Curriculum Materials - Carolina Ballet · Curriculum Materials ... they can also be used with the DVD of the performance for a unit on Shakespeare’s Romeo and ... our toil shall

Carolina Ballet Education Department www.carolinaballet.com

Curriculum Materials

These materials were developed in coordination with Carolina Ballet’s Spring 2014 production

of Romeo & Juliet. The lessons and materials were designed with both English and Performing

Arts teachers in mind. They are based upon the Common Core State Standards for English

Language Arts and the North Carolina Essential Standards for Arts Education. These lessons can

be used to prepare students for and enhance students’ experience of the ballet performance, but

they can also be used with the DVD of the performance for a unit on Shakespeare’s Romeo and

Juliet.

*Note: The English lessons were created based on the Reading standards for Grade 9. However,

the lessons can be easily adapted for Grades 6-12 depending on the needs of your classroom.

Carolina Ballet would like to thank the committee of dedicated teacher-authors who created

these materials. These outstanding educators are:

Jaymee Hill Gaskins, M.Ed., NBCT English Department Chair

Garner Magnet High School

Danny Kotzian Theatre Arts Director

Millbrook High School

Melissa Olin, NBCT English Teacher

Garner Magnet High School

Kate Oliver Dance Program Chair

Fine Arts Department Chair

Millbrook High School

We would also like to acknowledge members of Carolina Ballet’s Education Committee who

reviewed these materials:

Katie Davis Education Director

Carolina Ballet

Susan E. Hartley Dance Educator

Charles R. Bugg Magnet Elementary School

Steve Hauge Educational Consultant

JSS Educational Facilitators

Becky Johnson Education Committee Chair

Carolina Ballet

Reproduction of Materials

These lessons are the property of Carolina Ballet. They were designed for educational purposes

and may be used freely by teachers in their classrooms. You may photocopy these materials to

share with fellow educators as long as the Carolina Ballet logo and footer remain intact and the

lessons are not edited or altered in any way. The DVD of Carolina Ballet’s performance of

Romeo & Juliet may not be copied.

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Table of Contents

Dance Connections ………………………………………………………………………....3-13

Romeo and Juliet the Ballet……………………………………………………………….....3-5

History and Technique of Ballet……………………………………………………………..6-8

Choreographic Tools…………………………………………………………………………9-10

Dance Related Professions…………………………………………………………………..11-12

Post-Performance Dance Activities………………………………………………………....13

Theatre Connections……………………………………………………………………….14-20

Shakespeare as a Playwright………………………………………………………………...14

Acting Shakespeare………………………………………………………………………….15

Shakespeare, Theatre, and Ballet……………………………………………………………16-17

Post-Performance Theatre Activities………………………………………………………..18

Theatre Etiquette and Fun Facts…………………………………………………………….19-20

English Lessons and Handouts……………………………………………………………21-39

Lesson 1: Mood and Movement…………………………………………………………….21-23

Lesson 2: Comparing/Contrasting Various Mediums for Meaning………………………...24-25

Lesson 3: Conveying Importance through Movement, Music, and Lighting………………26-29

Lesson 4: Cultural Norms and Treatment of Women in Romeo and Juliet…………………30-31

Lesson 5: Actions Speak As Loud As Words………………………………………………32-34

Lesson 6: Mood Music……………………………………………………………………...35-37

Lesson 7: What’s Missing? ………………………………………………………………...38-39

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Dance Connections

Romeo & Juliet the Ballet

Dance Essential Standard - B.CP.1.4

Use collaborative and cooperative skills to contribute constructively to the creation of dance.


Use appropriate behaviors and etiquette while observing, creating, and performing dance.

Romeo and Juliet began as a play written by William Shakespeare and evolved into a

ballet. The music was originally composed by Sergei Prokofiev with the help of Adrian

Priotrovsky in 1935. It was first performed by the Kirov Ballet in Russia and since then has been

performed by numerous famous ballet companies such as Royal Danish Ballet, Joffrey Ballet,

English National Ballet and New York City Ballet. Some famous choreographers who have

staged or choreographed their own version of Romeo and Juliet are Frederick Ashton and Mark

Morris. The most famous dancers who performed the title roles of Romeo and Juliet are Margot

Fonteyn and Rudolf Nureyev. Carolina Ballet’s version of Romeo & Juliet was choreographed

by Artistic Director Robert Weiss in 1999.

Ballet Summary

Romeo & Juliet

Two households, both alike in dignity,

In fair Verona, where we lay our scene,

From ancient grudge break to new mutiny,

Where civil blood makes civil hands unclean.

From forth the fatal loins of these two foes

A pair of star-cross’d lovers take their life;

Whole misadventured piteous overthrows

Do with their death bury their parents’ strife.

The fearful passage of their death-mark’d love,

And the continuance of their parents’ rage,

Which, but their children’s end, nought could remove,

Is now the two hours’ traffic of our stage;

The which if you with patient ears attend,

What here shall miss, our toil shall strive to mend.

Act I

Scene 1: Verona, The Market Place. Romeo, son of Montague, tries unsuccessfully to declare his

love for Rosaline. He is in love with being in love and is totally aloof from his friends and

society. As day breaks, the townspeople meet in the market place. Some start dancing until a

quarrel breaks out between the Capulets and the Montagues, which soon turns into a full brawl.

Benvolio, a Montague, tries to stop the fighting, but Tybalt, a Capulet and Juliet’s cousin, will

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not listen to reason. The Lords Montague and Capulet join in the fight, which is stopped by the

Prince of Verona who declares his anger. “Three civil brawls, bred of an airy word, / By thee, old

Capulet, and Montague, have thrice disturb’d the quiet of our streets . . . If ever you disturb our

streets again, / Your lives shall pay the forfeit of the peace.”

Scene 2: An anteroom in the Capulet House. Juliet, who is not yet fourteen, has no thought of

men in her mind. Her mother, Lady Capulet, comes to tell Juliet of the evening’s ball that she

will be attending, and of Paris’ proposed suit of marriage. Juliet says, “I’ll look to like, if looking

liking move: / But no more deep will I endart mine eye / Than your consent gives strength to

make it fly.”

Scene 3: Outside the Capulet house. Guests arrive for a masked ball at the Capulet house.

Romeo, Mercutio and Benvolio decide to go in pursuit of Rosaline.

Scene 4: The Ballroom. As guests dance, Juliet comes downstairs and is introduced to Paris, with

whom she dances. Romeo and his friends arrive; upon seeing Juliet, Romeo is mesmerized by

her. When Juliet notices him, the two fall immediately in love. The guests go in to eat supper and

Romeo and Juliet meet for the first time. Tybalt discovers Romeo and is angered by the nerve of

a Montague sneaking into a Capulet ball. Tybalt wants to throw him out, but Lord Capulet

intervenes to avoid a scene.

Scene 5: The Balcony. Juliet is on her balcony thinking of Romeo when he appears below. “But,

soft! what light through yonder window breaks? / It is the east, and Juliet is the sun . . . O

Romeo, Romeo! wherefore art thou Romeo? / Deny thy father and refuse thy name; / Or, if thou

wilt not, be but sworn my love / And I’ll no longer be a Capulet.” The two declare their love, and

depart with a promise to marry the following day. “Good night, good night! parting is such /

sweet sorrow, / That I shall say good night till it be morrow.”

Act II

Scene 1: The Market Place. Romeo is in the market place at a carnival when he is discovered by

Juliet’s nurse. She brings him a letter from Juliet asking him to meet her in Friar Laurence’s

chapel.

Scene 2: The Friar’s Cell. Romeo and Juliet meet with Friar Laurence to marry. The Friar hopes

their union will end the feud between their dueling families.

Scene 3: The Market Place. A married Romeo comes upon Mercutio and Tybalt who are

exchanging angry words. Romeo, who is now Tybalt’s cousin, tries to stop them but only

prompts Mercutio to challenge Tybalt. Romeo tries to pull them apart and gives Tybalt the

opportunity to kill Mercutio who dies with the words, “A plague o’ both your houses!” Romeo,

in rage and seeking revenge for his friend’s death and without thought of the consequences, kills

Tybalt in a passionate fight. The Prince of Verona arrives and demands to know who had slain

Tybalt. Benvolio explains that indeed it was Romeo, but in revenge for Mercutio’s death. The

prince spares Romeo’s life, but banishes him from Verona forever. “And for that offence /

Immediately we do exile him hence[.]”

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Act III

Scene 1: Juliet’s Bedroom. Romeo and Juliet have spent their first night together and now,

banished from Verona, Romeo must leave. He sneaks out and Lord and Lady Capulet come in to

tell Juliet that she is to marry Paris immediately. She argues, not being able to tell them she is

already married to Romeo, and a confrontation ensues. “Delay this marriage for a month, a week;

/ Or, if you do not, make the bridal bed / In that dim monument where Tybalt lies.”

Scene 2: The Friar’s Cell. Juliet goes to see Friar Laurence, who devises a plan for her to

simulate her death. He gives her a potion that will put her in a deep sleep with the effects of

death on her body, but will not kill her. He promises Juliet that he will get word of the plan to

Romeo so he may meet her when she awakes.

Scene 3: Juliet’s Bedroom. Juliet’s parents come back to her bedroom and she agrees to marry

Paris. Reluctantly, she takes the Friar’s potion and falls back on her bed. The nurse discovers

her seemingly dead body and calls Lord and Lady Capulet in. They are grief-stricken.

Scene 4: Romeo in Exile/The Capulet Crypt. Friar Laurence sends news to Romeo that Juliet’s

death is only pretense, but Friar John is unable to deliver Friar Laurence’s message to Romeo.

Instead, Romeo is met by his servant Balthasar who believes Juliet to be dead. “Her body sleeps

in Capel’s monument, / And her immortal part with angels lives.” Juliet’s body is laid in the

Capulet crypt and Romeo, believing Juliet dead, comes to the tomb. Overcome with grief, he

decides to join her in the next world and takes a poison. Juliet awakens and discovers Romeo’s

body. She tries to drink the remaining poison, but the vial is empty. Unable to live without him,

she takes Romeo’s dagger and plunges it into her body. “This is thy sheath; / there rust, and let

me die.”

“For never was a story of more woe

than this of Juliet and her Romeo.”

Classroom Ideas:

1. Have students write out a brief synopsis of famous love stories that they are familiar with in

current or past literature. Possibly use movies or fairy tales. What makes them great?

2. Have students watch a select scene from Carolina Ballet’s Romeo & Juliet ballet. Have them

write out a brief story or dialogue that they think the dancers are having. Share with the class

to compare and contrast.

3. Give students a select dialogue. Students will create movement based on the characters and

dialogue. Each group will present in front of the classroom their composition. Have students

outside of the group analyze and predict what selection of dialogue was portrayed in other

presentations.

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Dance Connections

History and Technique of Ballet Dance Essential Standard - B.R.1.1

Explain how elements of movement and choreographic structures are used to communicate ideas in

dance.

Dance Essential Standard - B.C.1.2

Recognize the use of dance elements and choreographic forms and structures in a variety of significant,

modern dance works from the 20th century to the present.

History of Ballet

The dance technique of ballet developed in Italy during the Renaissance. It soon

progressed to France where performances took place in the royal court. King Louis XIV,

nicknamed the “Sun King” for the role he danced in a ballet, was responsible for making ballet

popular in France during his reign.

Originally, ballet was an art form reserved for royal dignitaries to watch. The costumes

and sets were very elaborate to match the royal court ballroom. At first, only men danced, as was

the case with early performances of Shakespeare’s plays. Men would dress as women with

makeup and wigs to dance the female roles.

Basic Ballet Positions and Vocabulary

The five basic positions shown on the next page are the building blocks and foundation for all

ballet technique.

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The Five Positions of the Feet

Photos: Carolina Ballet dancer Carmen Felder

First Position Second Position

Third Position Fourth Position

Fifth Position

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The names of ballet steps come from French. Here are definitions of some common steps you

will see in ballet:

Arabesque (ah-ra-BESK)- working leg is extended straight to the back.

Saut de chat (soh duh shah)- a jump from one foot to the other in which the working leg is

brushed with a developpe in the air while the back leg is extending straight behind the body.

(leap)

Bourrée - (boo-RAY) - small quick steps that give the appearance of gliding across the floor.

Chainé (sheh-NAY)- a series of turns on alternating feet.

Changement (shahnzh-MAHN)- beaten change; the calves of the legs are beaten against each

other before the change of feet in the air.

Chassé (sha-SAY) – a catch step where the feet meet in the air while pointing.

Glissade (glee-SAD)- a traveling step executed by gliding the working foot from the fifth

position in the required direction, the other foot closing to it.

Grand Jeté (grahn zhuh-TAY)- A jump from one foot to the other in which the working leg is

brushed straight in the air while the back leg is extending straight behind the body. (leap)

Passé (pah-SAY)- to pass the toe of the working foot up along the inside of the calf to the knee

of the supporting leg.

Pirouette (peer-WET)- stationary turn on supporting leg, working leg in passé.

Plié (plee-AY)- a bending of the knees.

Port de bras (pawr duh brah) - carriage of the arms.

Sauté (soh-TAY) – to jump.

Tombé (tawn-BAY)- a controlled fall where one leg extends into 4th

or 2nd

position plié while

the other leg is straight behind or to the side.

Classroom Ideas:

1. Have students watch a teacher selected scene from the Romeo & Juliet ballet. Have the

students write down which dancers exhibited the above movements. Have you executed

these movements before? What makes them difficult or easy?

2. Have students identify what positions or movements they use in dance class with the

teacher. What in class movements did they see on the stage?

3. Have students create a short “ballet.” Students will select a scene from the play, assign

characters, and create a brief dance using movement from ballet positions, vocabulary

and pantomime to display the dialogue.

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Dance Connections

Choreographic Tools Dance Essential Standard - B.R.1.1

Explain how elements of movement and choreographic structures are used to communicate ideas in

dance.


Generate abstracted movement to communicate ideas, experiences, feelings, or images.


Understand how self-assessment, teacher, and peer feedback can be used to refine dance performance.

Gestures - Movement that can be used every day.

Canons - Movement which is performed identically but with multiple entry points.

Repetition - To repeat a phrase or sequence within a composition at least once.

Variation - Manipulation of the original movement without losing the intent and character.

Theme - The underlying idea or intent used to create movement.

Unison - Movements which are performed simultaneously and identically by more than one

dancer.

Improvise - To move without planning.

Dynamics (via Rudolf Van Laban)

Dynamics describe how the body moves.

Flow – the continuousness or ongoing quality of movement.

Bound – movement can be stopped at any time

Free – movement is difficult to stop quickly

Weight – the amount of muscle strength put into the movement.

Light – movement uses little muscle strength

Strong – movement uses a lot of muscle strength

Space – the direction and timing of the movement.

Direct – movement that is focused and linear

Indirect – movement that meanders

Time – the speed and timing of the movement.

Sudden – movement accelerates and decelerates quickly

Sustained – movement that is continuous and does not change speed

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Classroom Ideas:

1. Stories, like paintings, can convey a narrative without using words. Using the art

examples listed below and/or other teacher chosen art, write out a story within a small

group with a plot, climax, and resolution. Without words, using gestures, abstract

movement, and choreographic structures, create a composition that conveys your group

story. Perform for the class and analyze the class’ compositions. What movements helped

convey the story? Does the audience understand the story being conveyed in the

composition? What can be changed to help convey the story?

Ideas for art selections:

The Third of May by Francisco Goya

The Arnolfini Wedding by Jan van Eyck

Sleeping Gypsy by Henri Rousseau

2. How can dynamics be used to convey an emotion through movement? Have students

explore different dynamic factors throughout the space. Group students into pairs and

assign one of the basic emotions. Students will choreograph a short piece using the

emotion as a theme by choosing different dynamic factors. Each group will present in

front of the class. Students will guess their emotion and critique what movements

displayed the theme well and which movements needed work.

3. The teacher chooses an excerpt from Romeo and Juliet. Have students underline

descriptive words. Students will pick 2-3 words to use as a vehicle for improvisation.

After exploring the space with improvisation they will start to piece together

choreography. Have students share their choreography at the end of the class and discuss

chosen words. Did they accurately display the words? What could have been done to

display the theme better?

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Dance Connections

Dance Related Professions Dance Essential Standard - B.C.1.4

Identify various dance-related professions.

There are a variety of dance-related professions that contribute to the creation and performance

of ballet. Some of these are listed below, along with the people in those positions at Carolina

Ballet. You can find more information about Carolina Ballet’s dancers and staff at

http://www.carolinaballet.com/the-company/about-us

Artistic Director - Robert Weiss

The person responsible for the major artistic decisions of a theatrical production company -

hiring of production personnel, selection of season, and so on.

Choreographer – Robert Weiss, Lynne Taylor-Corbett, and many others

The person who composes or invents ballets or dances.

Ballet Master / Ballet Mistress – Debra Austin, Marin Boieru, Melissa Podcasy

The person or people in a ballet company who are responsible for giving the company class

every day and rehearsing the ballets in the company repertoire.

Dancers

There are several tiers of dancers within a ballet company. Dancers begin as trainees and

gradually work their way up.

Trainees – Amanda Babayan, Kathleen Black, John Deming, Amanda Gerhardt, Ike

Hawkersmith, Haley Jennings, Laurie Nielsen, Lauren Treat

These dancers are just beginning their careers and are still in training. They typically dance roles

in the corps de ballet.

Corps de Ballet or Company – Sean Armstrong, Manuel Barriga, Oliver Beres, Adam Crawford

Chavis, Carmen Felder, Ashley Hathaway, Cecilia Ilieseu, Talya Krumholz, Elice McKinley,

Sarah Newton, Elizabeth Ousley, Alyssa Pilger, Zalman Raffael, Adam Schiffer, Colby Treat,

Lindsay Turkel

The Company dancers do not appear as soloists but dance in groups on stage.

Soloists – Eugene C. Barnes III, Alicia Fabry, Dameon Nagel, Randi Osetek, Lindsay

Purrington, Sokvannara Sar, Yevgeny Shlapko, Nikolai Smirnov

These dancers perform featured roles in a ballet.

Principal Dancers – Jan Burkhard, Richard Krusch, Marcelo Martinez, Lara O’Brien, Pablo

Javier Perez, Margaret Severin-Hansen, Lilyan Vigo Ellis

The principal dancers perform the lead roles in a ballet.

http://www.carolinaballet.com/the-company/about-us

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Music Director – Alfred E. Sturgis

Person responsible for rehearsing and conducting the live music components of a performance.

Costume Designer - Kerri Martinsen

Person responsible for the design, visual appearance, and function of the costumes, accessories

and makeup.

Scenic Designer - Jeff A.R. Jones

Person responsible for designing the sets, or physical surroundings in which the performance

takes place on stage.

Lighting Designer - Ross Kolman

Person responsible for the appearance of the lighting during the production.

Production Manager - Matthew Strampe

Coordinator of the production scheduling and administrative/logistic details of a multi-show

theatrical season.

Stage Manager - Kristin Orlando

Person who assists the director during rehearsals and manages all backstage activity once the

show has opened.

Musicians Members of the orchestra who perform live music for a ballet performance.

Classroom Ideas:

1. There are many professions involved in the dance world. The above listed are only a few

key parts that help make the Carolina Ballet possible. Besides being a dancer, what other

career choice in dance would you be interested in? Research that job and briefly describe

how to go about making that career choice. What are the benefits of having this career?

What kind of education and experience would be needed to be successful in this career?

2. Research the different professions related to other areas of both performing and visual

arts (for example, a museum, symphony, or theater company). Compare and contrast the

positions in other arts disciplines with those listed for dance. How does each person

contribute to the artistic product as a whole?

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Dance Connections

Post Performance Dance Activities Dance Essential Standard - B.CP.1

Use choreographic principles, structures, and processes to create dances that communicate ideas,

experiences, feelings, and images.

1. After viewing this performance of Carolina Ballet’s Romeo & Juliet, what choreographic

structures were exhibited in the performance? What gestures were used to display the story?

Within small groups, discuss what you saw that helped display the story to the audience. Create

your own short composition with your group that displays the tragic story using movement skills

that you are already familiar with from class.

2. In groups, create a short story that includes a rising action, climax, and resolution. The teacher

may choose select themes for each group’s story. Within their group, have students create a

group composition that reflects the theme of their story while using choreographic tools that have

been taught in class.

References

Gillette, J. Michael. Theatrical Design and Production - An Introduction to Scene Design and

Construction, Lighting and Sound, Costume, and Makeup - 5th Edition. University of Arizona,

McGraw Hill, 2005.

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Theatre Connections

Shakespeare as a Playwright

Theatre Essential Standards – B.A.1

Analyze literary texts and performances.

Theatre connects with creative writing and editing.

One of the biggest mysteries surrounding Shakespeare is the question concerning his

writing of the plays. How could one man, with very little education, have written some of the

most beautiful plays in history? While this debate and speculation will continue for a long time,

it is important to note that we do know for a fact that Shakespeare was not completely original in

his ideas for story. For instance, did you know that his primary source for Romeo and Juliet is a

poem entitled The Tragicall Historye of Romeus and Juliet that was written by Arthur Brooke in

1562? Shakespeare would do this many times with his plays. His source for Hamlet, for

example, was a play that was popular in the 1580s known as ur-Hamlet. There is no doubt that

Shakespeare, although not entirely original, was able to take this source material and turn it into

something that will last through the ages.

Classroom Ideas:

1. Have students watch a TV commercial and use that as an inspiration to write a short

story.

2. Have students select a scene from one of Shakespeare’s plays and rewrite it using

language and appropriate slang that is more familiar to them. Does it make the scene

more enjoyable? How did it affect your ability to understand the scene? Give specific

quotes from the text to support your answer. Were their certain lines of text that you

found more challenging to translate?

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Theatre Connections

Acting Shakespeare

Theatre Essential Standards – B.C.1

Use movement, voice, and writing to communicate ideas and feelings.

Theatre connects with history.

Today many actors take special acting classes specifically designed for Shakespeare’s

plays. His plays often require studying the complexity of the characters and line delivery. Some

modern day actors spend years just learning the techniques for acting Shakespeare. This was

very different in Shakespeare’s time, however. The script that the actors received usually

contained only the actor’s lines, and there were no stage directions or directors. Actors worked

together to direct themselves. The actors also had the challenge of performing in front of a large,

boisterous audience. The acting was probably more melodramatic than realistic, and the fact that

all the parts were played by men or young boys made it even stranger by today’s standards.

Think about it: the original Juliet was played by a guy! Acting sure has come a long way

throughout history.

Classroom Ideas:

1. Compare the acting from silent films or black and white movies to that of some of your

favorite movies today. What are the differences? How does this difference in acting

reflect society at that particular time?

2. Shakespeare wrote many plays about historical people. He did, however, add a dramatic

touch to these personalities so you can count on them being somewhat historically

inaccurate. This brings up an interesting discussion that can be talked about in class.

Does entertainment have the power to influence how we view those in history? Does it

have the power to distort the truth? Can you think of any movies or plays that have done

this? Some examples of movies that have caused a stir about how they portray historical

figures are W by Oliver Stone and Lee Daniel’s The Butler starring Forest Whitaker.

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Theatre Connections

Shakespeare, Theatre, and Ballet

Theatre Essential Standards - B.C.1.1

Use non-verbal expression to illustrate how human emotion affects the body and is conveyed through the

body.

Theatre Essential Standards - B.AE.1

Understand how to design technical theatre components, such as costumes, sets, props, makeup, lighting,

and sound.

Theatre Connects with other art forms.

Everyone loves a good story. They have the power to take us out of this world and into

another place. They have the ability to make us cry, laugh, and even make us afraid.

Storytelling can be done in a variety of ways. Sometimes stories can be told without saying a

word. A painting can tell a story, music has the ability to put the story in our minds, and dance

can tell a story through movement. Dance has been used to tell stories since the days of ancient

man. Many cultures throughout history have used dance as a way to communicate their ideas,

beliefs, and stories. Native American Indians, for example, used dance to celebrate and tell the

story of a great hunt. Taking the works of Shakespeare and using ballet to tell the story is a good

example of how versatile the art of storytelling is. Ballet can use non-verbal movements,

costumes, and music to give us a unique perspective on this classic tale. As you watch the

production, pay close attention to how the movements of the dancers convey emotions. Also

make note of how the costumes, lighting, and music combine to bring the story to life for the

audience.

Classroom ideas:

1. Have a class discussion about what the students expected before they saw a ballet

performance of Romeo & Juliet. After having seen the production, what conclusions can

they draw now? Did they have doubts that the story could be told in this way? Many

students are turned off from Shakespeare because they lack an understanding of the

language style. Could you relate to this ballet performance better? Have the students

discuss other ways in which the story of Romeo and Juliet could be told.

2. Have students find a partner. The partners must develop a short scene, between two

characters, that involves a conflict of some sort. For example, a child is asking a parent

to buy him a puppy but the parent doesn’t think the child is responsible enough to take

care of it. Once they have created a short scene, have the students perform the scene

using only non-verbal expression and movement. Discuss the successes and challenges

of this type of performance.

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3. The use of costumes is another important part of the storytelling process in theatre and

dance. Costumes help to identify characters and give us some insight into their

personalities. In what ways were the costumes important in the ballet production? Have

students gather in small groups. Each group is given a character trait such as greed,

anger, jealousy, excitement, etc. Have each group design a costume sketch that might

help to convey that trait to the audience. The students could either draw out the sketch or

cut pictures from magazines and tape to a poster board. Another fun idea would be to

give each group an even number of plastic trash bags, paper plates, toilet paper, and

construction paper and have them build costumes from those materials.

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Theatre Connections

Post-Performance Theatre Activities

1. After seeing this performance of Romeo & Juliet, which parts of the story were the most

important? Which parts would you consider the least important? Which parts of the

story were you able to understand most easily? Which parts were more challenging to

understand? Form small groups and discuss these parts of the story. Using the parts you

identified as most important, can your group create a 2-minute version of Romeo and

Juliet and perform it for class?

2. After watching the performance, list the characters you feel are the most important in the

story. For each of these characters, discuss with the class or in small groups how each of

their costumes reflects age, social status, and personality. How do clothes affect or

display our own personalities?

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Theatre Connections

Theatre Etiquette and Fun Facts

Theatre Etiquette

During Shakespeare’s Time

Today’s Theatre Etiquette

The Globe Theatre had an area directly in front

of the stage for audience members to stand

known as the “yard.” Some audience members

would sit on the edge of the stage. Patrons who

stood in the “yard” were known as

“groundlings” but were also nicknamed

“Penny Stinkers” because they paid a cheap

price, were lower class citizens, and usually

smelled bad.

Wealthier patrons who could afford a higher

price watched the play from the galleries,

which had seating and a roof.

The audience should always plan to arrive

early to any performance to make sure they

have adequate time to find their seats and be

ready for the show. Late arrivals, once the

performance starts, may distract performers

and fellow audience members.

Usually all audience members sit in an

assigned seat. There are generally a variety of

prices for seats, depending on how close to the

stage the seat is located.

Shakespeare’s plays began early in the

afternoon to take advantage of the natural light.

There were no lighting instruments or sound

equipment to use, so typically plays started at 2

pm and ended around 5 pm.

Audience members should be sure to turn off

or silence all electronic devices. Besides

making noise, these devices may also interfere

with other technology that is being used in the

performance. Even the light from a device may

shine and distract performers or other audience

members.

Today, performances can start at any time.

Typically there are daytime performances

known as matinees as well as evening

performances.

Advertising for plays during Shakespeare’s

time was not allowed. Flags were used to let

citizens know what type of play was being

performed that day. A red flag was displayed

for history plays, a white flag was for

comedies/romances, and a black flag signified

tragedies.

Depending on the theatre where a performance

is held, photography may be prohibited or just

flash photography may not be permitted.

Flashes may distract the performers and could

cause injury on the sage. Some performances

have copyright laws that prohibit filming.

20


Shakespeare’s theatre was full of noise. It has

been compared to watching a football game.

Audience members would shout at the actors

and even throw things at the performers if they

didn’t like the show.

Talking and shouting at the performers is

strictly prohibited during the performance. The

only times when noise is appropriate are during

applause or when the house lights are turned

on. The audience typically applauds at the end

of each section of the performance.

In addition, the audience members watching a

ballet piece often choose to applaud during a

performance when a dancer has completed a

particularly impressive or difficult series of

movements – for example, many turns or

jumps in a row.

Eating and drinking were allowed in the Globe

Theatre. Alcohol made the audience very loud

and boisterous. The Globe Theatre probably

needed some heavy cleaning afterwards.

Bringing any item to eat or drink is typically

prohibited in performance venues. An audience

member may make noise when opening

containers or eating, which can be a

distraction. In addition, the item may be left or

spill during a performance.

Shakespeare’s theatre was not formal, and

audience members would roam around freely

during the performance.

If there is an emergency and someone needs to

leave the auditorium, he should wait until in

between scenes/pieces when it is dark. This

will avoid distractions to the other audience

members.

At the end of the performance, traditionally

performers will come out to bow on stage. Out

of respect, audience members should stay in

their seats until the house lights are turned on.

21


English Language Arts Connections

Lesson Plan #1: Mood and Movement

Standard: CCSS.ELA-Literacy.RL.9-10.1

Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as

inferences drawn from the text.

Grade Level:9

Featured Texts

Primary Text: Shakespeare’s Romeo and Juliet

Secondary Text: Carolina Ballet’s production of Romeo & Juliet (live performance and/or DVD)

Prior Knowledge of Text Required

This lesson requires no prior knowledge of the play or ballet. Students will both watch and read

Act I Scene 1 for the first time during the lesson.

Theme / Essential Question

How do actions convey mood and advance the plot of a story?

Lesson Procedure

Step One: Without prior knowledge of the scene, view the servants’ fight scene in Act I, Scene

1.

Refer to Handout 1. Have students complete Column 2 of the handout.

Step Two: Read the same scene in the play.

Refer to Handout 1. Have students complete Column 3 of the handout.

Step Three: Students complete ACE response. (ACE stands for Answer the question, Cite

textual evidence, Explain how evidence proves the answer.)

ACE Question: How do the dancers’ movements in this scene communicate the conflict between

the Capulets and Montagues? Cite evidence from the ballet to support your answer.

22


Name ________________________________

Romeo and Juliet

Handout #1

Mood and Movement

Instructions:

1) View Act I, Scene 1 in Carolina Ballet’s Romeo & Juliet. As you watch or after viewing,

fill in Column 2 of the graphic organizer. Use specific evidence from the ballet to show

HOW the ballet accomplishes each indicator.

2) Read the corresponding scene from Act I of Shakespeare’s Romeo and Juliet. As you

read or after reading, fill in Column 3 of the graphic organizer. Use specific evidence

from the drama to show HOW the drama accomplishes each indicator.

Indicator Ballet Drama

Communicates

mood

Establishes

characters’

social status

23


Builds tension

Communicates

conflict/violence

Demonstrates

unresolved

conflict

24



Lesson Plan #2: Comparing and Contrasting Various Mediums for Meaning


Analyze the representation of a subject or a key scene in two different artistic mediums, including what is

emphasized or absent in each treatment.

Grade Level:9

Featured Texts


Secondary Texts:

Baz Luhrmann’s film Romeo and Juliet

Carolina Ballet’s production of Romeo & Juliet (live performance and/or DVD)


This lesson requires a close reading of the balcony scene (Act II, Scene 2).


How is the balcony scene depicted in the play, Baz Luhrmann’s Romeo and Juliet, and

Carolina Ballet’s Romeo & Juliet?

Lesson Procedure

Step One: Read Act 2, Scene 2 of Romeo and Juliet.

Step Two: Watch the scene in Baz Luhrmann’s film and Carolina Ballet’s version.

Refer to Handout 2. Have students complete the three columns comparing and contrasting the

three versions.



ACE Question: How is the balcony scene depicted in the play, Baz Luhrmann’s Romeo and

Juliet, and Carolina Ballet’s Romeo & Juliet?

25


Name ________________________________

Romeo and Juliet

Handout #2

Comparing and Contrasting Various Mediums for Meaning

Now that you have read Romeo and Juliet, viewed Baz Luhrmann’s film version, and seen

Carolina Ballet’s version, compare and contrast the balcony scene in each medium by filling out

the chart below. Cite specific textual evidence in each column.

Essential Questions Shakespeare’s

Version

Luhrmann Film

Version

Carolina Ballet

Version

How does the

audience know

Romeo is

eavesdropping on

Juliet?

How do the actors

show their “love at

first sight”?

How is Romeo’s

climbing to Juliet’s

bedroom depicted?

How can the actors

depict emotion

through words in the

scene? How do the

dancers show this

through only

movement?

26



Lesson Plan #3: Conveying Importance Through Movement, Music, and Lighting


Determine a theme or central idea of a text and analyze in detail its development over the course of the

text, including how it emerges and is shaped and refined by specific details; provide an objective

summary of the text.

Grade Level:9

Featured Texts


Secondary Texts:



This lesson requires a general level of background knowledge of the play. It involves a close

reading of the scene in which Tybalt kills Mercutio (Act III, Scene 1).


How do the dancers, the music, and the lighting emphasize a pivotal scene within this play?

How does this contrast with Shakespeare’s methods?

Lesson Procedure

Step One: Read the selected scene (Act III, Scene 1) in the play.

Refer to Handout 3. Have students complete the Significant Lines/Passages section of the

handout.

Step Two: View the same scene in Carolina Ballet’s production of Romeo and Juliet.

Refer to Handout 3. Have students complete the “Think” portion of the chart. Then, have

students Pair and Share their responses on the chart.



ACE Question: Compare and contrast strategies used by the playwrights and production

company to communicate the importance of this scene.

27


Name ________________________________

Romeo and Juliet

Handout #3

Conveying Importance Through Movement, Music, and Lighting

Instructions:

1. Read the scene from Romeo and Juliet in which Tybalt kills Mercutio. (Act III, Scene 1)

2. Cite four brief passages from the text that suggest this is a pivotal scene in the drama.

(Consider foreshadowing, irony, symbolism, connotative and/or figurative language, etc.)

Be sure to quote properly using slash marks between lines and include line numbers in

parentheses.

Significant Lines/Passages

Passage 1:

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Seems significant because:

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Passage 2:

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

28



______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Passage 3:

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________


______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Passage 4:

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________


______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

29


3. Now, view the same scene in Carolina Ballet’s production of Romeo & Juliet.

4. Consider how the ballet company uses movement, music, and lighting to express the

importance of this scene.

5. Fill in the chart on the next page with the evidence you observe.

Think: The ballet company does not have the luxury of dialogue to communicate significant

events. List on the following page ways that movements, music, and lighting effectively convey

the importance of this scene.

Movement

Communicates Importance

Music


Lighting


6. Pair and share your observations.

30



Lesson Plan #4: Cultural Norms and Treatment of Women in Romeo and Juliet


Analyze a particular point of view or cultural experience reflected in a work of literature from outside the

United States, drawing on a wide reading of world literature.

Grade Level:9

Featured Texts


Secondary Texts:



This lesson requires a general level of background knowledge of the play. It involves a close

reading of the scene in which Juliet refuses to marry Paris. (Act III, Scene 5).


How are cultural norms about the treatment of women demonstrated in the scene when

Juliet refuses to marry Paris?

Lesson Procedure

Step One: Read the selected scene (Act III Scene 5) in the play.

Step Two: View the same scene in Carolina Ballet’s production of Romeo & Juliet.

Refer to Handout 4. Compare and contrast what is read and what is seen in that particular section

of the ballet.

Step Three: View scene with music.

Have students answer the following questions:

How does the diction in that scene depict the treatment of women? Have students give specific

words used in the text to support their answers. What actions are present in both the stage

directions of the play and the actions of the dancers in the ballet to suggest the treatment of

women? Have students pick key movements in both to support their answers.

31


Name ________________________________

Romeo and Juliet

Handout #4

Cultural Norms and Treatment of Women in Romeo and Juliet

Act out the scene from the play in which Juliet refuses to marry Paris (Act III, Scene 5). Then

watch that scene in Carolina Ballet’s version. Complete the chart below.

Essential Questions Evidence from Play Evidence from Ballet How does the diction in this

scene depict the treatment of

women in Shakespearean

England? (play only)

What actions are present in

both the stage directions of the

play and the actions of the

dancers in the ballet to suggest

the treatment of women?

How does the absence of

diction affect the depiction of

the treatment of women in

Shakespearean England?

32



Lesson Plan #5: Actions Speak As Loud As Words


Determine the meaning of words and phrases as they are used in the text, including figurative and

connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g.,

how the language evokes a sense of time and place; how it sets a formal or informal tone.)

Grade Level:9

Featured Texts


Secondary Texts:



This lesson is to be taught with students after they have read the text of Romeo and Juliet. It

involves a close reading of one key scene that contains connotative language.


How can movements express emotions without words?

Lesson Procedure

Step One: Read a key scene in Shakespeare’s Romeo and Juliet containing connotative

language. (Example: the conversation between Juliet and the Nurse in Act III, Scene 2.)

Refer to Handout 5. Have students complete the first section of the handout.

Step Two: View the same scene in Carolina Ballet’s Romeo & Juliet.

Refer to Handout 5. Have students complete the second section of the handout.

Step Three: The teacher hands out note cards to students depicting various emotions (for

example, sympathetic, joyful, pensive, bored, nervous, lugubrious, flirtatious, etc.).

Step Four: Students will be assigned one of the note cards mentioned in Step Three. They will

have to perform a ten-movement sequence to convey the mood and allow other students to guess

what particular emotion was being conveyed. Students can have a discussion concerning

connotation of words based on the movements chosen.

33


Name ________________________________

Romeo and Juliet

Handout #5

Actions Speak As Loud As Words

1. While reading a key scene in Romeo and Juliet, identify in the left column five lines that

are heavily connotative. Underline or highlight the words in that line that contribute to

the connotation. In the right column, identify the images and emotional association that

come to mind when you read these lines.

Line(s) from Play Connotation(s) / Emotion(s) Evoked

Example: Look for me tomorrow and I’ll be a

grave man (Mercutio, Act III, Scene 1)

34


2. View the same key scene in Carolina Ballet’s Romeo & Juliet. As you watch, list below

the dancers’ movements that seem heavily connotative. Identify the connotation of each

movement you list. (For example, bowing low before another character connotes humility

or subservience.) Share your observations with a classmate and compare your

interpretations of the movements.

Movement(s) Connotation(s) / Emotion(s) Evoked

Reflection: If I could not use any words, how would I convey joy to an audience? Anger? Fear?

35



Lesson Plan #6: Mood Music


Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel

plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

Grade Level:9

Featured Texts





requires a close viewing of a scene from the ballet version and asks students to consider tension

and foreshadowing of later events in the story.


How can music create tension and foreshadow future events?

Lesson Procedure

Step One: Read Shakespeare’s Romeo and Juliet.

After reading the play, the teacher should select three pieces of music to play for students. Pieces

should be brief (or determine a clip to play) and demonstrate a variety of moods. Refer to

Handout 6 for activity. Have students complete the first chart on the handout.

Step Two: View the ballet, starting just before Romeo sneaks into the Capulet party. View

through the end of the party scene, paying special attention to Prokofiev’s music, its changes,

and its impact on mood.

Refer to Handout 6. Have students complete the second chart on the handout.

Step Three: Students complete ACE Response. (ACE stands for Answer the question, Cite


Refer to Handout 6, ACE Question: How does the music create tension in the audience? What

events in the play does the music foreshadow? Cite specific evidence from the music and the

play to support your answer.

36


Name ________________________________

Romeo and Juliet

Handout #6

Mood Music

1. Instructions: Listen to the following three pieces of music. While listening, identify the

mood of each piece (one-word adjective) and write it in the appropriate box. Also,

consider what sort of movie scene you imagine the music playing through (mystery, car

chase, romantic tryst, etc.) and write it in the corresponding box.

Music Selection Mood Movie Scene

Pair up and share your answers with a classmate.

37


2. View the party scene in Carolina Ballet’s Romeo & Juliet. As you watch, consider how

Prokofiev uses musical elements to contribute to the mood of the story and how they

manipulate the emotions of the audience.

Musical Element Effect(s) on Mood of Scene

Tempo

(The speed or pace of a piece of music)

Instrument Choice

(Use of strings, woodwinds, brass, keyboard

and/or percussion instruments)

Volume/Dynamics

(The relative loudness of a piece of music as

well as any changes in the volume)

Major/Minor Key

(Key refers to a set of notes whose patterns and

intervals between notes result in a particular

sound and emotional feel)

Complete ACE Questions using your chart.

38



Lesson Plan #7: What’s Missing?


Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the

course of a text, interact with other characters, and advance the plot or develop the theme.

Grade Level:9

Featured Texts





requires students to analyze the respective roles of several minor characters across the entire play

and ballet.


How can differing treatments of minor characters alter the overall message of a story?

Lesson Procedure

Step One: Review Shakespeare’s Romeo and Juliet, noting the roles of the Nurse and Friar.

Refer to Handout 7. Have students complete the first section of the handout.

Step Two: View scenes in the ballet from where the Nurse facilitates the wedding until Juliet

receives the potion from the Friar.

Refer to Handout 7. Have students complete the second section of the handout.

Step Three: Students complete ACE Response. (ACE stands for Answer the question, Cite


Refer to Handout 7, ACE Question: What are the effects of the diminished roles of the Nurse and

Friar in the ballet versus their key roles in the play? Why might these characters have been de-

emphasized in the ballet version? Cite evidence from both the play and the ballet to support your

answers.

39


Name ________________________________

Romeo and Juliet

Handout #7

What’s Missing?

1. Reviewing the text: With a partner and a copy of the text, list significant actions taken by

the Nurse and the Friar in the play. Try to list the actions in chronological order. Then,

list significant quotes from the test (3 for each character) that illustrate the character’s

importance in the story.

Character Actions Taken Significant Quotes

Nurse

Friar

2. After viewing key scenes in Carolina Ballet’s Romeo & Juliet, place an X next to items in

the Actions Taken column that are left out of the ballet.

3. ACE Question: What are the effects of the diminished roles of the Nurse and Friar in the

ballet versus their key roles in the play? Why might these characters have been de-

emphasized in the ballet version? Cite evidence from both the play and the ballet to

support your answers.

Documents

Curriculum Materials - Carolina Ballet · Curriculum Materials ... they can also be used with the DVD of the performance for a unit on Shakespeare’s Romeo and ... our toil shall