene 2: The Dream. Don Quixote has an enchanted dream of beautiful maidens in which the image of Kitri symbolizes his Dulcinea.

Act II, Scene 3: Sunrise. Lorenzo and Gamache interrupt Don Quixote’s dream. Sympathetic to the plight of the young lovers, Don Quixote attempts to lead Lorenzo and Gamache astray.

Act II, Scene 4: A Tavern. Finally discovered, Kitri is forced by Lorenzo to accept the attentions of Gamache. The thwarted Basilio commits “suicide”. Upon learning of the farce, Kitri implores Don Quixote to persuade Lorenzo to wed her to the “corpse”. Instantly Basilio comes to “life”! Triumphantly, Kitri leaves to prepare for marriage while Don Quixote and Basilio salute Lorenzo and Gamache for stoically accepting the inevitable.

Act III: The Wedding. The village celebrates the marriage. Don Quixote congratulates the couple, bids them a warm “farewell”, and resumes his ever-lasting adventures.

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ASSESSMENT FOR STUDENTS Glorya Kaufmann Presents Dance at The Music Center

DIGITAL STUDENT PERFORMANCE AMERICAN BALLET THEATRE

Essential Question: Where do choreographers get ideas for dances?

What did I know about American Ballet Theatre before seeing to the performance?

What did I learn from watching the performance?

How was the music an important element of the performance?

What themes did you see in the performance?

In what settings did Don Quixote take place?

Select one of the following writing prompts that describe your response to the performances: 1. Most memorable or inspiring:

2. Made me think or ask questions:

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ABT RESOURCES To further deepen your ABT knowledge, please enjoy the following online resources!

MOVING STORIES: AN ABT FILM FESTIVAL ABT kicked off their first-ever film festival last fall! The program featured films by Alexandre Hammoudi, Eric Tamm, Duncan Lyle and Zhongjing Fang: https://www.youtube.com/watch?v=kvns8ZY77gU&t=1378s

ABTKids Daily | Throwback Thursday Every Thursday ABT pulls a photo from their archives and share it with one of the ABT dancers.

Carlos Gonzalez - ABT Corps de Ballet - Joined 2016: https://www.abt.org/abtkids-daily-2020-09-28/#thursday

ABTKids Daily | Career Corner Meet ABT’s Production State Manager Danielle Ventimiglia: https://www.youtube.com/watch?v=K0yta2GqsxQ&list=PL6qlnI9dq17wljz8ZlSarAQgZ9BMLYjCq&index=27 Meet ABT’s Associate Company Manager Ashley Baer: https://www.youtube.com/watch?v=x7DUJH4mN_k&list=PL6qlnI9dq17wljz8ZlSarAQgZ9BMLYjCq&index=22&t= 26s

ABTKids Daily | Teaching Artist Tuesday with Filmmaker Matt Donnelly Join filmmaker Matt Donnelly as he shares expert tips on creating your own dance videos: https://www.youtube.com/watch?v=jzkETpOLkpo&list=PL6qlnI9dq17wljz8ZlSarAQgZ9BMLYjCq&index=33&t=15 s

ABTKids Daily | Winston Goes to the Warehouse, Episode 1 Join student Winston as he explores the ABT warehouse in Secaucus, New Jersey with the Company's Production Staff: https://www.youtube.com/watch?v=05HRMzqibho&list=PL6qlnI9dq17wljz8ZlSarAQgZ9BMLYjCq&index=34&t=7 9s

ABTKids Daily | Touring to the Kennedy Center Join ABT’s Production Director James Whitehill and the Kennedy Center’s Production Vice President Glenn Turner as they talk about all that goes into touring: https://www.youtube.com/watch?v=xpUUf8_Hzws&list=PL6qlnI9dq17wljz8ZlSarAQgZ9BMLYjCq&index=7

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ABOUT THE MUSIC CENTER The Music Center convenes artists, communities and ideas with the goal of deepening the cultural lives of every resident in Los Angeles County. The non-profit performing arts organization has two divisions: The Music Center Arts (TMC Arts) and The Music Center Operations (TMC Ops). TMC Arts, The Music Center’s programming engine, provides year-round programming inside The Music Center’s four theatres, on The Music Center Plaza, outside at Grand Park—a 12-acre adjacent green space—and in schools and other locations all over Los Angeles County. TMC Arts presents world-class dance with Glorya Kaufman Presents Dance at The Music Center, free and low-cost public concerts and events, as well as K–12 arts education programs. TMC Ops manages the theatres, the Plaza and Grand Park on behalf of the County of Los Angeles. The Music Center is also home to four renowned resident companies—Center Theatre Group, Los Angeles Master Chorale, LA Opera and LA Phil.

MUSIC CENTER EDUCATION The Music Center has long been a champion of arts education with dynamic programs that inspire lifelong learning, take the arts into schools and bring young audiences to The Music Center. These programs in dance, music, theatre, and visual arts engage children from PreK-12, teachers and aspiring young talent throughout Los Angeles County. We believe the arts enrich the lives of all people and are crucial to the development of every child. Currently our programs focus on: Arts Integration Partnerships with schools where Music Center teaching artists work in classrooms to empower student creativity and develop their artistic, workforce and life skills. The AIP program deepens learning across the curriculum in collaboration with classroom teachers by combining dance, music, theatre, visual and media arts with content areas including English Language Arts, history, science and social emotional learning for students of all ages and abilities.

Professional Development programs that bring educators together to participate in an experiential and immersive approach to integrating dance, music, theatre, visual and media arts into their classrooms. The focus is on meeting educators where they are and building their capacity over time and in depth — both at school sites and at The Music Center. As but one example, each year The Music Center’s Summer Arts Studio for Educators engages participants in all grade levels, art forms and content areas.

Educational Performances that invite students into the world of the performing arts and engage young people in dance, music, theatre and storytelling. These high-energy, compelling experiences are committed to excellence, rich educational content and the great diversity of Los Angeles and of the world. Each performance includes customized curriculum that connects to multiple content areas.

The Spotlight Young Artists Program - a nationally acclaimed, free arts training and scholarship program that develops the creative capacity of high school performing artists in Southern California.

Student Festivals at The Music Center, including the Very Special Arts Festival that engages students of all abilities as artistic creators and contributors and the Blue Ribbon Children’s Festival, where fifth graders across the county experience live performances and dance together as a community.

Student Matinee performances during each season on Glorya Kaufman Presents Dance at The Music Center, where students experience world-class dance performances that celebrate the diversity of L.A. communities.

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American Ballet Theatre, Don Quixote.

THE MUSIC CENTER 135 N. Grand Avenue Los Angeles, CA 90012 (213) 972-7211 www.musiccenter.org education@musiccenter.org CONNECT WITH US @musiccenterla

EDUCATION STAFF Keith Wyffels Associate Vice President, Education Susan Cambigue-Tracey Director of Special Projects Patrice Cantarelli Associate Director, School Programs Rada Jovicic Program and Events Manager Ebony Ruffin Manager, Professional Development Juan Sanchez School Programs Coordinator Monk Turner Manager, Music Center On Tour Vince Lopez Music Center On Tour

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