Swan Lake - Pittsburgh Ballet Theatre

A Teacher’s Handbook for
Pittsburgh Ballet Theatre's
Original Choreography by Marius Petipa and Lev Ivanov
Music by Peter Ilyich Tchaikovsky
Staged and Directed by Terrence S. Orr
Student Matinees Sponsored by
In-Step Programs Sponsored by
Pittsburgh Ballet Theatre's Arts Education programs are supported by the following:
Allegheny Regional Asset District
Bayer USA Foundation
The William Randolph Hearst Endowed Fund
for Arts Education
The Heinz Endowments
Pennsylvania Council on the Arts
Pennsylvania Department of Community and
Economic Development
PNC Foundation
Allegheny Technologies, Inc.
Citizens Bank Charitable Foundation
Anne L. and George H. Clapp Charitable and
Educational Trust
Cleveland Brothers Equipment Co., Inc.
Dominion Foundation
Ductmate Industries, Inc.
Eat’n Park Restaurants, Inc.
First Commonwealth
Henry C. Frick Educational Fund of the
Buhl Foundation
The Grable Foundation
Hefren-Tillotson
The Mary Hillman Jennings Foundation
Martha Mack Lewis Foundation
McFeely Rogers Fund of the
Pittsburgh Foundation
Howard and Nell E. Miller Foundation
W.I. Patterson Charitable Fund
James M. & Lucy K. Schoonmaker Foundation
The Edith L. Trees Charitable Trust
Hilda M. Willis Foundation
UPMC Health Plan

Introduction
Dear Educator,
We have often thanked you, the academic community and educators of our children, for
being partners with us in Arts Education. We have confirmed how the arts bring beauty,
excitement, and insight into the experience of everyday living. Those of us who pursue
the arts as the work of our lives would find the world a dark place without them. We
have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle
into the eyes and the lives of children and adults in all walks of life.
Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance
and importance of presenting our art in the context of past history, present living, and
vision for the future. In this quest we present traditional ballets based on classic stories
revered for centuries and contemporary ballets by artists who are living, working, and
creating everyday. In this way we propel our art into the future, creating new classics
that subsequent generations will call traditional.
It is necessary to see and experience both, past and present. It enhances our life and stirs
new ideas. We have to experience where we came from in order to develop a clear vision
of where we want to go. It all works together – in the arts, in education, in government,
and in life. We want students to experience, enjoy, and appreciate it all. Again, we say
thank you for being our partners in the important mission of making that happen.
Terrence S. Orr
Artistic Director
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How to Use This Handbook
This handbook is designed for teachers whose students will be attending Pittsburgh
Ballet Theatre’s special school performance of Swan Lake.
The activities and exercises included in this handbook are designed to prepare your
students for the performance and to encourage critical thinking on the aesthetics of ballet.
The discussion questions do not have right or wrong answers. Rather, they engage
thinking in a new direction and illustrate that dance is a form of language.
The activities have been carefully created for integration into classroom discussion.
Several of the activities have been adapted from those designed by teachers who
participated in previous seasons' programs. In their evaluation, these participating
teachers observed that those students who had received some preparation for the
performance demonstrated a higher level of interest and response.
The activities in this handbook are grouped according to narrative, technical and
choreographic elements. There is also a section that suggests ideas for follow-up
activities. Each activity is designed to meet one or more of the stated objectives. We
know that you will not be limited by the suggestions in this book and that you will need to
adapt these activities to meet your individual and instructional needs.
The collaborative nature of producing ballet can lend itself to expanding the ballet
experience beyond your classroom. There are many opportunities for interdisciplinary
studies. Physical Education classes can participate by teaching basic ballet positions and
introducing general fitness and nutrition to understand the strength and stamina that a
dancer must develop in order to perform. While art classes may create beautiful scenery
and costume sketches, the Technology Education and Family and Consumer Sciences
departments may work to translate those sketches into three-dimensional scenery and
costumes. The time period in which Swan Lake was first performed provides an
opportunity for the arts to enter the history class.
Whatever opportunities you pursue for interdisciplinary uses of this handbook, we know
the students will benefit by an expanded awareness of the many talents needed to put
together a production such as the Ballet. The reward for all of us who are involved in
educating young people comes when we see how the elements that work together to
create this elaborate and beautiful presentation of Swan Lake provide not only enjoyment
for our students but a sense of the beauty and purpose the arts have in our lives.
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Academic Standards and Objectives
The Pennsylvania Department of Education Academic Standards for the Arts and
Humanities are the guidelines for what students should know and be able to do in both
the performing and visual arts, in addition to understanding the arts in relation to the
humanities. Below we have included the Dance Content Standards developed by the
National Dance Association which are specific to dance in the standards' unifying themes
of production, history, criticism and aesthetics in addition to the components that yield an
overall knowledge of the Arts and Humanities.
DANCE CONTENT STANDARDS:
1. Identifying and demonstrating movement elements and skills in performing dance
2. Understanding choreographic principles, processes, and structures
3. Understanding dance as a way to create and communicate meaning
4. Applying and demonstrating critical and creative thinking skills in dance
5. Demonstrating and understanding dance in various cultures and historical periods
6. Making connections between dance and healthful living
7. Making connections between dance and other disciplines
Knowledge of the Arts and Humanities incorporates carefully
developed and integrated components such as:
• Application of problem solving skills
• Extensive practice in the comprehension of basic symbol systems and abstract concepts
• Application of technical skills in practical production and performance
• Comprehension and application of the creative process
• Development and practice of creative thinking skills
• Development of verbal and nonverbal communication skills
This handbook is designed to aid you in your task of enabling your students to experience
the arts while at the same time having a useful, educational experience. The content and
activities within this book focus on at least one of the above content standards and can be
used as components to achieve knowledge in the Arts and Humanities as a whole.
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Academic Standards and Objectives (continued)
The "Introduction" to the Pennsylvania Department of Education Academic Standards for
the Arts and Humanities states that "Dance Education is a kinesthetic art form that
satisfies the human need to respond to life experiences through movement of the physical
being." Becoming educated about the classical art of ballet even extends beyond dance
education into music, theater, visual arts and humanities.
At the very least, the experience of attending a ballet performance will help your students
develop an appreciation of their cultural environment, and through the activities outlined
in this hand book, the students should be able to –
9.1 Production, Performance and Exhibition of Dance, Music, Theater and Visual Arts
Demonstrate how a story can be translated into a ballet.
9.2 Historical and Cultural Contexts
Demonstrate how a choreographer uses music, movement and mime
to help create a ballet.
9.3 Critical Response
Demonstrate how costumes, scenery and lighting help support plot, theme
and character in a ballet.
9.4 Aesthetic Response
Write a thoughtful, informed critique of a performance.
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What to Expect at the Benedum Center
It is a special privilege to attend a live performance at the Benedum Center. Polite
behavior allows everyone, including the dancers, to fully enjoy and concentrate on the
performance. Discuss with your students the following aspects of audience etiquette:
1. Once inside the Benedum Center you will not be permitted to leave and re-enter the
building.
2. Programs are available to students for use in follow-up classroom activities. Upon
entering the theater, teachers should pick up the programs for their school at the
Patron Services table. The playbill includes a synopsis, historic information on the
ballet, casting and biographies of Pittsburgh Ballet Theatre artists.
3. Be sure to sit in the section assigned to your school. An usher will be happy to help
you find where your school's seats are located.
4. You may talk to your neighbor in a normal speaking voice prior to the performance and
during intermission. Remember the performance begins with the first note of the
musical Overture. During the performance even the softest whisper can be distracting.
DO NOT TALK DURING THE PERFORMANCE.
5. There will be two intermissions. This gives the dancers time to rest or make elaborate
costume changes, the production staff time to make major set changes, and students
time to stretch their legs and use the rest rooms.
6. The taking of pictures is prohibited during a performance, so it is best to leave your
cameras at home.
7. Applause is the best way to communicate with the dancers. It tells them that you are
enjoying the performance. If you see something you like, feel free to applaud!
8. Remain with your class. The Benedum Center is very large, and it is easy to get lost.
9. Chewing gum, food and drink are not acceptable in the theater.
10. The Benedum Center is considered a Historic Landmark. There are a lot of different
things that the students can look for when they arrive. In the next section, there are
different items listed with some interesting facts about each.
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Things to Look for at the Benedum Center
1. The Marquees - When you arrive at the theater, note the marquees on the front and
the Penn Avenue sides of the theater. They were designed in 1928 to showcase the
"new" electric lights. By the terms of the Historic Landmark agreement there is only
limited reference to the new name of the theater – Benedum Center. See if your students
can find all of the references to the Benedum Center and to the original name, the Stanley
Theater.
2. Grand Lobby - All but one of the murals on the ceiling of the Grand Lobby were
destroyed over the years. Celeste Parrendo, the painter who recreated them, worked from
photographs of the designs and from one well-preserved mural for the colors. Much of
her work was done with Q-Tips. She tried to lie on her back and paint as Michelangelo
did with the Sistine Chapel; however, the blood ran out of her hand, and she couldn't
paint. She quickly found ways to kneel or stand on the scaffolding in order to finish her
painting.
3. Orchestra Pit - It is divided into two sections, each of which can be raised or lowered
by the built-in hydraulic lift. When there is a smaller orchestra, half of the pit is raised
and additional seating is installed. If an orchestra is not required, the entire pit may be
raised for seating.
4. Proscenium Arch - The opening around the stage is the proscenium. In accordance
with the guidelines of the Historic Landmark restoration, the original elaborately painted
plaster arch has been restored. (You can see the top of the arch from the balcony.) An
exception to the restoration guidelines was made for the wooden acoustical arch that your
students will see. The panels in the arch can be adjusted to change the acoustics of the
theater, or they can be opened to accommodate vocalists, actors or musicians.
5. Chandelier - Believe it or not, this beautiful centerpiece to the theater's elaborate
dome weighs 2 tons or 4,000 pounds and has over 50,000 pieces. When it is cleaned, the
chandelier is lowered to a certain point and then scaffolding is built around it. Each
crystal is washed in soapy water and replaced.
6. The Stage - This is the third largest stage in the country. The first is the Metropolitan
Opera in New York City and the second is the Indiana University School of Music in
Bloomington. The full stage measures 144 feet wide by 78 feet deep. The performance
space that you will see is 56 feet by 56 feet. The wooden floor is covered with marley, a
black rubber-like, non-skid surface.
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History of the Benedum Center for the Performing Arts
Pittsburgh Ballet Theatre performs in the Benedum Center for the Performing Arts. Built in
1928, the theater was originally called the Stanley Theater and was constructed in conjunction
with the Clark Office Building. Over the years many big name entertainers, big bands and rockand-roll
groups have performed at the Stanley.
When the theater opened, there was a Wurlitzer organ in the orchestra pit that had been
purchased for $125,000. It was used for sing-a-longs and silent movies until 1936. That year,
the St. Patrick's Day flood destroyed the organ. The water rose to the edge of the balcony before
leveling off. Three men were trapped in the theater for three days before being rescued in
pontoon boats by the police.
Two other companies owned the Stanley prior to the Benedum Foundation. In 1976, the
Cinemette Corporation bought it. In 1977 DiCesare-Engler Productions purchased the building
and used it for rock concerts until 1982. In 1984, The Benedum Foundation bought the rundown
theater and decided to restore it to its grandeur. The budget for the project was $42
million, which included both the restoration and the purchase of the property behind the theater.
Since the building is considered a Historic Landmark, special rules had to be followed in the
restoration. No major structural changes could be made to the building without special
permission. The colors, fabric, and other materials used had to be as close to the original as
possible. The painters scraped down through the layers of paint to find the original colors. The
colors of the carpeting were discovered when a workman found a small piece in a heating duct.
The murals on the ceiling of the Grand Lobby were restored using original photographs.
Every effort was made to have as many of the materials as possible made in Pittsburgh or
Pennsylvania. The carpet was woven in England, but the drapery fabric was made in York,
Pennsylvania on one of the two remaining jacquard looms in the United States. It took seven
weeks to make the 400 yards needed.
The architects were given permission to add the wooden acoustical arch that is directly in front
of the original proscenium. It has special panels that can be moved to change the acoustics of the
hall to accommodate vocalists, instrumentalists, or actors.
The size of the Stanley stage and the dressing rooms were deemed inadequate, therefore the
architects requested special permission to add a support building. It was given and the Pittsburgh
Cultural Trust purchased the block of land adjacent to the theater for the addition. The additional
space also allowed the construction of one of the largest stages in the country. The first is in the
Metropolitan Opera House at Lincoln Center, New York City. The second is the stage at Indiana
University School of Music in Bloomington, Indiana.
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History of the Benedum Center for the Performing Arts
The size of the Stanley stage and the dressing rooms were considered very inadequate; therefore,
the architects requested special permission to add a support building. Permission was given and
the Pittsburgh Cultural Trust purchased the block of land adjacent to the theater for the addition.
The additional space also allowed the construction of one of the largest stages in the country.
The first is the Metropolitan Opera House stage in Lincoln Center, New York City. The second
is the stage at the Indiana University School of Music in Bloomington, Indiana.
The Benedum Center for the Performing Arts is owned by the Pittsburgh Cultural Trust.
Constituents that perform there regularly include Pittsburgh Ballet Theatre, Pittsburgh Opera,
Pittsburgh CLO and the Broadway Series.
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History of Pittsburgh Ballet Theatre
The beginnings of professional ballet in Pittsburgh started at the Pittsburgh Playhouse in 1965
when Yugoslavian choreographer, Nicolas Petrov joined the dance faculty at the Playhouse. By
1968 Petrov had revealed his enterprising spirit by mounting several small ballets and his version
of The Nutcracker for 85 dance students. Presented at the Pittsburgh Playhouse, an affiliate of
Point Park College, Petrov charged just ninety-nine cents for tickets to his Nutcracker. It ran for
21 performances at ninety per cent capacity.
In 1969, Pittsburgh Ballet Theatre was incorporated as a company. The Playhouse's dance
school continued under the auspices of Point Park College and was moved downtown to
Lawrence Hall. April of 1970 marked Pittsburgh Ballet's debut performances at the Pittsburgh
Playhouse. The following year, 1970-71, PBT presented its first subscription season at the Syria
Mosque, giving one performance of Swan Lake and four of The Nutcracker. The season was
sold out to subscribers. In 1971-1972, PBT became a constituent of the newly restored Heinz
Hall. In 1973, Mr. and Mrs. Falk purchased a downtown building that would provide space for
rehearsal studios for the Company and the dance school, as well as costume and production
shops. In 1974 Nicolas Petrov invited his friend, Frederic Franklin to join PBT as Co-Artistic
Director. PBT continued to grow and by the 1977-1978 season, ticket sales comprised sixtyseven
percent of its $1.7 million budget. Subscriptions had jumped thirty-three percent to 4000
and the company experienced record attendance of 66,107 during its mainstage season. The
Ballet continued to use the Point Park College studios for classes and overflow rehearsal space,
but when an agreement was reached on the balance owed to the college, PBT became completely
independent from Point Park.
Artistic Director Nicolas Petrov left the Company to concentrate on his work at Point Park
College. Petrov and Franklin were replaced as Co-Artistic Directors by former London Festival
Ballet principal dancer John Gilpin who, plagued by health problems, left shortly after taking
over. Following a six-month search, the Board of Trustees appointed French dancer and
choreographer Patrick Frantz as Artistic Director. Frantz began to emphasize contemporary
works in the Company's repertoire and spearheaded the development of Pittsburgh Ballet Theatre
School. PBT's 10 th anniversary saw two major developments that would profoundly affect the
future of the Company. On April 30 th the professional dancers voted to join the performing arts
union, the American Guild of Musical Artists – a move that brought standardized rules in
working hours and conditions. In addition, Pittsburgh Steeler Lynn Swann joined the PBT Board
of Trustees in 1980. An ardent dance fan, Swann would prove to be an invaluable support for
the growing PBT School. The Company's subscription base climbed to 6000 and The
Nutcracker played eleven performances to capacity houses of 3000, with people being turned
away at the door.
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When Patrick Frantz indicated his desire to the Board of Trustees to concentrate solely on
choreography, an announcement was made in June of 1982 that Patricia Wilde had been
appointed to the post. Ms. Wilde immediately began to focus on the clean, precise technique for
which she herself was known. She also began to add more Balanchine ballets to the repertoire,
starting with the masterworks, Serenade and Concerto Barocco. In the 1983-1984 season, plans
were put in place for the Ballet's move to a new location – its current site at 2900 Liberty Avenue
in the Strip District. Plans for a new performing arts center in Pittsburgh were put into motion
when the Pittsburgh Trust for Cultural Resources was formed and began raising funds to support
a $42 million restoration of the Stanley Theatre, renamed the Benedum Center for the
Performing Arts. In 1983 Pittsburgh Ballet Theatre, together with the Pittsburgh Opera, Civic
Light Opera and Pittsburgh Dance Council agreed to become constituents of the Benedum
Center, which would open in 1987.
From 1982-1997, under the artistic leadership of Patricia Wilde, celebrated former principal
dancer of the New York City Ballet and one of the world's foremost classical ballerinas, the
Company leaped to new levels of maturity and excitement with every new season. PBT's
repertoire is a distinctive blend of ballets by 20 th century masters, including Paul Taylor, Alvin
Ailey, Agnes de Mille, Choo-San Goh, Lynne Taylor-Corbett, John Cranko and the great George
Balanchine; new works by today's most passionate choreographers; and acclaimed versions of
the nineteenth century classical ballets Coppelia, Don Quixote, Giselle, Romeo and Juliet, The
Sleeping Beauty and Swan Lake. Patricia Wilde's appointed successor Terrence S. Orr, a
celebrated American Ballet Theatre ballet master and former principal dancer, commenced his
tenure in July 1997. Since then, he has continueed to build on the spectacular momentum
created by Wilde.
Mr. Orr has presented many Pittsburgh and World Premières, both full-length ballets and
repertory programs. Dracula, Alice In Wonderland, Cleopatra, Madame Butterfly, and Carmen
have been added to PBT's repertoire. In December 2002, Pittsburgh Ballet Theatre was excited
and proud to build a brand new production of The Nutcracker with choreography by Mr. Orr and
set and costume designs by renowned New York designer Zack Brown. This was Terrence Orr's
first full-length ballet. The setting for his production of The Nutcracker is turn-of-the-century
(1904) Pittsburgh. The scenery and names of guests at the Stahlbaum's Christmas Eve party are
reflective of Pittsburgh neighborhoods and historical figures.
In 2000, Orr began a series of commissions for contemporary ballets inspired by American
music. Launching this project with Indigo in Motion, he commissioned three works paying
tribute to jazz music and musicians with strong roots in Pittsburgh. The music of Ray Brown,
Stanley Turrentine, Lena Horne, and Billy Strayhorn, all legends in the world of jazz, became the
scores for the innovative choreography of Kevin O'Day, Lynne Taylor-Corbett, and Dwight
Rhoden. This vision and mission for contemporary new works has continued each year, adding
new musicians: Sting, Bruce Springsteen, Paul Simon, Frank Sinatra, Cole Porter, B.E. Taylor
and choreographers: Derek Deane, Matjash Mrozewski, Laurie Stallings and Twyla Tharp, to
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the repertoire of PBT's talented, accomplished, and capable dancers. In the spring of 2006,
another breakthrough for PBT occurred when the first "Choreographers' Showcase" performance
was presented at Pittsburgh's Creative and Performing Arts High School (CAPA) featuring
ballets choreographed by three of Pittsburgh Ballet Theatre's Principal Dancers, Erin Halloran,
Ying Li, and Jiabin Pan.
In addition to its commitment to artistic development, Pittsburgh Ballet Theatre has a
comprehensive Arts Education program, which it first launched in 1989 with a seed grant from
the Henry C. Frick Educational Commission. In its first year the program reached 6000 children.
Since that time Pittsburgh Ballet Theatre has distinguished itself in the area of community
service with a multi-faceted program of education and outreach. Its primary target is young
people and to date, more than 180,000 children have been reached from over 200 school districts
in a four-state region. At its inception, Mitchell Korn, a nationally known arts education
specialist engaged by the Howard Heinz Endowment, identified PBT's educational program as
"an excellent beginning to the kinds of programs that children need."
The Arts Education Department has also developed a series of pre- and post-performance
programs at the theater for audience education, giving our patrons a deeper and broader
understanding of the art form they are seeing on the stage and an enhanced enjoyment of the
ballet experience.
Another facet of PBT's relationship with children is the Pittsburgh Ballet Theatre School. It
offers more than 12 levels of studio instruction and has an enrollment of more than 350 students.
The PBT School Pre-Professional Training Program is a very unique program that enables
exceptionally talented students to continue high school study while pursuing intensive,
professional dance training. The Graduate Division provides advanced level training to high
school graduates who are preparing to audition for professional positions. Graduates of the
Pittsburgh Ballet Theatre School are dancing in professional ballet companies worldwide.
With an exceptional group of dancers, a dedicated staff and a glorious vision of the future, PBT
will continue to enchant and delight audiences along its course of excellence. As one critic
noted, "There is no such thing as an impossible dream when you have a ballet company as
talented and high-spirited as Pittsburgh Ballet Theatre."
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What is Ballet
Ballet tells a story using music and dance instead of words and consists of movements that have
been developed over the centuries. Classical ballet is found all around the world in countries
such as France, the United States, China, Japan, Russia and in South America.
Ballet began in the royal courts of Italy over four hundred years ago. When Catherine de Medici
married the future King Henry II of France in 1533, she brought the art form to France where it
flourished. Dance became a larger part of court life during the reign of Louis XIV, a great
supporter of the arts. His nickname, The Sun King, is from his favorite role, which he performed
for many years. Slowly, ballet made its way from the royal courts to the stage.
The earliest ballets were created using themes and stories from classical literature and
mythology. In the first half of the 19th century the "Romantic Movement" influenced art,
literature, music, and ballet. The movement was concerned with the supernatural world of spirits
and magic. It often showed women as passive and fragile. These themes are reflected in the
ballets of the time and are called "romantic ballets." Giselle and La Sylphide were created during
this time.
Ballets created during the latter half of the 19th century such as Swan Lake, The Nutcracker and
The Sleeping Beauty, represent "classical ballet" in its grandest form. Their main purpose was to
display classical technique and virtuosity. Complicated sequences that show off demanding steps,
leaps and turns are choreographed into the story.
Ballets created during the 20th century are called "contemporary ballets." They do not always
have a definite story line; however, they often have a theme, concentrating on emotions and
atmosphere in order to arouse feelings in the audience. Emotions and reactions differ from
person to person when viewing this style of ballet. George Balanchine, founder of the New York
City Ballet and considered by many as the greatest classical choreographer of the 20th century,
played a large part in bringing American ballet to the respect and eminence it holds today in the
world of dance.
There are also new ballets which are being created that are patterned after traditional ballets in
their structure and form. These ballets incorporate contemporary choreographic innovations
while using classical forms and traditional stories and fairy tales such as Ben Stevenson's
Cinderella, Dracula, and Cleopatra, Derek Deane's Alice in Wonderland and Terrence Orr’s The
Nutcracker.
Twentieth century choreographers continue to create diverse styles of ballets, and ballet
companies are giving dance audiences a wide range of ballets from which to choose. From old
classics to new works, it is an exciting time for dance and balletomanes!
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What Are Pointe Shoes
Founder of New York City Ballet and famous choreographer George
Balanchine once said that if no pointe work existed, he would not be a
choreographer. Pointe shoes allow a ballerina to create the illusion of
lightness and to project an increased sense of daring. Without pointe shoes,
much of the magical quality of ballet would be lost.
Ballerinas began dancing on pointe between 1815 and 1830 using soft shoes
reinforced by stuffed toes and starch. Since then, pointe dancing and the toe
shoe have evolved considerably. Today pointe shoes provide comfort and support for a dancer,
whether she is on pointe or in a flat position.
The contemporary pointe shoe is handmade by American and European manufacturers. The tip
is made of a hardened box or block made of densely packed layers of fabric and paper hardened
by glue. This box of glue and fabric encases, protects and supports the toes and gives them a
small platform on which to perch. The rest of the shoe is made of a leather outer sole, a sturdy
insole and a supple shank. The side and top of the shoe are covered with a cotton lining and an
outer layer of satin, canvas or leather.
Dancers don't just put on pointe shoes and begin dancing. Selecting and preparing shoes is a
very involved process. Dancers usually have a favorite cobbler who makes their shoes to very
exacting specifications, including measurements, materials and finishing elements. Because of
the handmade nature of each pair of shoes, no two pairs are ever identical. To ensure a proper
fit, a dancer must have a fitting for each new pair of shoes.
Once a dancer has selected new pointe shoes, she must prepare them. It takes an hour or longer
to "ready" a shoe for dancing. Each dancer has her own personal way of preparing her shoes.
Dancers will darn the shoes to provide traction and to prevent the satin from fraying. Some
pound the point with a hammer or squeeze the box in a door to soften it. Some cut the satin off
the tips and use a carpenter's file to rough up the sole. To mold the shoes and prolong wear,
dancers line the inside with floor wax or shellac. Finally, the ballerina attaches elastic and
ribbons to hold the shoe in place. Legend has it that one dancer glued her entire foot to her shoe
to keep it in place!
Dancers break in shoes by wearing them to class and rehearsal. Once they are broken in, dancers
set that pair aside for a performance and use another pair. Dancers may change their pointe
shoes several times during a performance depending on the range of difficulty of the ballet.
Each female dancer goes through 100-120 pairs of pointe shoes each season at the Pittsburgh
Ballet. It's no wonder the Ballet spends $80,000 on pointe shoes each year!
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Getting to Know
Pittsburgh Ballet Theatre Principal Kwang-Suk Choi
Principal Dancer Kwang-Suk Choi has been dancing with
Pittsburgh Ballet Theatre since the 2002-2003 season.
Hometown: Seoul, South Korea
Number of years as a dancer: 27 years.
Training: I trained at Saejong University, and I hold a Master’s
Degree in Physical Education with a Major in Ballet.
First professional job: National Ballet of Korea.
Favorite role: Peter Pan in Septime Webre’s Peter Pan.
Favorite choreographer: George Balanchine.
Greatest influence: The greatest influences in my life are my two children, ages 13 and 9, and
my wife.
Favorite thing about dance: I feel like I have accomplished a lot after I have worked hard.
Favorite music: Wolfgang Amadeus Mozart
Other interests besides ballet: Watching movies is something I love to do.
Hobbies: I love playing with my children.
Favorite spot or hangout in Pittsburgh: Home Sweet Home!
Future plans: To teach ballet. I already have my own school, Pittsburgh Ballet House.
Favorite vacation: Disney World
Favorite ice cream flavor: Strawberry
Finish this statement, “People may be surprised to know that…” I am VERY picky, and that I
am a neat freak.
Advice to students: Never give up, even when you are going through a hard time. If you persevere,
your dream will one day come true.
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Getting to Know
Pittsburgh Ballet Theatre Principal Kumiko Tsuji
Prinicpal Dancer Kumiko Tsuji has been dancing with Pittsburgh
Ballet Theatre since the 2003-2004 season.
Hometown: Tokyo, Japan
Number of years as a dancer: 20 years
Training: Kishibe Ballet Studio in Tokyo, then later at The Royal
Ballet School in London.
First professional job: The Hong Kong Ballet in Hong Kong, China.
Practice time: Class (warm-up) from 9:15-10:45 AM and rehearsal from 11:00 AM until 6:00
PM with a lunch hour at 2:00 PM. During performance weeks, we dance through the weekend.
Favorite choreographer: Sir Kenneth MacMillan
Greatest influence: My parents.
Family: My Dad, Mom, two brothers (one older and one younger) and my husband.
Any pets: Two cats names Tiger and Tarzan.
Favorite television show: The Cartoon Network.
Other interests besides ballet: Sewing and making clothes and accessories.
Favorite spot or hang out in Pittsburgh: Jo-Ann’s Fabric Store
Favorite vacation: Disney World or a cruise.
Favorite restaurant: We don’t usually go out to eat because I am an amazing chef!!
What three things can always be found in your refrigerator Milk, eggs and soy sauce.
Finish this statement, “People may be surprised to know…” How much I eat everyday!
Future plans: I am planning to go back to Japan (Hokkaido) to open a Ballet School and
and English School with my dear husband, former PBT Principal Dancer Daisuke Takeuchi.
I will also try to build a clothing company, including ballet wear and costumes. I would
like to become a mommy and have a couple of kids!
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Synopsis
ACT I:
In the late afternoon. A meadow near the castle.
Prince Siegfried is celebrating his twenty-first birthday. His friend Benno and tutor
Wolfgang have invited guests from the surrounding estates to join in the celebration. The
party is interrupted by the arrival of the Queen Mother, who presents her son with a
crossbow and reminds him that it will be his duty at his coming of age to choose a bride
from six eligible princesses. The Queen departs and the festivities continue until Benno
sights a flight of swans. Inspired by his new crossbow, the Prince calls Benno to
organize a hunting party and the young men leave in search of the swans.
ACT II:
Some hours later, after sunset. By the lake.
As Prince Siegfried enters the forest, he suddenly sees a magnificent swan in flight. He
carefully takes aim, but to his astonishment, the bird transforms into a most beautiful
maiden. At first the maiden is frightened by Siegfried, but he assures her he will do no
harm and asks her to explain the marvel he has just seen. She tells him she is the Princess
Odette, of high birth who fell under the spell of an evil sorcerer, and now her fate is to be
a swan; only in the hours of darkness may she assume her human guise. Indeed, this very
lake is filled with her mother's tears. She tells him she is condemned for eternity, and
only if a young man, true of heart, swears eternal love to her and marries her, will the
spell be broken. But if he should betray her, she will remain a swan forever. Siegfried
realizes his destiny has changed, and swears his love and faithfulness to Odette. At that
moment, the sorcerer appears. The Prince in his passion reaches for his crossbow, but
Odette pleads with him not to shoot, for she knows if the sorcerer is killed before the
spell is broken, she too will die. Dawn approaches, the sorcerer disappears, and Odette is
compelled by the spell to return to her guise as a swan.
Intermission
ACT III:
The next night. The Great Palace Hall.
Guests assemble for the birthday ball, including six princesses from different countries
whom the Queen Mother has chosen as eligible maidens for her son's hand. Prince
Siegfried dances with each beautiful young princess, and is urged by his mother to make
a decision, but he is haunted by the memory of Odette and refuses to choose a bride.
Suddenly, a fanfare announces the arrival of Baron Von Rothbart with his daughter
17

Odile. Siegfried is thrilled to see the young maiden, who is the image of his beloved
Odette. He is dazzled by her beauty and vibrance, and deceived into declaring his love
and fidelity to Odile. As Prince Siegfried swears his love, a fleeting vision of the real
Odette appears. Von Rothbart, with Odile, triumphantly reveals their wicked ruse.
Siegfried realizes he is victim of an evil plot and exits the great hall in search of Odette.
Intermission
ACT IV:
Later that night. By the lakeside.
The swan-maidens are anxiously waiting the return of Odette. She appears and tells of
Von Rothbart's treachery. Before dawn, she intends to die. A great storm rages.
Siegfried, bursting into the glade, discovers the tearful Odette and begs her forgiveness.
As dawn approaches, Von Rothbart appears again in his disguise as a sorcerer. Odette
tells Siegfried she must kill herself, or forever be a swan. Siegfried, knowing his heart
belongs only to Odette, declares he will die with her, thus breaking the power of
Rothbart. The lovers throw themselves into the lake. Rothbart is mortally struck and his
power is ended.
Apotheosis: The lovers are united in life after death.
18

About SWAN LAKE
One of the world's most beloved ballets, Swan Lake is a staple in the repertoire of most
major ballet companies. It is regarded as one of the great classical ballets and its
popularity seems indestructible with the combination of breathtaking choreography and
the tragic tale of young lovers trapped by outside forces. Swan Lake remains a favorite
among ballerinas as well as audiences. All leading dancers want to perform Swan Lake
and all audiences want to see them dance it because of the contrasting roles of Odette and
Odile, which are both danced by the same ballerina.
The plot is based on the ancient myth of the "Swan Maiden," a theme which reappears in
slightly different forms in the literature of almost all countries, including India, Persia
and Arabia, where it forms the basis of one of the tales in The Thousand and One Nights.
There are even references to the Swan myth in ancient tales of a bird particularly
associated with the Muses, the nine goddesses who presided over literature, arts and
sciences. The libretto for this ballet grew from a German/Russian version of the story
written by Vladimir Petrovich Begichev, Intendant of the Moscow Imperial Theatres, and
Vassily Geltser, a prominent soloist dancer who was well-read and cultured. Begichev
was in the group of artists and supporters who toured Western Europe in 1868 with the
production of Tchaikovsky's first opera, The Voyevoda. Perhaps the castles along the
Rhine inspired this Romantic Era version of the tale. Three years later when
Tchaikovsky stayed with his sister during the summer, he wrote, directed and
choreographed a miniature ballet, The Lake of the Swans for his nieces and nephews.
It was in the summer of 1875 that the invitation came to compose the score for the
Imperial Theatres' ballet production of Swan Lake. Incredibly, that first production of
Swan Lake was unsuccessful. Premiering at Moscow's Bolshoi Theatre in March of 1877
its failure has been attributed to the inadequacy of the choreography, the ballerina and the
conductor. Julias (Wenzel) Reisinger was a mediocre and unimaginative choreographer.
The ballerina Pelagaya Karpakova was not the most talented in the company and had
difficulty counting the music. In addition, the conductor, although an experienced ballet
conductor, observed that he had never seen such a complicated score.
In 1888 Tchaikovsky's The Sleeping Beauty proved that ballet music could achieve the
heights of symphonic music. He repeated that success in 1892 with The Nutcracker.
After Tchaikovsky's death in 1893, the Maryinsky Theatre in St. Petersburg, now the
Kirov, chose to revive Swan Lake. By that time Tchaikovsky was a national hero, loved
and revered by all of Russia. The choreography for the new production was given to the
19

master, Marius Petipa. Perhaps because of his ill health or his apprehension about the
ballet's failure in the past, Petipa delegated the choreography of the "swan scenes" (Acts
II and IV) to his assistant Lev Ivanov. The new Swan Lake premiered in January of
1895. While the rest of the ballet has changed through the years, Ivanov's choreography
for the first lakeside scene is still performed almost intact. With their Swan Lake, Petipa
and Ivanov achieved a perfect blend of brilliant choreographic composition, dazzling
virtuosity and expressive intensity. It was a resounding success.
The classical ballet style, so perfectly exemplified in Swan Lake, was developed after
1850 and achieved its apotheosis around 1890, when Marius Petipa and Lev Ivanov
premiered their crown trio of Tchaikovsky ballets. As a style, classicism demands more
precision in executing classical steps than does the earlier romantic style, most clearly
illustrated in the ballet Giselle. The classical style, writes Natalia Makarova in her
autobiography, "...does not tolerate any romantic elusiveness: all the positions are clearly
defined, the extensions are bigger, and the arabesque and attitude are stretched to the
limits, while the torso is absolutely straight. The legs are exposed, all lines revealed, and
you cannot conceal the slightest slip from the audience. The legs must express
something: they have a responsibility they share with the arms. And this expressiveness
demands tremendous professionalism, precision in every movement."
The Petipa/Ivanov production featured Italian ballerina Pierina Legnani, whose perfect
interpretation of the dual role of Odette-Odile, the White and Black Swans, was a major
factor in the ballet's triumph. Legnani's performance marked the first time a ballerina had
tackled both roles. While some Swan Lake productions feature different dancers in the
two roles, it is now customary for one ballerina to dance both Odette and Odile.
This dual role is a supreme test of the dancer's ability to create character. From the
dramatic point standpoint, it requires the ballerina to represent first the tremulous reserve
and ecstatic surrender of the swan maiden, then the provocative and magnetic fascination
of Odette's evil double. One is an enchanter, the other an enchantress.
On the choreographic level this duality is matched by the romantic, academic style of the
two "white scenes" and the glittering virtuosity and skill of the third act, which
culminates in thirty-two fouettes (see glossary) at the end of the grand pas de deux.
Those thirty-two fouettes are a legacy from Legnani, who, it seems, could not restrain
herself from injecting her specialty into the ballet. Today, thirty-two fouettes are a
standard for the ballerina in the coda of most classical pas de deux.
20

Story Ballet – An Artistic Partnership
Swan Lake is one of three ballets with music written by Peter Ilyich Tchaikovsky. The
other two are The Sleeping Beauty and The Nutcracker. They are probably the three most
famous ballets of all time and each of them tells a story. The term story ballet infers an
artistic partnership. It is unique and presents challenges for the composer and the
choreographer. Is it a ballet that tells a story or is it a story that incorporates ballet
What role does the music play in this partnership In order for the audience to enjoy and
appreciate the performance, all components must interlock and become one.
What are the components of this artistic partnership known as the story ballet
Story
• The characters must be developed so the audience identifies with them.
• The situations and the interaction between characters must be purposeful and
logical for the story to be told.
Ballet / Choreography
• The choreography needs to include dances for soloists, small groups, and large
groups to showcase the talent and virtuosity of the dancers.
• The story must be told.
• The original Swan Lake ballet was created during the Romantic Period. It includes
nationalistic music and ethnic dances.
Scenery, Costumes and Lighting
• These material goods provide the visual setting upon which the story unfolds,
giving it a location in time and space.
Music
• The music and the composer must tie the story and the choreography together
providing a seamless flow, creating a work of art (the Ballet) that exists only
because of the unique relationship of all the components.
21

The Composer: Peter Ilyich Tchaikovsky 1840-1893
Peter Ilyich Tchaikovsky was born in Kamsko-Votinsk, Russia on May 7, 1840. He was
a precocious child who could read French and German at the age of six and at age seven
was writing verses in French. He began taking piano lessons when he was seven years
old. Even then he exhibited an extreme sensitivity to music and a keen musical ear.
When he heard music it kept resounding in his head. "This music! This music! Take it
away! It's here in my head and won't let me sleep!"
In 1850 his well-to-do, middle-class family moved to St. Petersburg where he attended
school. He was mildly interested in music but did not study it in school. Even so, he
made his first attempts at composition when he was fourteen. He graduated from the
School of Jurisprudence in 1859 and began working at the Ministry of Justice as a clerk
first-class. He began studying music seriously at the age of twenty-one working with
Nicolia Zaremba until the St. Petersburg Conservatory opened in 1862. A year later he
resigned from the Ministry of Justice to devote his life to music. He was one of the best
students at the Conservatory and its director, Anton Rubenstein, took a special interest in
Tchaikovsky. When Rubenstein's brother Nicholas, director of the Moscow
Conservatory, was searching for a harmony teacher, Anton recommended the young
composer. Tchaikovsky led a quiet life there, teaching, composing, and making friends.
He made a very nice living but did not manage his money very well, giving much of it
away and freely spending the rest.
In 1877 he entered into a curious relationship that would change his life forever.
Madame Nadezhda Filaretovna von Meck, the wealthy widow of a Russian railway
tycoon offered to subsidize his career. She was a talented amateur musician and patron
of the arts who loved Tchaikovsky's music. However, there was one strange condition to
von Meck's financial support – they were never to meet! This relationship lasted for
fourteen years, and the financial independence it provided allowed him to resign from the
Conservatory in 1878 to concentrate on composing.
Tchaikovsky composed three complete ballets: Swan Lake, The Sleeping Beauty, and The
Nutcracker, although ballet is implicit in much of his other music. His ballets have been
compared to opera except that the voice parts are scored for dancers instead of singers.
George Balanchine and many other choreographers have set many works to Tchaikovsky's
music – music that was not originally composed for ballet. In the mid- to late 1850s, ballet
music had become secondary to the requests of the ballet master and was considered
unimaginative. When Tchaikovsky began composing music for ballet, many of his peers
were surprised that he would even consider such a thing. The music world was astonished
that such a great composer would "stoop so low." Tchaikovsky thought differently and
wrote to his fellow composer, Rimsky-Korsakov, "The directorate of the Opera have
commissioned me to write the music for the ballet Le Lac des Cygnes. I accepted the work,
22

partly because I need the money and partly because I have long cherished a desire to try
my hand at this type of music." With this commission, music for the Ballet was changed
forever.
Tchaikovsky's score was more complex, complicated and symphonic than any ballet music
before it. Julius (Wenzel) Reisinger, the original choreographer assigned to the work, was
a mediocre talent and the ballerina on which the piece was set, Pelegaya Karpakova, found
the rhythm too difficult to interpret. The score was cut, augmented, and adjusted. It was
not well received. He wrote to his brother Modest that the failure was due to the
inadequacy of the choreographer, conductor, dancers, and orchestra. With some revisions,
it was performed for several years, but then went out of the repertoire.
Supported by the generosity of Madame von Meck, he continued to compose and traveled
through Europe conducting his music. In May of 1891, he embarked on a trip to America
during which he conducted several of his compositions for the inaugural concerts of the
new Carnegie Hall in New York City. The two men mainly responsible for his visit were
Walter Damrosch, the twenty-eight year old pianist-conductor of the New York
Symphony Society, and Andrew Carnegie, the wealthy Scottish-born philanthropist.
Tchaikovsky was very impressed and pleased with his reception. To his relatives and
friends in Russia he wrote:
“I was greeted with dignity and honor. My picture is in all the papers,
accompanying reports of my arrival. It transpires that I am far more
famous in America than in Europe. Here I am a big shot.”
After the successes of The Sleeping Beauty in 1888 and The Nutcracker in 1892,
Tchaikovsky's Swan Lake was revived under the masterful choreography of Marius
Petipa and his assistant, Lev Ivanov. Most scholars now agree that Petipa choreographed
Acts I and III, while Ivanov created Acts II and IV. The Petipa-Ivanov production
premiered in January, 1895. Since then, it has never left the repertoire of the Maryinsky
(now the Kirov) Theatre.
It was unfortunate that Tchaikovsky was not able to experience the huge success of this
new Swan Lake production and its ensuing immortality in ballet and orchestral repertoire.
The première of his final composition, his Sixth Symphony ("Pathetique") was performed
on October 28, 1893 in St. Petersburg. Only a few days later, the composer became very
ill and succumbed to the cholera epidemic that was raging through Russia at the time.
23

Odette and Odile: Dancing a Dual Role
Principal Dancer Julia Erickson
Since the 1895 première of the Petipa/Ivanov production of Swan
Lake in St. Petersburg, it has been a tradition and a challenge for
one dancer to perform the dual role of Odette and Odile. Principal
Dancer Julia Erickson considers the different qualities needed as she
prepares for her performance.
“Swan Lake” offers one of the biggest challenges for a ballerina
because she must portray two polar opposite personalities in the
same performance. That is what makes “Swan Lake” so special and
the dual role of Odette and Odile so enticing and desirable. You really cannot transition from
one to the other; you just have to be one or the other. The music is really important. It helps you
because it cues you.
Odette – in portraying Odette, you need to show her vulnerability. She is fragile and meek, yet
she has this tremendous potential for love. She’s been betrayed and put under an evil spell..
You have to show her internal struggle and how she slowly is starting to trust again. To achieve
this, first you have to feel it yourself and then relay those feelings to the audience. It is really a
kind of method acting that uses your entire body and dance technique instead of your voice.
Odile – in Act III when Odile appears at the royal birthday party, her music is ferocious, fierce,
sly, mischievous and dangerous. There is so much more energy. It kind of takes over and helps
you to feel this character.
I think you really cannot overdo the differences between these two characters. The movements
have to be bigger than life to convey the emotions to everyone in the theater, even those seated in
the highest rows of the balcony.
When preparing for this dual role there are so many things to consider. The steps are there
because you have learned them and rehearsed them, maybe for years. It’s what you layer on top
of the technique that makes the role come alive, and may really be what is most important. Even
the colors of the costumes and sets add to your inspiration. Acts II and IV, usually called the
“white acts”, exemplify the purity and lightness of Odette and the swans, who have been
deprived of any opportunity to experience the life and love a young woman deserves. Act III, on
the other hand, with its black, gold and red, explores the depths of evil and deception.
I think all of us have elements of these characteristics in our personalities, and in “Swan Lake”,
I get to ramp it up and portray the extremes that you might not live in your everyday life. That’s
what makes it so much fun!
24

Plot, Theme and Character
The exercises in this section focus on the elements of plot, theme, and character. Though
dramatic structure in its strictest definition does not exist in ballet, a story ballet does
share the elements of plot, theme and character.
These activities make references to the story of Swan Lake as told in the Synopsis of the
ballet on page 16. These activities are an excellent introduction to the ballet, and the
ideas discussed in this section will support activities in other sections of this handbook.
25

Plot, Theme and Character: Activity 1
Swan Lake is based on the ancient myth of the Swan-Maiden, a beautiful girl who was
turned into a swan by an evil sorcerer. Write a ballet of your own based on one of your
favorite stories. Here are some suggestions, but you may have other ideas:
1. Little Red Riding Hood
2. The Three Little Pigs
3. Where the Wild Things Are
4. Beauty and the Beast
Here are some decisions you will have to make. You can use the Swan Lake Synopsis as
your guide.
• How many acts will you need to tell the story
• Who are the main characters for the leading roles
• Which events in the story are the most important
• How many different settings will you need
26

Plot, Theme and Character: Activity 2
Read the section about Swans on pages 26 and 27. Previously contributed by our
National Aviary, it contains facts about swans and a poem by a well-known local poet,
Gail Ghai. Notice the visual form of the poem. Choosing an appropriate visual form,
write your own poem about swans or a character from Swan Lake.
29

Music, Movement and Mime
Music and Movement are the essence of dance, and in classical ballet there is the added
dimension of pantomime, gestures which can be literal or symbolic. In this section, you
will find activities designed to acquaint your students with the ballet's music and to
introduce them to the choreographic process.
30

Music, Mime, and Movement: Activity 1
Positions of the Feet and Arms & Movements in Dance
Positions of the Feet: In ballet there are five basic positions of the feet, numbered one
through five. Refer to the pictures below and match your feet to each of them.
First Position Second Position Third Position Fourth Position Fifth Position
Positions of the Arms: There are also various positions of the arms. Match your arms to
the pictures shown below.
First Position Second Position Third Position
Fourth Position
Fifth Position
31

Movements in Dance: There are multiple steps referred to as the "movements in dance."
There are three movements that ballet/dance beginners are taught. First learn to
pronounce the terminology given below, learn the definition, and then attempt to do the
movement described.
1. plier (plee-ay'): to bend. Keeping both feet flat on the floor at all times, bend
your knees. Remember to send your knees directly out over your toes!
2. relever (ruh-leh-vay'): to rise. This can be done on one foot or both feet
together. Start with the feet together, keep the knees straight, and lift the heels
high enough so all of your body weight is on the balls of the feet – NOT the tips of
your toes. Repeat this on one foot.
3. sauter (soh-tay'): to jump. This sort of jump is performed "two feet to two feet."
This means that you leave the ground by jumping off of both feet at the same time,
and you land on both feet at the same time. Begin in a plié (as described above).
Using your feet the same way you did to perform relevé, propel yourself into the
air. Be sure to straighten and extend your legs in the air, but land in plié to
cushion your knees.
Next Steps
Now, combine what you have learned. Choose one position of the feet to stand in and
one position of the arms to hold at the same time. Next, perform each of the movements
of dance listed above while continuing to hold the positions of feet and arms you chose.
Now you're dancing!
32

Music, Mime, and Movement: Activity 2
1. Pantomime is an ancient form of movement theatre that expresses a mood, emotion or
action without using words. Try to express the following emotions and activities through
gesture.
Anger
Joy
Fear
Sadness
Waking up and getting out of bed
Eating an ice cream cone on a hot day
Thanking a friend for your birthday present
Taking a good report card home to your parents
2. A Ballet incorporates many different parts. You have written your story and created
your characters in Plot, Theme and Character – Activity 1. Mime and gesture are used
in Swan Lake to help tell the story. Tell your story to your classmates using mime and
gesture. Shhhh! No talking.
The gestures listed on the Classical Mime Worksheet on page 33 are traditional and
have been used in ballet for a long time. Can you create some others to tell your story
33

Classical Mime Worksheet
I
King
Devil
Love
Knocking
Sewing
You/He/She
Think
See
Beautiful/Handsome
Crazy
Marry
True/Faithful
Dress
Hear
Someone
Enter
Cry
Mice/Rats
Dance
Die/dead
Yes
No
point to yourself
hand gestures on sides of head in form of crown
two gestures on top of head/fingers in shape of horns
two hands on heart
tap fist in hand three times
pull needle through fabric
gesture to other person palm up
touch your temple
point to each eye
circle your face/draw hand down face
circle around your ear
point to your ring finger
hold two fingers high
gesture along sides of clothing
cup your ear with your hand
hold your first finger up
sweeping gesture with both arms across your body
gesture with all fingers from eyes
moving fingers as whiskers
circling hands overhead
cross arms-hands in fist
nod head
turn head or gesture with arms
34

Music, Mime, and Movement: Activity 3
The musical excerpts on the CD enclosed with this Teacher's Handbook are examples of
the important role that the music plays in a story ballet. It sets the mood for each scene
and sometimes gives you a hint of what may happen next. It can even indicate the
geographical location by using music from that part of the world.
Band 1 – Curtain and Entrances.
• This excerpt sets the scene in the village and the mood for the celebration of the
Prince's twenty-first birthday celebration. What do you think is happening
Band 2 – Swan Theme
• How does this mood differ from the one in the village
• What does it tell you about the swans
• Does this music help to foretell what will happen in the story
Band 3 – Dance of the Swans
• There are Little Swans and Big Swans. This music begins with the Little Swans.
• What changes do you hear in the music that tells you the Little Swans have
finished their dance and the Big Swans have begun
Band 4 - Mazurka
• Listen to the Mazurka from Act III. A Mazurka is a dance that originated in
Poland. Its rhythm distinguishes it from other dances. Can you clap the rhythm as
you listen
Band 5 – Pas de Deux
• The famous Black Swan Pas de Deux from Act III is filled with energy and
excitement. It is during the Coda of this Pas de Deux that the famous thirty-two
fouettes are performed. Be sure to watch for them when you attend the
performance.
35

Costumes, Scenery and Lighting
In his book "Perceiving the Arts", Dennis Sporre suggests that dance is essentially a
visual and theatrical experience, and part of our response is to those theatrical elements of
dance that are manifested in the performance.
In dance, as in theater, technical elements come together to create the spectacle of
production, and we should look at costumes, scenery and lighting as an important part of
dance. The activities in this section should encourage students to consider the technical
elements of dance.
36

Costumes, Scenery and Lighting: Activity 1
Read the Swan Lake Synopsis on page 16. In this ballet, Acts II and IV are referred to as
the "White Acts" because they are about the swans and their existence under the
sorcerer's curse. Acts I and III are about the Prince and his life in the castle.
How would you envision these different settings Describe the location for each.
How would the costumes differ in color and fabric
Think about lighting the stage for Swan Lake. Consider which settings are:
Indoors or Outdoors
Day or Night
Joyous or Solemn
Happy or Sad
How would these qualities influence the lighting designer's plan
37

Costumes, Scenery and Lighting: Activity 2
Costume designers research the history, story, and geographical setting of a ballet to get
ideas for their costumes. There are many possibilities, and each designer has a different
vision. Considering what you have learned about Swan Lake, design a costume for the
Swan Queen, the Prince, or a member of the royal court. When you come to the theater,
compare your designs with the ones you see on the stage.
38

Follow-up Activities
The follow-up activities may be the most important part of the field trip experience. They
provide the teacher with a method of evaluation, and they provide the opportunity for the student
to extend his or her experience.
1. Have an open discussion about the performance.
What did you like or dislike Compare attending a ballet to other forms
of entertainment such as a rock concert or sporting event What are the similarities and
differences
2. Write a review of the performance.
When a critic writes a review he/she is careful to explain what elements are being
critiqued. Write your own review of Swan Lake.
• Start by describing the production. How was the dancing The costumes
The music
• How did the story affect you
• Who were the best dancers The best characters
• Were you sad, or happy When and why
• Did the production meet with your expectations, or were you disappointed Why
Don't be afraid to give your own opinion.
Explain why you feel the way you do
What was it about the production that influenced you opinion
3. Write a letter to your favorite dancer, telling how you felt about Swan Lake.
Don't be afraid to ask questions. Dancers love to hear from the audience and will answer
your questions. You can contact them c/o Director of Arts Education.
Mail:
c/o Director of Arts Education
2900 Liberty Ave.
Pittsburgh, PA 15201
Website:
www.pbt.org
39

Pittsburgh Ballet Theatre Job Descriptions
Artistic Director: The guiding force behind the company. Responsible for the
artistic growth and direction of the organization. Among other things, the artistic
director selects the dancers for the company and determines what the ballet
company will perform each season.
Executive Director: Responsible for the financial and professional success of the
company. Oversees all non-artistic personnel.
Resident Choreographer: Responsible for creating new ballets for the company
to perform.
Conductor: Auditions and selects musicians for the PBT Orchestra. Conducts the
orchestra for the performances. Arranges music and determines the size of the
orchestra for the piece. Works with dancers and Ballet Masters on tempo.
Controls the tempo and sound of the orchestra while considering the dancers’ needs.
Resident Composer: Collaborates with choreographers to compose original music
for ballets.
Ballet Master: Advises the Artistic Director on scheduling and casting. Scouts
for new talent and choreography. Works with the dancers on a regular basis by
teaching company class, rehearsing upcoming ballets and constantly coaching and
refining the dancers' work.
Assistant to the Artistic Director: This position could actually be called
"Coordinator for the Artistic Staff" because the person in this position assists the
Artistic Director, Resident Choreographer, Conductor and Ballet Masters. Other
responsibilities include workman's compensation for the dancers, negotiating
music rights and handling logistics for visiting artists.
Rehearsal Pianist: A pianist who works with the company on a daily basis
playing music for company class and rehearsals.
Production Manager: Responsible for making the production look the way the
Artistic Director perceived it to look. Negotiates with designers and union
personnel.
40

Stage Manager: Assists the production manager and "calls" the shows. The
Stage Manager gives everyone their cues during the performance, including
lighting technicians, dancers, conductor, and stagehands responsible for props and
sets. He/She runs the show. The Stage Manager is also responsible for the audio
and video requirements for the company.
Costumier: Makes new costumes for ballets and alters existing costumes to fit
other dancers. PBT's Costumier also designs costumes and creates her own
patterns out of plain brown paper.
Marketing Director: Responsible for all income goals. Oversees Public
Relations, Subscriptions, Group Sales and Telemarketing.
Director of Public Relations: Pitches story ideas to the media and is responsible
for most of the written communication to all of PBT's audiences, for example the
PBT e-blast newsletter, programs and brochures.
Director of Arts Education: Responsible for developing education materials
about the productions and for implementing arts education programs within
schools and the community and in the theater.
Telemarketing Manager: Oversees phone representatives who seek subscriptions
and request contributions.
Ticketing Manager: Handles seating and ticketing for ballet subscribers as well
as all customer service opportunities.
Director of Development: Responsible for soliciting contributions from
corporations, foundations and individuals.
Tour Manager: Responsible for booking PBT on national and international tours.
Handles all logistics of dancers' itinerary.
Director of Finance: Accountant for the Ballet. Oversees the budget by tracking
expenses, income and cash flow.
School Director: Manages all aspects of the Pittsburgh Ballet Theatre School
including training, recruiting and scholarships.
Ballet Teacher: Responsible for teaching dance to children and adults through
PBT School.
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Glossary
ballerina (bah-luh-ree'nah) A leading female dancer of a ballet company. A dancer
earns the title ballerina through years of hard work and great dancing.
balancé (ba-lahn-say') A rocking step much like a pas de valse; an alternation of
balance, shifting weight from one foot to another.
ballet (bah-lay') From the Italian ballare, to dance.
Chainé (sheh-nay'), or déboulé (day-boo-lay') A series of turns on pointe or demipointe
executed in a line or in a circle, in which the feet remain close to the floor and the
weight is transferred rapidly and almost imperceptibly from one foot to the other as the
body revolves.
choreographer (cor-ee-og'ra-fer) Someone who makes dances. Originally the word
meant someone who records dances, but has come to mean the person responsible for the
design of movement in ballet.
classic (klas'ik) When applied to ballet, the word classic is not the contrary of Romantic.
Classic applies to a rigorous basic vocabulary of steps and movements capable of infinite
variations and a system of instruction that makes such variation possible for individual
dancers.
corps de ballet (core, di, bah-lay') Dancers who appear only in large groups. The corps
de ballet is the backbone of every ballet company.
divertissement (di-ver-tis-mah') A section of a ballet consisting of dances that have no
connection with the plot.
entrechat (an-tray-sha') Probably from the Italian intrecciare, to weave, to braid. A
beating step of elevation in which the dancer jumps straight in the air from a plié and
crosses his feet a number of times, making a weaving motion in the air.
fouetté (fweh-tay') Literally "whipped." A turning step, in which the working leg
whips out to the side, in and then, into the knee as the dancer turns on the supporting leg,
rising onto the point at each revolution.
jeté (zhe-tay') From the French jeter, to throw. This is a jump in which the weight of the
body is thrown from one foot to the other.
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pas de deux (pah, duh, duh') A dance for two people.
piqué (pee-kay') Executed by stepping directly on the point or demi-pointe of the working
foot in any desired direction or position with the other foot raised in the air.
pirouette (peer-oo-wet') A complete turn of the body on one foot.
plié (plee-ay') From the French plier, to bend. In the classic dance, this is a bending of
the knees, with the knees wide open and the feet turned outward. The function of the plié
in the dancer's body is like the function of the springs in an automobile and is necessary
for the development of flexibility.
port de bras (port, duh, brah') In ballet, the movement or carriage of the arms.
sauté (soh-tay') Jumped or jumping.
tutu (too'too) Slang term for the very short petticoat worn by a dancer in the interest of modesty.
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Bibliography
Balanchine, George and Francis Mason. Balanchine's Festival of Ballet: Scene-By-Scene
Stories of 404 Classical & Contemporary Ballets. London: W.H. Allen & Co., 1984.
Beaumont, Cyril W. The Ballet Called Swan Lake. London: C.W. Beaumont, 1952.
Clarke, Mary and Clement Crisp. The Ballet Goer’s Guide. New York: Alfred A.
Knopf, 1981.
Cohen, Selma Jeanne. Dance as a Theatre Art: Source Readings in Dance History. New
York: Harper & Row, 1974.
_______. Next Week, Swan Lake. Middletown, Connecticut: Weslyan University
Press, 1982.
Gregory, Cynthia. Cynthia Gregory Dances Swan Lake. New York: Simon and Schuster
Books for Young Readers, 1990.
Guest, Igor. “Swan Lake." About the House. London: Friends of Covent Garden,
Ltd., 1967.
Holden, Anthony. Tchaikovsky – A Biography. New York: Random House Inc., 1995.
Kirstein, Lincoln. Dance. A Short History of Classical Theatrical Dancing. New York:
G.P. Putnam's Sons, 1935.
Searle, Humphrey. Ballet Music. London: Cassell & Company, LTD., 1958.
www.balletmet.org. Swan Lake History. Ballet Met. Columbus, Ohio.
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