1. art and entertainment
2. dance
3. ballet

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Edited by:
Carol Meeder – Director of Arts Education
April 2008
Original Artwork:
Pittsburgh Ballet Theatre would like to express a special thank you
to student artist Jen Soracco, a sophomore at Pine-Richland
High School, for creating the Alice in Wonderland drawings on the
front cover and pages 20 and 26 of this Handbook.
Title Sponsors for Alice in Wonderland
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INTRODUCTION
Dear Educator,
As a teacher of children and adolescents you can have a profound effect on the rest of
your students' lives. You not only give them knowledge of the world around them, but
also the tools and the inspiration to create a meaningful life for themselves that can have
a positive impact on the world around them. The State of Pennsylvania took its stand on
the value of the Arts when the Department of Education adopted Academic Standards for
the Arts and Humanities.
Experience and knowledge of the arts are an essential component in the educational
process. In a tribute to playwright Vaclav Havel, actor Ron Silver reminds us that “…art
matters…artists speak to people in ways that politicians cannot…art has the power to
define us, to challenge us, and to make us explore the frontiers of human existence.”
PBT is proud to present this North American première of Derek Deane's Alice in
Wonderland. We hope this magical experience at the theater and the educational
information in this Teacher's Handbook will provide you with the knowledge, tools, and
inspiration to make the art of ballet and theater live in the hearts, minds, and souls of your
students. Thank you for continuing to keep Arts Education as a vital part of your school
curriculum.
We'll see you at the Benedum!
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 Alice in Wonderland.
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 to be integrated into classroom discussion.
Several of the activities have been adapted from those designed by teachers who have
participated in previous seasons' programs. In their evaluations, these 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, which
are essential to understanding the function and integrity of the ballet art form. In
addition, the suggested Classroom Activities and the background information that support
them also address the Academic Standards for the Arts and Humanities put forth by the
Pennsylvania Department of Education. These activities are offered as springboards to
the creative imaginations of teachers and students for adaptation to individual
instructional needs.
There is great opportunity for using this handbook in an interdisciplinary curriculum. In
the Music, Movement and Mime section the Physical Education Department could teach
the basic positions of ballet while the Music Department looks at how the positions are
incorporated into different styles of dance portrayed by the characters. Masks are always
a fun project in Art Education. With the elaborate masks on the animals in Alice in
Wonderland, students will have fun creating an exotic mask from a mixture of materials.
Perhaps the art teacher and Home Economics Department could collaborate by designing
and drawing costume ideas to coordinate with the masks. A discussion on the techniques
for sewing on the variety of fabrics used in making the costumes for the ballet could
follow.
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How to Use This Handbook (continued)
Below is information related to the grouping of our activities. Most of the "Activity"
pages, are designed to be student ready for copying and may be used alone as an activity
or in support of another activity.
PLOT, THEME AND CHARACTER
Dramatic structure in its strictest definition does not exist in ballet, though a story ballet
does share the elements of plot, theme, and character. The exercises relating to these
elements focus on familiarizing students with the story and characters of Alice in
Wonderland.
The Synopsis is the basis for our activities in this section. The original story by Lewis
Carroll is a classic of literature. It may be appropriate for high school students to read,
while many adaptations may be found in children's literature and film.
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.
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 a
production; therefore, we should look at costumes, scenery and lighting as an important
part of dance. The activities in this section should encourage students to consider these
technical elements of producing a dance performance.
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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:
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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 handbook, the students should be able to –
9.1
Production, Performance and Exhibition of Dance, Music, Theatre 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. Program books and a special edition of the "Student Spotlight" will be available for
students at the theater. These materials may be used for follow-up classroom
activities. Please have a teacher pick them up at the Patron Services table. The
playbill includes a synopsis, historic information on the ballet, casting and
biographies of Pittsburgh Ballet 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. During the performance, however, even the softest whisper can be
distracting. DO NOT TALK DURING THE PERFORMANCE.
5. There will be one intermission. This allows 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 an Historic Landmark. There are a lot of different
things that 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 side 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 of crystal. 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, rinsed, dried, and replaced.
5. 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 Building, housing offices and stores. Over the years many
famous entertainers and a host of big bands and rock-and-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. Then, DiCesare Engler Productions purchased the
building in 1977 and used it for rock concerts until 1982.
In 1984, The Benedum Foundation bought the run-down theater and decided to restore it
to its 1928 grandeur. The budget for the project was $42 million. This figure includes
both the restoration and the purchase of the property behind the theater.
Special rules had to be followed in the restoration because the building is considered an
Historic Landmark. No major structural changes could be made to the building unless
special permission was given. The colors, fabrics, and 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 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.
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History of the Benedum Center for the Performing Arts
(continued)
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 Pittsburgh Dance Council.
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What is Ballet?
Ballet is a way of telling a story using music and dance instead of words. Ballet consists
of movements that have been developed over the centuries. Classical ballet is found all
around the world: Europe, the United States, China, Japan, Russia and South America.
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 Don Quixote, Swan Lake,
The Nutcracker and The Sleeping Beauty represent "classical ballet" in its grandest form.
Their main purpose was to display classical technique to the fullest. Complicated
sequences that show off demanding steps, leaps and turns are choreographed into the story.
During the 20th century "contemporary ballets" were created. Although there is no
definite story line, these ballets often have a theme and concentrate on emotions and
atmosphere, attempting to arouse feelings in the audience. Emotions and reactions differ
from person to person when viewing this style of ballet.
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
Derek Deane's Alice in Wonderland and Septime Webre's Peter Pan and Cinderella.
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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 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, giving 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. Dancers know their cobbler by the mark put on the bottom of the shoe. But
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 for dancing. 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 pointe 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 sometimes line the inside with floor wax or
shellac. Finally, each ballerina attaches elastic and ribbons to hold the shoe in place.
Dancers break in shoes by wearing them to class and rehearsal. Once they are broken in,
a dancer sets the pair aside for a performance and uses another pair. Dancers may change
their pointe shoes several times during a performance depending on the range and
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 about $80,000 on
pointe shoes each year!
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Getting to Know
Principal Ballet Dancer Maribel Modrono
Principal Maribel Modrono has been a professional dancer
dronoprfessionalssional dancer with Pittsburgh Ballet Theatre since the 2000-2001 Season.
I love to dance. I am very privileged to have met so many
inspiring people in this profession. I have a great passion for
what I do, and I am very fortunate to be able to share it with you.
The world is constantly changing, as is the dance world,
but if you have a good foundation, the future will not slip
away from your grasp. Don't miss out on any great
opportunity that can come your way and change you, like going to see the Ballet.
Hometown: Miami, Florida
Training: Ballet Etudes in Hialeah, Florida and School of American Ballet (SAB) in NYC.
Other professional jobs: Fort Worth Ballet and Miami City Ballet with Director Edward Villella.
Favorite thing about dance: The freedom and versatility to express yourself through the
movement of your body.
Least favorite thing about dance: Blisters and injuries are number 1. Number 2 is the sacrifices
one has to make to maintain a very high level in this disciplined profession.
Family: My wonderful husband, Sean Deceunick, awesome parents, and two great sisters. Also
I have three beautiful godchildren, including Emiya, son of Chris Jackson and Kaori Ogasawara
who are also PBT dancers.
Any pets? One beautiful Siamese cat – Apollo.
Greatest influence: My twin sister, Mabel, who is also a professional dancer. Alexander San
Juan, who is my cousin and opened my eyes to all styles of dance. My husband, for helping me
to excel.
Favorite music: Salsa, hip-hop, country, and classical – almost anything!
Favorite food: Cuban – rice and beans, Palomillo steak and plantains.
Favorite television show: CBS Sunday Morning and Men In Trees
Other interests besides ballet: Anything equestrian. Also movies, recipes, and traveling.
Future plans: Continue to be the best I can be…then find something in my life that I can love as
much as ballet. Wish me luck!
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Getting to Know
Principal Ballet Dancer Daisuke Takeuchi
Principal Daisuke Takeuchi has been a professional dancer with
Pittsburgh Ballet Theatre since the 2000-2001 Season.
I started ballet around age 7 because my sister took dance. I didn't pay
a lot of attention at first, but the school wanted to have male students so
they let me stay. When I was 10, my teacher asked if I really wanted to
do this. I said, "Yes," and started paying more attention. Everyday I
spent two hours traveling to my classes after school. I usually didn't get
home until midnight. At 15 I knew I wanted to dance professionally.
When I was 13, I went to a Russian school for a couple months. It was good training, but I didn't
want to go back. At 15 I went to the Royal Ballet School in London. When I graduated from
there I came here. I spent four months as a Grad student in PBT School until all the paperwork
for my work visa was complete and I could join the Company.
My teacher at the Hisatomi Ballet School in Japan is about 75 years old now. She was not
classically trained, but seven of her male students are now accomplished ballet dancers. The first
to succeed became the first Asian principal dancer with the Royal Ballet in London. I am the
fourth, and the seventh is Makoto Ono, another PBT dancer who followed me to Pittsburgh.
Hometown: Sunagawa City in Hokkaido, Japan
Favorite role: Anything right now, because I am coming back from an injury.
Favorite choreographers: Dwight Rhoden and Derek Deane, choreographer for Alice in Wonderland.
Favorite music: B.E. Taylor – we just did a ballet with his group, and they were the best!
Favorite spot in Pittsburgh: My home.
Greatest influence: PBT Principal Dancer Kumiko Tsuji. We are engaged and will be married
this summer in Japan.
Any pets? Two cats – Tiger and Tarzan.
Favorite food: Japanese food.
Favorite ice cream flavor: I really don't like ice cream.
Favorite Vacation: Disney World!
“People may be surprised to know that…” My left eye is blind.
Advice to students: Keep going forward toward your dream and it will come true.
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The Author: Lewis Carroll
Lewis Carroll, a revered name in English literature, wore more hats in his life and career
than most of us realize. In his comprehensive biography of the author, Martin Cohen
writes, "He was an extraordinarily gifted man, and in spite of a deaf right ear and an
incurable stammer, lived a busy and productive life. It was not an ordinary life, however,
nor are the products of his labors merely plentiful or sufficient. They are, in fact,
overpoweringly numerous and often brilliant."
Born Charles Lutwidge Dodgson in 1832, he was the eldest of 11 children. His father
was a clergyman in the Church of England, and his mother was reported to be one of the
sweetest and gentlest women that ever lived. He spent the first eleven years of his life in
the quiet farming village of Daresbury where he developed his love for animals and
flowers that are so vividly described in the gardens and forests of his Alice’s Adventures
in Wonderland. Although his home life was strict and regimented with Christian
responsibilities, it was also filled with family activities, projects, and games, many of
which Charles initiated. He edited a family newspaper to which all of his siblings
contributed. It eventually came to be known as Mischmasch and was the training ground
for development of his skills as a writer, poet, and creator of games and puzzles. He
continued to work on this paper even after he left for Christ Church College at Oxford.
At Oxford he discovered that he was not only a budding genius of letters but also had a
brilliant mind for logic and mathematics. After only five years and at the age of twentythree, he was made a don in mathematics. A don is a lecturer/professor with tenure or
permanent status. It was almost unheard of for this advancement to occur so quickly. He
remained at Oxford for the next 50 years where his many talents grew and evolved. He
wrote treatises on mathematics and logic that are still referenced today. He also began to
write articles and stories which he submitted to papers and periodicals for publication. It
was for these stories that he chose to write under the pen name of Lewis Carroll. He even
engaged his fascination for word games when he chose this name. He took his given
name, Charles Lutwidge, reversed the names and Latinized them. Voila! – Lewis
Carroll!
Although his chosen career was as a mathematics professor, he continued to explore his
other interests and talents. He developed an avid interest in photography and became
quite well known for his portraits. As a matter of fact, he was the leading amateur
photographer of the nineteenth century. His specialty was portraits of children. He was
very fond of children, and they were equally delighted with him and his games and
stories. Keep in mind that this was a time of heavy and cumbersome equipment that
required a lot of time and patience. There were no automatic cameras that could shoot
perfect pictures in an instant!
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He continued in the footsteps of his father and grandfather by continuing his studies of
religion and the church. He was ordained a deacon in the Church of England but never
took the priest's orders. He did preach on occasion and especially loved preaching to
children. Some other social causes that Charles Dodgson supported might come as a
surprise. He argued for the benefits of vaccination when Victorian England was wary of
such things. He also supported the theater as a wholesome and educational form of
entertainment when the church was opposed to it. He even helped to establish a school
that would eventually become the Royal Academy of Dramatic Art. Dodgson was also a
great correspondent. He kept a register of every personal letter he wrote and received.
Can you imagine! At the end of his life there were over 98,000 letters in his register.
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The Story Begins
From the time he was a child himself and charged with entertaining his brothers and
sisters, Charles Dodgson loved children. In 1855 a new presiding Dean of Christ Church
College, Henry George Liddell, arrived amid a flurry of publicity due to his ideas of
reform. Dodgson opposed a lot of his ideas but was entranced by the Dean's family. At
the time there were three daughters. The middle daughter who was just four years old
was named Alice. Over the next several years many hours would be spent visiting these
children and taking them on picnics and excursions of rowing on the river, singing songs
and spinning stories.
On a warm and breezy summer day, July 4, 1862, this party of three little girls, their
storyteller friend, and Charles' friend, Robinson Duckworth, whose songs and beautiful
singing voice also delighted the girls, set off in a rowboat on the Isis River for a lovely
afternoon of picnicking and fun. The children implored him to weave another story. In
his diary he wrote,
“I can call up almost as clearly as if it were yesterday – the cloudless blue above, the
watery mirror below, the boat drifting idly on its way, the tinkle of the drops that fell
from the oars, as they waved so sleepily to and fro, and (the one bright gleam of life in all
the slumberous scene) the three eager faces, hungry for news of fairyland, and who
would not be said ‘nay’ to…”
The story of Alice’s Adventures in Wonderland was born. From the moment the
character of Alice fell asleep under that tree on the riverbank, children's literature
received one of its most important contributions. It was also on that day that ten-year-old
Alice Liddell became the very favorite "child-friend" of Charles Dodgson. Biographer
Anne Clarke writes,
“Alice was now ten years old, three years older than the heroine of the story. There is
nothing in Dodgson’s existing diaries to indicate that Alice was already his favorite
before that golden afternoon when the story of Alice’s Adventures was first told. But
from that day forward there is no doubt at all that Alice became his dreamchild.
Captivated by her gentle, affectionate nature and her unfailing courteousness to all,
whatever their station in life, he began to look upon himself as a kind of self-elected
foster-father; and with her trusting readiness to accept the wildest improbabilities, her
eager curiosity and a hint of assertiveness, she inspired him to write as he had never
written before. For when at the end of the day, he took the children back to Oxford, she
begged him to write the story out for her, and he was quite unable to refuse her. Next
morning, on the 9:02 train from Oxford to London, he began writing out the headings for
the book.”
Alice’s Adventures in Wonderland was published a number of years later when Alice was
a teenager.
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The Choreographer: Derek Deane
Derek Deane began his professional dance career at The Royal Ballet in London,
England. In 1970 he joined The Royal Ballet School and in two years, graduated into the
professional Company. He was eighteen years old. He advanced quickly through the
ranks to become senior principal dancer. He danced in all of The Royal Ballet's classical
repertoire by Frederick Ashton, Kenneth MacMillan and George Balanchine as well as
many other international choreographers.
During his performing career he began choreographing for The Royal Ballet and its sister
organization, the Sadler's Wells Royal Ballet. After seventeen years with the Royal
Ballet, he struck out on his own as an international teacher and choreographer. He went
on to become resident choreographer and assistant director at the Ballet di Roma in
Rome, Italy. During his two year tenure he choreographed for the most important ballet
companies in Italy, including La Scala Milan.
In 1993 he returned to England to become Artistic Director of the English National Ballet
(ENB) where he remained until 2001. At that time he again felt the pull to teach and
choreograph on the international stage. He continues to work with many of the top ballet
companies world-wide.
While Artistic Director of ENB, Deane choreographed many productions, including in
1995, the production of Alice in Wonderland that is making its North American première
with Pittsburgh Ballet Theatre in April of 2008. He also choreographed three productions
"In the Round" (Romeo and Juliet, Swan Lake and The Sleeping Beauty) for performance
at the Royal Albert Hall. The Company toured throughout the United Kingdom and Australia.
Derek Deane was nominated for two Lawrence Olivier Awards for his ENB productions
and in 2000 was awarded an OBE (Order of the British Empire) in Her Majesty the
Queen's New Years Honours List for service to dance.
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Synopsis
The story of the ballet
Act I
Alice is playing beside a river while her sister reads a book. She tries to get her sister's
attention, but eventually gives up and falls asleep in her sister's lap. Suddenly, out of
nowhere, a White Rabbit appears. Alice follows him as he jumps down a rabbit hole.
Alice lands at the bottom of the hole in a long low corridor made entirely of doors. She
finds a small table with nothing on it except a tiny gold key and a bottle. Alice discovers
that the key will only work in the smallest door in the corridor, which opens into the most
beautiful garden Alice has ever seen. Alice drinks the contents of the bottle and starts to
shrink. Underneath the table she finds a small cake. She eats the cake and it has the
opposite effect to the bottle – she starts to grow and grow.
The White Rabbit drops his white glove and his fan. Alice picks them up and starts
dancing with them. Realizing she is lost and alone she suddenly feels very lonely; she
starts crying so much that she is soon swimming in a pool of her own tears. As she tries
to swim to safety she realizes that she is surrounded by animals that all swim through the
pool of tears to the bank. They all sit shivering on the bank and Alice decides to hold a
Caucus Race in order to dry the animals' ruffled fur and feathers.
The White Rabbit returns in search of his glove and fan. He and Alice meet an enormous
Caterpillar sitting on top of a huge mushroom smoking a large pipe. The Caterpillar
conjures up the Garden of Living Flowers and the flowers dance for Alice.
The Frog Footman and the Fish Footman appear with an invitation to the Queen's
Croquet Match. In the Duchess's house, the Duchess and the Cook are hard at work in
their kitchen. Watched by the Cheshire Cat, the Cook prepares fish with clouds of pepper
while the Duchess and Cook pass the baby from one to the other, and finally to Alice –
she looks at the baby and it turns out to be a pig! The Cook and Duchess rush off leaving
Alice with the Cheshire Cat. The White Rabbit reappears and whisks Alice off to the
Mad Hatter's Tea Party where she meets the March Hare and the Dormouse.
Act II
Alice is taken to the Queen's Croquet Match by the White Rabbit and meets the Royal
Gardeners who are painting the roses red. The Queen of Hearts arrives with the entire
pack of cards including the Knave of Hearts. The croquet match begins and out of
nowhere the Cheshire Cat reappears to watch the game.
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The Duchess returns and tells Alice all about the Queen, but the Queen notices them
gossiping. She looks at the Duchess and cries "Off with her head!" The cards, the Queen,
the Duchess and the Cheshire Cat all disappear, leaving Alice with the Gryphon. Down
by the seashore, Alice and the Gryphon meet the Mock Turtle. Four lobsters appear from
the sea and dance the Lobster Quadrille.
Alice is exhausted by all the excitement, and she falls asleep. In her dream the Knave of
Hearts appears, and they dance together.
The White Rabbit returns in a great panic and takes Alice to The Trial. The Knave of
Hearts has been accused of stealing some tarts! The White Rabbit reads out the
accusation and calls the Mad Hatter as the first witness. The Cook is called as the second
witness. The court descends into chaos as the Queen of Hearts cries "Off with his head!
Off with her head!"
Alice suddenly remembers that most of the characters in the courtroom are just cards.
She is no longer frightened of them, and she finds herself back on the river bank with her
sister. All the fantastic characters have disappeared, and Alice is left wondering whether
it was all just a dream…
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Characters of the Story
These are the main characters from Lewis Carroll's Alice in Wonderland that
choreographer Derek Deane chose to incorporate into his ballet:
Alice
Cheshire Cat
Duchess
March Hare
Mock Turtle
Alice's Sister
Caterpillar
Cook
Dormouse
Queen of Hearts
White Rabbit
Frog and Fish Footmen
Mad Hatter
Gryphon
Knave of Hearts
Other characters that contribute to the atmosphere and the dance:
Jam Tarts
Flowers
Lobsters
Animals
Cards
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About the Music
When choreographer Derek Deane envisioned the ballet of Alice in Wonderland he
already knew he wanted the music to be Tchaikovsky. He approached composer Carl
Davis to arrange the score. Since Lewis Carroll was a contemporary of both Peter Ilyich
Tchaikovsky and Marius Petipa, the great Russian ballet master, Deane wanted his Alice
in Wonderland ballet to follow the style and classical genre of the great classical ballet
collaborations of Tchaikovsky and Petipa – Swan Lake, The Sleeping Beauty, and The
Nutcracker.
Since the music of those great ballets is so familiar, they agreed that the score should be
drawn from other Tchaikovsky music. The following list of highlights from the ballet
demonstrates the wide range of compositions that Carl Davis chose.
Alice in Wonderland Musical Highlights
Act I
Original Composition Date
Overture and Down the Rabbit Hole
The Tempest
1873
White Rabbit
Album for the Young
Nos. 3, 19 and 20
1878
The Corridor
Suite No. 2
Reves d’Enfant
1883
Pool of Tears
Chanson Triste
Piano Music Vol. VI
1876-78
Garden of Living Flowers
Symphony No. 5
Movement 3 – Valse
1888
The Duchess
The Sleeping Beauty Act III
Cinderella and Prince Fortune
1875-76
The Tea Party
Suite No. 1
Scherzo and Gavotte
1878-79
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Act II
The Pack of Cards
Festival Coronation March in D
1883
Lobster Quadrille
Album for the Young
No. 14
1878
Dream Pas de Deux
Album for the Young
No. 21
1878
Tchaikovsky's "Album for the Young" is a group of twenty-four piano pieces for
children, noted in the highlights for White Rabbit, Lobster Quadrille and Dream Pas de
Deux. Each piece tells a story and gives a vivid characterization. Deane and Davis drew
the comparison of Carroll's storytelling in prose to Tchaikovsky in music, making the
"Album for the Young" a perfect choice for unifying the musical structure of the ballet.
Fifteen of the twenty-four pieces are used in the ballet.
24
About the Production
Sue Blane, designer of the set, scenery and costumes for the English National Ballet's
production of Alice in Wonderland was born and raised in England. She was educated at
Wolverhampton College and the Central School of Art and Design. She has designed
sets and costumes for the stage and on screen. In addition to Alice in Wonderland, she
also designed Derek Deane's production of The Nutcracker for the English National
Ballet. She has also worked with the English National Opera, La Scala in Milan and
Maggio Musicale in Florence, Italy.
This production of Alice in Wonderland premiered in London in 1995. After being given
a brief by choreographer and director Derek Deane, Ms. Blane created designs for the
following:
Costumes:
250 costumes
47 wigs
30 prosthetic pieces for eight characters:
Mad Hatter, Duchess, White Rabbit, Cheshire Cat, Caterpillar,
two executioners and the Dormouse.
Scenery:
2 tree backcloths
2 front gauzes (scrims)
1 flower cut cloth
1 full gauze (scrim) for the Flower Scene
1 massive painted sky cloth
Large Scale Props and 3-D Objects:
Mushroom
Duchess' House
Sunflowers
Flowers
Cards
After studying the brief concerning Derek Deane's concept for the ballet, she also studied
the original illustrations created by Sir John Tenniel for the first publication of Alice's
Adventures in Wonderland in 1865. These original illustrations were the inspiration for
the production and costumes. Later in Tenniel's life, eight more color drawings were
added by Henry Theaker. It was Theaker's work that established the popular image of
Alice as a girl with long blond hair wearing a blue dress and a white pinafore.
25
Building all of the designs – set pieces, scenery and costumes – was accomplished by
approximately ninety artists and artisans throughout England. Working from Blane's
renderings these specialists began the work of bringing these designs to life. Some of
the artists work in large studios where the 55' x 30' backcloths are painted; while others
work in their private homes, concentrating on smaller items such as jeweled tutus and
headpieces.
According to "Behind the Scenes" from the English National Ballet –
"Probably the most original costumes for the dancers are the 25 square
tutus for the packs of cards. The tutu went through five different
variations before a design was finally decided on that didn’t throw the
dancers off-balance, hadn’t become heavy with the extra net requirements
and could be maneuvered through doorways without being bent out of
shape.
But the accolade for the most expensive and complicated costumes must
go to the 20 animal and bird costumes. Even the material for these had to
be made from scratch using a Lycra base. All the painted costumes, for
example the Tiger Lily, took endless experimentation in order to achieve
the depth of colour and texture while still being washable."
26
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 original story of Alice’s Adventures in
Wonderland and help to point out the differences between the fairy tale and the ballet.
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.
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Plot, Theme and Character: Activity 1
Referring to the account of Lewis Carroll or Charles Dodgson, if you will, we see that
word games and poetry were important to him from the time he was a child himself.
These forms of literature are found often in his writings. Poetry was one of his favorite
ways to express his thoughts. As a preface for the text of Alice’s Adventures in
Wonderland, Carroll composed a poem of seven verses relating the events and emotions
of that "golden afternoon" on the Isis River when the story began.
All in the golden afternoon
Full leisurely we glide;
For both our oars, with little skill,
By little arms are plied;
While little hands make vain pretence
Our wanderings to guide.
And ever, as the story drained
The wells of fancy dry,
And faintly strove that weary one
To put the subject by,
“The rest next time –” “It is next time!”
The happy voices cry.
Ah, cruel three! In such an hour,
Beneath such dreamy weather,
To beg a tale of breath too weak
To stir the tiniest feather!
Yet what can one poor voice avail
Against three tongues together?
Thus grew the tale of Wonderland:
Thus slowly, one by one,
Its quaint events were hammered out –
And now the tale is done,
And home we steer, a merry crew,
Beneath the setting sun.
Imperious Prima flashes forth
Her edict “to begin it” –
In gentler tone Secunda hopes
“There will be nonsense in it!”
While Tertia interrupts the tale
Not more than once a minute.
Alice! A childish story take,
And with a gentle hand
Lay it where Childhood’s dreams are twined
In Memory’s mystic band,
Like pilgrim’s withered wreath of flowers
Plucked in a far-off land.
Anon, to sudden silence won,
In fancy they pursue
The dream-child moving through a land
Of wonders wild and new,
In friendly chat with bird or beast –
And half believe it true.
28
You will find other forms of poetry scattered through
the text such as the Mouse's tale in Chapter III
that Alice pictured as a Mouse's tail:
29
A third form of word game poetry that Charles Dodgson loved was the acrostic poem in
which the letters of a word serve to begin each line of verse. One of the earliest we know
of was set with his home village of Daresbury as the basis.
Dare not to come into this Sacred Place
All you good Ringers, but in awfull Grace.
Ring not with Hatt, nor Spurs nor Insolence.
Each one that does, for every such offence
Shall forfeit Hatt or Spurs or Twelve Pence.
But who disturbs a Peal, the same Offender
Unto the Box his sixpence shall down Tender.
Rules such no doubt in every Church are used
You and your Bells that may not be abused.
Choose one of the following activities:
1. Borrow a copy of the original Alice’s Adventures in Wonderland from the library
or perhaps you have a copy of your own. Find one poem that is used as a
narrative to convey action in the story and one that is spoken by a character to
describe his or her plight of circumstance.
2. Choose the name of a character and use it to write an acrostic poem.
Examples:
A
L
I
C
E
or
W
O
N
D
E
R
L
A
N
D
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or
M
A
D
H
A
T
T
E
R
Plot, Theme and Character: Activity 2
The dream sequence has been used as a literary technique since the Middle Ages. When a
writer allows a character to fall asleep it provides the author with freedom to let
imagination run wild with fantasy and nonsense. Very often the characters in a dream will
be distorted or exaggerated forms of people and things in our every day lives. Dreams
occur in television, films, plays and ballets.
Two ballets where dreams play an important part are Alice in Wonderland and The
Nutcracker. In Pittsburgh Ballet Theatre's The Nutcracker, Marie dreams of going to the
Land of Enchantment with the Nutcracker Prince, her doll in real life, a gift from Uncle
Drosselmeyer. The pair sits by as they are welcomed and entertained by dancers from
many exotic lands. Marie wakes as the Sugar Plum Fairy, her Cavalier Prince and all their
enchanting new friends wave goodbye.
Alice, on the other hand, is an active participant in Wonderland trying to convince these
nonsensical characters to look at things logically and have some common sense. The
Cheshire Cat, always grinning and disappearing is probably Alice's dream version of her
own cat, Dinah. The Queen of Hearts and her whole court are just a pack of playing cards
that Alice has probably used many times while playing games with her family.
DREAM A DREAM
1. Choose several characters from your everyday life. You could use your pet animal, a
favorite toy, a kitchen utensil, a holiday decoration, a neighbor, etc.
2. Think of some activities or uses that could be associated with your characters.
3. Dream a Dream! Use your imagination!
How might these characters interact with each other?
At what locations could you find them?
Develop several scenes through which your characters could travel.
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Plot, Theme and Character: Activity 3
When a story is transformed into another medium, changes often occur. Books, theater,
TV, film, animation and ballet each has its own methods and techniques to convey a story.
The ballet does not always include every character or every incident in the written story.
The choreographer and composer decide which characters and scenes will be used so that
the story can be told within the art form of ballet.
Sometimes events from the book can be eliminated, shortened, or combined to adapt to
another art form. Even the timing of each scene is important so the ballet stays within the
limits of an enjoyable night at the theater. In the book, Alice’s Adventures in Wonderland,
Alice meets many animals and creatures. She has extended encounters with most of them
that include a lot of dialogue and word play. Below is a list of characters that Alice meets
in Wonderland. In the Synopsis look at the settings for each scene. Using your
imagination, try to figure out which characters could possibly appear in each scene.
Alice
White Rabbit
Alice's sister
Mouse
Duck
Dodo
Lory
Eaglet
Mad Hatter
Dormouse
Soldiers
Mock Turtle
Knave of Hearts
Snail
Whiting
Caterpillar
Father William & his son
Pigeon
Frog & Fish Footmen
Duchess
Cheshire Cat
Baby
Cook
Gardeners
Roses
King & Queen of Hearts
Gryphon
Lobster
Playing Cards
March Hare
When you get to the theater, see how many of the characters you can recognize as they
float in and out of Alice's dream.
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Music, Movement and Mime
Music and movement are the essence of dance, and in ballet there is the added dimension
of pantomime gestures. In this section you will find activities designed to acquaint your
students with the music from Alice in Wonderland and introduce them to the basic
positions of classical ballet and the choreographic components of the ballet.
You may want to play the CD of Alice in Wonderland while your students are working on
other projects. Being familiar with the music greatly adds to the enjoyment when coming
to the theater.
33
Music, Movement and Mime: Activity 1
Carl Davis made each musical selection from Peter Ilyich Tchaikovsky's compositions
because its character was perfect in mood and style for the scenes in this story. The CD,
included with this Teacher's Handbook, includes the following excerpts from the ballet.
Band 1 –
Overture
Band 2 –
White Rabbit
Band 3 –
Garden of Living Flowers
5:54
Band 4 –
The Duchess' House
Waltz
Duchess' exit
4:14
Band 5 –
Cheshire Cat
1:45
Band 6 –
March
5:22
Band 7 –
Lobster Quadrille
Pas de Sept
2:23
Band 8 -
Dream Pas de Deux
3:35
2:24
:38
After seeing Alice in Wonderland, chose your favorite scene and tell how the music
portrays the mood and actions of the characters.
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Alice's Musical Facts…?
 An Overture usually includes excerpts of music from throughout the ballet. As
you listen to these excerpts, see if you can identify them in the Overture.
 The Garden of Living Flowers scene is danced to a Tchaikovsky waltz from the
3rd Movement of Symphony No. 5, written in 1888. It is reminiscent of the "Waltz
of the Flowers" in The Nutcracker. At that time it was unusual to compose a waltz
as part of a classical symphony.
 The Duchess' House music was originally composed as a variation for Cinderella
and Prince Fortune in Act III of The Sleeping Beauty. It was never used. After
seeing this ballet, explain why the music was the perfect choice for "The Duchess'
House" scene.
 "Festival Coronation March in D" was written for the coronation of Tsar Nicolas II.
It is used in Alice in Wonderland to introduce the Pack of Cards, including the
Kings and Queens.
 Tchaikovsky's "Album for the Young, No. 14" is used for The Lobster Quadrille
(dance for four). After being played in its entirety for the lobsters, it is
sweepingly developed for the Pas de Sept (steps for seven) to include Alice, the
Gryphon and the Mock Turtle.
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Music, Mime and Movement: Activity 2
“ ’Tis the voice of the lobster; I heard him declare,
‘You have baked me too brown, I must sugar my hair.’
As a duck with its eyelids, so he with his nose
Trims his belt and his buttons, and turns out his toes.”
Positions of the Feet and Arms
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
Fourth Position
Third Position
Fifth Position
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Music, Movement and Mime: Activitiy 3
choreography – the art of creating and arranging dances
mime – the art of telling a story, expressing a mood or an emotion, or describing an
action, without resorting to words
A choreographer uses music, mime and choreography to tell a story, convey emotions and
define personalities of the characters. Using traditional positions and combinations of steps
and poses, the movement of the dance is mapped out. Now add gestures made with every
part of the body to those steps. When the music accompanies these movements the spirit of
the story and character begins to unfold.
Many of the characters in Alice in Wonderland are animals. The natural movements of
each animal are carefully considered as their dances and movements are developed.
To get an idea of how choreography and mime work together to create a character and tell
a story, try the following:
1. Choose an animal and demonstrate two or three movements the animal usually
makes. Example: a cat may crouch, stare intently, and pounce.
2. Decide what gestures you might use to caution Alice about the
Queen of Hearts. Choose a gesture to indicate she is a Queen, one to illustrate
her title is "of Hearts," and one for "Off with her head!"
3. Combine your animal and mime gestures to create your own Alice in
Wonderland character.
37
Costumes, Scenery and Lighting
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. Each production places varying degrees of importance on the different elements.
The activities in this section serve to acquaint you with the production elements that
enhance the dancing and make a ballet into a complete theater experience.
38
Costume, Scenery and Lighting: Activity 1
Making a Mask
Sir John Tenniel, illustrator for the first publication of Alice’s Adventures in Wonderland
based his drawings on the ones Lewis Carroll had created when he wrote the story. Sue
Blane based her costume creations on the original illustrations of Sir John Tenniel.
Ballets that have characters which are not human depend a great deal on costumes for the
characters' identities. Often, masks are an important part of those costumes.
You can make your own mask from a brown paper grocery bag and just about anything else
you can think of. You can create an animal, a character from Wonderland or a makebelieve creature.
You will need:
a paper grocery bag
scissors
glue
Have someone help you mark places where the eye holes should be.
Cut circles big enough to allow you to see well.
Gather together everything you can think of to give your character its personality.
Some suggested items are:
thick tempera paint in bright colors
paper strips, curled in the same way you curl ribbon
buttons
fabric scraps
string
aluminum foil
whatever materials you can think of
When wearing your mask, try to imagine how it would be to dance with this mask on.
The dancers must be able to move and dance as usual even though their vision is limited
by the mask. What do you think a dancer could do to compensate for the limitations caused
by the mask?
39
Follow-up Activities: Activity 1
Follow-up activities are a very important part of your field trip experience. They provide
the teacher with a method of evaluation and the student with an opportunity to extend his
or her experience.
Now that you have seen the performance, choose one of the following activities to complete
your ballet experience.
1. It's your turn to be a critic.
a. Read a review of the ballet in the newspaper.
b. Think about all aspects of the ballet – dancing, scenery, costumes, lighting,
music, and mime.
c. Write your own review.
2. Create a poster to advertise the ballet.
a. How can you catch people's attention?
b. What information will you need to include?
c. How can it get people excited to come to the ballet?
3. Choose one of the positions on the Pittsburgh Ballet Theatre Job Description list.
Write a letter to that person telling them your favorite part of the ballet and why
you liked that part best. You may send your letters to:
ATTN: Arts Education Director
Pittsburgh Ballet Theatre
2900 Liberty Avenue
Pittsburgh, PA 15201-1500
40
Ballet Quiz
Who am I? What am I?
1. I am the person who creates the dances. I am a ________________________.
2. I am the special shoe worn by ballerinas, which enables them to stand on the tips of
their toes. I am called a ____________________________________.
3. I am the area where the orchestra sits. I am called the __________________.
4. I am the theater where the Pittsburgh Ballet performs. I am known as
the ______________________________________________________.
5. I am the large group of dancers who perform together. I am usually fairies,
villagers, crowds, etc. I am the ___________________________.
6. I am the technique used by dancers to tell a story. I am known as
_________________________.
7. I am the person who creates the music for the ballet. I am known as the
__________________________.
8. I am the person who builds the costumes and fits them on the dancers. I am
known as the _______________________________.
Hints:
Pit
Plié
Costumier
Barre
Tutu
Choreographer
Corps de Ballet
Pointe Shoe
Benedum Center
Civic Arena
Memorization
Pantomime
41
Principal
Rosin
Composer
Team
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.
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.
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;
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, Choreographer, Conductor and Ballet Masters. Other
responsibilities include Workman's Compensation for the dancers, negotiating
music rights, and handling logistics for visiting artists.
Company 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 perceives it to look. Negotiates with designers and union
personnel.
Stage Manager: Assists the production manager and "calls" the shows. The
Stage Manager gives everyone their cues during the performance, including
42
lighting technicians, dancers, conductor, and stagehands responsible for props
and sets. He runs the show. He 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.
Director of Marketing: 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 PBT's audiences.
Director of Arts Education: Responsible for developing education materials
about the productions and for implementing arts education programs within
schools and the community.
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 the 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.
43
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.
ballet (bah-lay') From the Italian ballare, to dance.
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 or 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.
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.
pas de deux (pah, duh, duh') A dance for two people.
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.
tutu (too'too) Slang term for the very short petticoat worn by a dancer in the interest of
modesty.
44
Bibliography
Carroll, Lewis. Alice in Wonderland. New York: Barnes & Noble Books, 1995.
Carroll, Lewis. Alice’s Adventures in Wonderland. New York: Wm. Morrow & Co.,
Inc., 1992. First published: London: Macmillan & Co., 1866.
Clark, Anne. Lewis Carroll, A Biography. New York: Schocken Books, 1979.
Cohen, Morton N. Lewis Carroll: A Biography. New York: Alfred A. Knopf, Inc.,
1995.
Dromgoole, Nicolas. "Creating the Music for Alice in Wonderland" and "Alice the
Music."
English National Ballet Educational Materials:
Alice in Wonderland Story Sheet
Alice in Wonderland Education and Community Resource Pack
Behind the Scenes –
"Alice in the Making"
"Costuming Alice"
"Illustrating Alice"
Garis, Robert. Following Balanchine. New Haven & London: Yale University Press,
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