Horizons School

Matinee Series
2011-2012 Study Guide
The Nutcracker
Friday, December 16, 2011
10:00 a.m.
Contents: Grades 3-12
About The Dance Factory..............1

Setting/Characters.........................2

Synopsis.....................................3-4

History...........................................5

Questions......................................6

Answers........................................7

Behind the Scenes........................8

Vocabulary...............................9-10

Athletes of Dance..................11-19

Activities...............................20-27

Reproducible Letter....................28

Resources..............................29-30

WI Academic Standards.............31

Courtesy Counts.........................32

Teacher Information..............33-34 Presented by The Delavan Dance Factory

under the direction of Tina Lendman
 A Note to Teachers
Horizons School Matinee Series
Welcome to the 2011-2012 Horizons School Matinee Series! We are pleased
that you have chosen to bring your students to see great performances that en-
hance learning, fire imagination, and reinforce school curriculum in meaning-
ful ways. We thank you, the educators and administrators, for expanding chil-
dren’s minds each day, and sharing with them the joys of the performing arts!
This study guide has been designed to help you prepare your students by engaging them
in before and after activities and giving them things to think about during the perfor-
mance. Within the study guide you will find a variety of activities that can be used to
enhance the core subject areas as well as the creative arts. Wisconsin State Academic
Standards are listed at the end of the guide. The materials in this guide reflect the grade
range recommended by the performing arts group. As teachers, you know best what
the needs and abilities of your students are; therefore, please feel free to select and/or
adapt any of the material to best meet the needs of your particular group of students.
Thank you!
Shannon Dozoryst
Education and Outreach Coordinator

Artistic Director of The Dance Factory, Tina Lendman, and dancers

from The Dance Factory give students at Clinton Elementary a behind
the scenes perspective of the ballet in November 2007.
 ABOUT YOUNG AUDITORIUM AT UW-WHITEWATER

The Young Auditorium is located on the University of Wisconsin-Whitewater campus and serves
both the campus and public communities. The auditorium presents the highest quality arts and
entertainment programming in a wide variety of disciplines for diverse audiences. There is
something for everyone each season at Young Auditorium, including touring Broadway shows;
classical, jazz, rock, pop, and folk music; family entertainment; school matinee performances;
world-class ballet and opera; comedy; and lectures. This season marks the Young Auditorium’s
15th year of sensational performing arts programs under the big, blue roof.

The ground breaking for the auditorium in June 1991 was made possible through the Irvin L. Young
Foundation. The Foundation, along with the auditorium, honors an individual whose name had
long been associated with philanthropy and humanitarianism throughout the state of Wisconsin and
around the world. From humble beginnings, without the advantages of a high school or college
education, Mr. Irvin Young used his time, talents and strong entrepreneurial spirit to establish a
variety of successful businesses. Inspired by a business trip to Africa and the commitments he
formed there, Mr. Young established the Irvin L. Young Foundation in 1949. Mrs. Fern Young
continued her husband’s benevolence until her death in January 2002. Thousands of people, both
at home and abroad, have been positively affected by their kindness. It is our goal that, by bearing
Mr. Young’s name, we continue in his path of serving Wisconsin residents for years to come.

HORIZONS SCHOOL MATINEE SERIES

The goal of the Horizons program is to support the curriculum of schools by providing culturally
diverse programs and outreach opportunities for K-12 students. The program’s intention is to
cultivate an appreciation for the performing arts among young people that will last throughout
their lives. School-time matinee performances are offered throughout the academic year. It is
hoped that someday every K-12 student in the auditorium’s service region will attend a Horizon’s
performance each year.

Credits:
Editor: Shannon Dozoryst
Parts of this study guide were provided by Evan-Moor, Corp.

Teachers have permission to reproduce any and all parts of this guide.
www.uww.edu/youngauditorium/horizonsSeries.php
About The Dance Factory

The Dance Factory opened in 1995. Currently 400 students are enrolled on a weekly
basis. Classes are offered in ballet, pointe, tap, jazz, modern, lyrical, hip hop, Irish
step, as well as choreography. In addition, The Dance Factory offers a graded
technique class in the Cecchetti Method. The American Standard Performance Awards
are also offered. The Dance Factory’s staff is primarily Chicago-based and most of the
staff still performs professionally.

Meet Tina Lendman, Artistic Director

Tina is an educator, director, choreographer, adjudicator, and producer. She is the
founder, director, and heart of The Dance Factory. Tina has choreographed locally,
nationally, and internationally, and with her excellence as a dance adjudicator she is
often sought after for her services in these same venues. Tina established a cultural
student foreign exchange program with the country of Belize. Many of Tina’s students
have gone on to successful careers in the arts.

Fun Facts about Tina

Nickname - Misty
Favorite Dance - Everything!
Favorite Dancer - Suzanne Farrell/ Savion Glover
Favorite Movie - Ever After
Favorite Actor/ Actress - John Wayne/ Cameron Diaz
Favorite Musical Act - U2, Peter Gabriel
Favorite Color - Red
In my spare time I like to... ride horses.
I became a dancer... to be like my mom.
In five years... I will be happier than I am now!

Young Auditorium Study Guide: The Nutcracker 1

 Setting/ Characters
Setting
A middle-class home, Christmas Eve, in Germany, early 19th century.
The Stahlbaums are having a Christmas party.

Cast of Characters
The Nutcracker Doll and Nutcracker Prince

The Von Stahlbaum parents

Clara Von Stahlbaum

Fritz Von Stahlbaum

Grandparents of Clara and Fritz

Herr Drosselmeyer, a guest of the Stahlbaum’s

Ratilda, the Mouse Queen

The Mouse King

Sugar Plum Fairy

Servants

Life-sized Toys:
Little dolls
Soldiers
Harlequin, a clown or jester

Young Auditorium Study Guide: The Nutcracker 2

Synopsis
Act I
The Von Stahlbaum’s and their children, Clara and Fritz, are hosting a Christmas
party and are preparing to greet and exchange gifts with their guests. The party is
interrupted by the surprise arrival of the eccentric Herr Drosselmeyer. Keeping with
his character, he delights the crowd with wonderful gifts, magical toys, and marvelous
mechanical dolls. He presents Clara with a wonderful wooden Nutcracker that he has
made especially for her. Drosselmeyer gathers the children and using life-sized dolls
as props, tells them the story of The Nutcracker.

Herr Drosselmeyer’s Fairytale

In a far away land called the Kingdom of Sweets, there lived the handsome
Nutcracker Prince and the beautiful Sugar Plum Fairy.

The two were very much in love and anxiously awaited the day they would be
married.

Before the glorious wedding day, the evil Mouse Queen, Ratilda, grew jealous
because she was neither beautiful, nor in love.

Out of spite, Ratilda tried to steal the Sugar Plum Fairy’s beauty, but the
Nutcracker Prince stopped her.

Angry with the Prince, Ratilda cast an evil spell turning him into an ugly wooden
nutcracker.

After Drosselmeyer’s story, all the children except Clara return to the party. The
Stahlbaum’s daughter is a girl with a romantic soul and she cannot bear the thought of
the Prince being separated from his true love. She asks Drosselmeyer if anything can
be done to help the Nutcracker Prince. Drosselmeyer tells Clara that, if she is will-
ing to go through great trials, she can help and gives her the Nutcracker doll. Clara’s
jealous brother Fritz attempts to snatch the doll away from Clara and in the scuffle
ends up breaking the Nutcracker doll.

Young Auditorium Study Guide: The Nutcracker 3

Synopsis Continued...
Herr Drosselmeyer consoles Clara by mending the Nutcracker’s broken jaw
with a handkerchief. After a long evening, the children are sent to bed and the guests
disperse.
Unable to sleep that evening, Clara goes downstairs around midnight to check
on her doll and is frightened by a large group of mice. When the mice turn on Clara,
and she is about to sacrifice her life for the Nutcracker, Drosselmeyer intervenes.
Impressed by Clara’s brave act, Drosselmeyer decides to teach her magic.
Drosselmeyer then vanishes as quickly as he appeared and Clara faces her next trial.
Just as the Mouse King is about to defeat the Nutcracker, Clara summons all her
strength and bravery and helps defeat the vile rodent. Ratilda’s spell is now
broken and the Nutcracker returns to his human form as the handsome Prince!
Eternally grateful to Clara, the Nutcracker Prince takes her to see the extraordinary
Kingdom of Sweets as Act 1 closes.

Act II
Drosselymeyer prepares the Kingdom of the Sweets for Clara’s visit and
vanishes before she arrives.
The Nutcracker Prince introduces Clara to the Sugar Plum Fairy and the King
and Queen, and the wedding ceremony begins.
An array of delicious entertainment awaits. There are the exotic Spanish,
Arabian, Chinese, and Russian dancers followed by the little shepherds. Mother
Ginger also appears with a crowd of little children hiding under her skirt!
Then the magnificent Waltz of the Flowers takes place. Finally, the Nutcracker
Prince and the Sugar Plum Fairy dance a romantic pas de deux, a duet, or dance for
two, for Clara.
Drosselmeyer appears and tells Clara it is time to go. The Nutcracker Prince
says good-bye to Clara and she awakens from her magical dream to find herself back
in her own home on Christmas morning.

Young Auditorium Study Guide: The Nutcracker 4

History
The Ballet
The Nutcracker is a ballet in two acts. Act I takes place in two scenes. Scene 1 is in the
Stahlbaums living room. Scene 2 takes place in the Land of Snow. Act II takes place in The
Kingdom of the Sweets. The music for The Nutcracker was written by Peter Illyich Tchaikovsky.
He was commissioned to produce The Nutcracker by Marinsky Theatre in 1891. The story is
based on the tale of “The Nutcracker and the Mouse King” by E.T.A. Hoffmann. Lev Ivanov
created the original choreography. The Nutcracker was first performed at the Marinsky Theatre on
December 17, 1892. At the time it was considered a failure, due to the weakness of the action and
the poor opportunities it gave the ballerina. It was not until the 1950’s and 1960’s in America that
The Nutcracker became a traditional holiday favorite. Today, almost every ballet company in
America presents The Nutcracker at Christmas time.

Tchaikovsky
By 1860 Tchaikovsky was one of the most famous composers in the world, universally regarded
as the greatest musician in the history of Russia. He was the author of symphonies, concertos,
opera, quartets, and occasional pieces, but some of his best successes came in writing for ballet.
Swan Lake (1876) and especially The Sleeping Beauty (1889) proved to be masterpieces of the
ballet medium. Late in 1890 he was approached by Prince Vselvolozhsky, director of the
Imperial Theater in St. Petersburg, and Marius Petipa, the famous French dancer and
choreographer, to compose a full evening’s entertainment consisting of a one act opera and a
ballet. Tchaikovsky was to choose the subject of the opera (he chose King Renn’s Daughter by the
Danish dramatist Hendrik Herz), but the subject for the ballet was later specified as E.T.A.
Hoffmann’s story of The Nutcracker and the Mouse King. It was one of the most popular tales in
Russia at the time.

The story, or scenario was created for the new ballet by Marius Petipa, who had also
choreographed the premier of The Sleeping Beauty. It was based on a French adaptation by
Alexandre Dumas Pere of Hoffmann’s original story. This adaptation softened the grisly elements
and erotic undertones of the original narrative. (Most Russian folk tales were written for adults, not
children, and served as reminders and morality lessons for daily life.) Tchaikovsky did object to the
lack of faithfulness to Hoffmann’s original work, but eventually reconciled himself to the changes.
The premiere of the ballet and the opera was delayed until December, 1892. Tchaikovsky decided
to display some of his new music at a concert he was scheduled to give in March in St. Petersburg.
He selected a suite of eight numbers from The Nutcracker. The performance by the Russian
Musical Society was so successful that five of the movements had to be immediately encored. The
premier of the ballet was less successful; Petipa fell ill and final preparations for the production fell
to his assistant Lev Ivanov. Ivanov was a solid choreographer but lacked Petipa’s fiery genius; the
Sugar Plum Fairy was performed by a ballerina of memorable homeliness; and the audience was
upset that the corps de ballet that they were accustomed to was replaced in Act I by the children in
the party scene. It was years before The Nutcracker became the holiday tradition that it is today.

Young Auditorium Study Guide: The Nutcracker 5

Questions about the synopsis and history of
The Nutcracker
1. Can you name three of the four remarkable things that happen in the
Stahlbaum’s living room at midnight?

2. How is the Mouse King defeated?

3. How does the nutcracker get broken?

4. Who wrote the music to The Nutcracker?

5. Who gives Clara the nutcracker?

6. In what country and city was The Nutcracker first performed?

7. Where does the Prince take Clara first?

8. Who wrote the story of The Nutcracker?

9. Where does Act I take place?

10. Where does Act II take place?

11. What character in Act II hides little children under her skirt?

12. What happens at the end of the story?

Young Auditorium Study Guide: The Nutcracker 6

 Answers to the Synopsis
and History Questions:
1. The Christmas tree grows.
The toy soldiers come to life.
The mice appear.
The Nutcracker comes to life.

2. Clara assists the Nutcracker Prince.

3. Clara’s brother Fritz breaks it by mistake.

4. Peter Illyich Tchaikovsky

5. Herr Drosselmeyer

6. St. Petersburg, Russia

7. The Land of Snow

8. E.T.A. Hoffmann

9. In the Stahlbaum living room and the Land of Snow

10. In the Kingdom of the Sweets

11. Mother Ginger

12. Clara wakes up from her dream and is safely home

Young Auditorium Study Guide: The Nutcracker 7

Behind the Scenes
An incredible amount of work goes into mounting a dance production and much
of that work takes place backstage and in the scene and costume shops.
The costume director, with helpers, makes many of the costumes used in
performances. Costumes are designed especially for each ballet. Classical ballets
often require long or short classical tutus for the women. These take hours to construct
and can cost thousands of dollars. Sometimes costumes will be used to transform a
dancer into a bird, butterfly, or a gorilla depending on the storyline of the ballet. Once
the costumes are made and used they are carefully maintained (mended, washed,
stored) for future use by the company.
The scenery, too, is designed and constructed specifically for each ballet just as
the costumes are. Story ballets usually have a lot of scenery, representing
different settings, and props to help the dancers develop the plot. Abstract ballets
(those that don’t tell a specific story) may have a painted background (called a
backdrop), and painted pieces hung on the sides and across the top of the stage
(called legs and borders) made from large pieces of painted canvas. Other ballets
use only plain black legs or a plain white backdrop on which lighting effects create the
scene.
Many lights illuminate the stage, making the dancers more visible and creating
special effects. These lights are set on poles or trees backstage and hang from the
ceiling in front of and directly above the stage. The lights shine so brightly that it is
difficult for the dancers to see individual people in the audience.
The production manager is the head of the production department. He/she is
responsible for coordinating everything that happens backstage during a performance.
The technical director, stage manager, lighting director, musical director and other
scenic specialists work with him/her to make the entire production “come together.”

Young Auditorium Study Guide: The Nutcracker 8

Vocabulary
Dance Glossary and Pronunciation Guide
French is the international language of ballet, and many dance terms still
retain their French names. Here are some terms commonly used in
ballet, which will help your understanding of dance.
_____________________________________________________________________
Barre – A horizontal pole or railing, usually wooden, at or slightly above waist height. The dancer
holds the barre at the beginning of each practice session while performing basic movements that
stretch the muscles and limber up the entire body.

Choreographer – Composer who created the dance steps for the ballet.

Corps de ballet – Ballet company; group of dancers who work for the same company.
When they dance together, they are the corps de ballet.

Finale – The final dance.

Jete (zhu-TAY) – Jumps; to throw.

Leotard – A close fitting garment usually with long sleeves, a high neck, and ankle length legs, worn
for practice or performance by dancers, acrobats, and aerialists.

Mime – Telling a story through language of gestures; no words.

Pas de Deux (pah-duh-duh) – A dance for two, usually for a man and a woman.

Pirouette (peer-WET) – Turn

Plie (plee-AY) – Bending the knees; the first exercise at the barre, doing plies warms up the leg
muscles for the rest of the exercises.

Pointe – The tip of the toe in ballet. Strengthened ballet slippers allow ballerinas to stand fully “en
pointe”, with feet arched, so that the toe, instep, ankle, knee, and hip are all in line. (Male dancers
don’t dance on pointe.)

Pointe shoe – Starched and baked satin shoe, which enables women to rise on their toes (“en
pointe”).

Port de bras (pour-duh-BRAH) – To move the arms

Young Auditorium Study Guide: The Nutcracker 9

Vocabulary Continued...
Releve – To rise on the toes

Reverence (ray-vare-AHNSS) – A low bow (curtsey), the final movement executed at the end of
every class and performance.

Round de jambe (rone-de-ZHOM) – A circling motion of the leg

Saute (soh-TAY) – To jump or hop

Solo – A dance for one

Supported work – Woman is lifted or carried by her partner

Temps leve (tahn luh-VAY) – To spring upward on one or two feet and land on the same.

Tendu (tahn-DEW) – To stretch or point

Tour – Turn

Tumout – Rotation of the legs from the hip socket; dancers strive to attain the 180 “first postion.”

Tutu (tew-tew) – The brief, fluffy skirt that became standard wear of a ballerina during the rise of ro-
mantic ballet; it is sometimes still worn..

Young Auditorium Study Guide: The Nutcracker 10

Activities
The following activities are suggested for either before or after attending the ballet. Look for
corresponding WI Academic Standards at the end of this guide.

Create Your Own Production

Many people with many talents are behind the scenes in placing a ballet or any dance sequence on
stage. Below is a list of predominate figures and steps to follow to transform your classroom into a
theater! You can make this as simple or complex of an activity as you desire.

Teachers – First select a story that all your students are familiar with. Next, select a cast. Then, have
additional students become each of the required people listed below and let their imaginations go
from there…

Before a Performance:
1. Artistic Director – Head of the company. She/he decides how many and which dancers or ac-
tors join the company, what pieces are performed, when and where.
2. Ballet Master/ Mistress – Each morning a 1 ½ hour ballet class is conducted to maintain and
improve dancers’ technique. It serves to warm up their muscles for a long day of rehearsal.
3. Choreographer – Person who creates the dance. The choreographer chooses the music, audi-
tions the dancers for soloist and corps roles, sets the patterns and the steps. Setting one minutes of
choreography may take one hour in the studio!
4. Repetiteur – The rehearsal director. Once a ballet is set (new or old) the repetiteur continues
to review it with the dancers. S/he knows all the parts, can teach parts, can tell dancers when they
are wrong, and develops a unified look. S/he makes sure everyone dances to the music, stays in
line, and answers questions. 5. Set Designers, Costume Designers, Lighting Designers – Design
sets, costumes, and stage lighting. Designers talk with the choreographer, watch his/her work with
dancers, create designs for sets, costumes, and lighting that complement and complete the choreog-
rapher’s ideas.

For the Performance:

6. Costume Master/ Mistress – Person who constructs, fits and maintains all costumes. May also
be a costume designer. Shoe Master/ Mistress – Person who orders the correct number and kind of
shoes each dancer will need per performance.
7. Prop Master/ Mistress – Responsible for any items carried or used on stage. For example,
chairs, baskets, tables, sword, etc.
curtain to open and close.

Young Auditorium Study Guide: The Nutcracker 20

Activities Continued...
8. Technical Director – Constructs, paints all backdrops, flats, act curtains, legs and borders to
“dress” the stage. May also be the scenic designer.
9. Music Director – Prepares scores for live musicians, or recorded music for rehearsal and
performance. Runs the music equipment at the performance.
10. Stage Manager – Runs the performance. Directs music to start, lights to go on or change,
curtain to open and close.
11. Audience – a production cannot exist without an audience!

These are only the key artistic people. Not included are many assistants in all areas, box office,
printers, ticket takers, ushers, advertisers, administrative staff, or crew persons behind the curtain
to set up and operate the equipment and tear down a show.

Storytelling Methods
Discuss all the ways a story can be told: in a book, by a storyteller, through a play, through music,
as a ballet, in a comic book, on television, in a movie, etc. Are there any other storytelling methods
that you can think of? Talk about how the story of The Nutcracker was told in the ballet. Discuss
some of the different ways specific parts of the story could have been told. Choose a familiar story
that your students will know; perhaps something they have just read in class. Choose three ways
it can be told, and divide up into groups to tell the story in these different ways to the class. Young
children may need to do this as a group.

Costume Design
Talk about the importance of the costume design in the production of The Nutcracker. Costume
design usually begins with a drawing or rendering of what each character will look like during every
moment of the production. Have your students design their own costumes for Clara, the Nutcrack-
er Prince, the Sugar Plum Fairy, and the Mouse King. Remind them to be aware of all the move-
ment that takes place in the ballet – dancing on pointe, lifts, etc.

Expressive Movement
Explore natural movements that express surprise. Exaggerate these movements. Explore natu-
ral movements that express happiness. Exaggerate these movements. Select a scene from The
Nutcracker that possesses these emotions. Using the surprise and happiness exaggerated move-
ments, choreograph the scene. You don’t have to use music, but if you do, anything can be used
– traditional, rock, classical, or jazz. Let the movement tell the story of the scene. The most impor-
tant element in this exercise is the feeling from inside that the choreographer and the performers
bring.

Young Auditorium Study Guide: The Nutcracker 21

Activities Continued...
Learning through Movement
Get your class moving! Physically! Consider all the opportunities dance can provide for you and your
class: an alternate form of learning; deepening and enriching other material; learning about the self
and others in a special way; changing feelings and feeling good; engaging, involving, and focusing
each child.
• Form the alphabet or express an emotion through body movement.
• Use the letters formed by movement to spell words.
• Play math games: students form a circle; those in the center are dancers, etc. Two are asked
to leave the center and join the circle; how many are left? Also, ask students to create their own math
problems that can be solved through movement in the circle.
• Have the students act simple body functions involved in throwing a baseball: one student is the
arm, another the ball, another the glove. Take it one level higher and introduce the curve ball, a slow
ball, or the ball hitting a wall!

Writing Music
First listen to excerpts from Tchaikovsky’s The Nutcracker Ballet on CD. Discuss how Tchaikovsky
composed the music to tell the story of The Nutcracker and the Mouse King, which was a popular tale
written by E.T.A. Hoffmann. Challenge your students to do the reverse by playing an instrumental
piece of music and asking them to write a one act synopsis as if it were a story performed as a ballet.
When they are finished, allow them to share their stories with the class.

Research
Research articles on dancers, their struggles and achievements and try to relate them to your own
life. Any similarities? Differences? Investigate information on a dancer (Mikhail Baryshnikov, Rudolf
Nureyev, etc.) and report the most interesting or impressive facts about the dancer’s life to your class-
mates.

Healthy Activity
Involve a physical education teacher and discuss the relationship between dance and athletics. It is
not uncommon for football players to take ballet for flexibility and endurance. Study health factors
involved with dance. Good diet is necessary for any strenuous exercise. Most dancers are extremely
healthy individuals because they do get a lot of exercise and are aware of their body capabilities.
However, there is a lot of pressure, especially for female dancers, to keep their weight down. What
are the factors involved in making sure that one stays healthy while participating in a demanding
physical activity?

Young Auditorium Study Guide: The Nutcracker 22

Reflecting on the Performance
Adapt these activities for Grades 2-5

Write a friendly letter - As a way to reflect on the play, ask your students to write the Young Auditorium staff
a letter. Our staff would love to hear what your students think about the Horizons productions they experi-
ence. For your convenience there is a letter template on the next page that is ready for you to reproduce for your
students. This activity will provide your students with the opportunity to practice their writing skills by writing
a critical evaluation of the Horizons performance for an authentic audience.

Write a Review - Create an idea map on the board by asking students to brainstorm everything they remem-
ber from the performance. The first part of this activity should be objective; remind students that they will be
able to express their opinions when the write the review. Prompt students with the following questions: What
kinds of songs did they sing? In what different ways did the actors use their voices? What costumes did the ac-
tors wear? How did the different characters move? What did the set on the stage look like? What else can you
remember?
- Instruct students to write a review that includes the following components:
1) A rating, out of five stars
2) One paragraph that objectively describes what you saw and heard at the performance
3) For each star in your rating, explain one thing you liked about the performance (e.g. a four star rating
equals four things you liked about the show)
4) For each star under five, explain one thing you didn’t like about the performance (e.g. a three star
rating equal two things you didn’t like about the show)
5) Use at least two of the new vocabulary words from this study guide in your review
6) Use the stages of the writing process to produce your review: prewriting, draft, review, revise, edit
7) Publish your work by sending it to Young Auditorium! (Use the address on the letter template on
the next page.) We would love to hear from you, and our education coordinator will write back!

Create a Theatre Journal - Download and reproduce the four Theatre Journal pages available on the Young Au-
ditorium web site. www.uww.edu/youngauditorium/HorizonsSeries.php Copy the pages back-to-back and fold
them down the middle into a booklet. There are a variety of writing and drawing activities to stimulate your
students’ imaginations before and after the play.

Young Auditorium Study Guide: The Nutcracker 27

Young Auditorium
ACT III School
Horizons - reflecting
Matineeon the
Series play
930 W. Main Street
Whitewater, WI 53190

Dear Horizons:

My name is

I liked the play because

My favorite part was when

One question that I have is:

Signed:

After the play: What was your favorite scene? Draw a picture.
________________________________
(your signature)
Resources

PICTURE BOOKS
Angelina Ballerina by Katherine Hoalbird – Angelina Mouseling, more than anything else in the
world, wanted to become a ballerina. (Pre-K - 1)

Backstage by Robert Maiorano – Olivia travels through the backstage world of a ballet rehearsal
to meet her mother. (Pre-K - 1)

Myra by Barbara Bottner – A dancing class is disrupted when Myra actually changes into the
animals the other pupils are imitating. (K - 2)

Max by Rachel Isadora – Max finds a new way to warm up for Saturday baseball games – by
attending his sister’s dancing class! (K – 2)

My Ballet Class by Rachel Isadora – Through a young girl’s eyes we witness the events of her
ballet class. (K – 2)

At Every Turn! It’s Ballet by Stephanie R. Sorine – Black-and-white photos reveal how every-
day movements such as jumping, bending, stretching, and reaching are transformed into ballet
movements. (K – 2)

I’m Dancing by Michael Spector – Words and pictures capture a ballet class of beginners.
(K – 2)

FICTION
On Stage, Please by Veronica Tennant – The reader follows Jennifer’s high and low points dur-
ing her first year of school at the Professional School of Ballet in Toronto. (4 – 6)

Ballet Fever by Betty Cavanna – Teddi Baldwin’s life revolves around ballet as she trains to be-
come a dancer. (5 – 7)

Maybe Next Year… by Amy Hest – Talented 12-year-old Kate wants to be a ballet dancer, but
when dancing comes into conflict with her home life, she begins to wonder where her commit-
ment really lies. (5 -7)

continued...

Young Auditorium Study Guide: The Nutcracker 29

Resources Continued...
Ballet Magic by Nancy Robison – Stacey’s sudden spurt of growth makes her feel unfit for ballet, until
she learns that it is possible to be tall and graceful. (5 – 7)

A Special Gift by Marcia L. Simon – Peter tries to cope with the difficulties of developing his skills as
a dancer while at the same time maintaining his identity as an athlete. ( 5 – 7)

Just Like Jenny by Sandra F. Asher – As the classes become harder and the competition with her
friend Jenny becomes keener, 13-year-old Stephie begins to doubt her ability and dedication. (5 – 8)

NON-FICTION

A Very Young Dancer by Jill Krementz – This photo essay captures the day-to-day life of 10-year-old
Stephanie as she attends the School of American Ballet and prepares for her role in The Nutcracker.
(All ages)

Arthur Mitchell by Tobi Tobias (3 – 5)

Maria Tallchief by Tobi Tobias (3 – 5)

I Am a Dancer by Lynn Haney – Follow the lives of three young dancers as they study ballet and
prepare for their performances with professional ballet companies. (3 – 6)

If You Were a Ballet Dancer by Ruth B. Gross – Questions and answers provide the young reader
with information about ballet as a career and a life style. (4 – 6)

Silent Dancer by Bruce Hlibok – Ten-year-old Nancy is deaf, and she also studies dance at the Jof-
frey Ballet School. (4 – 6)

Ballet, How It All Began by Vivian L. Weaver – Beginning with its roots in 15th century France and
Italy, the reader explores the history of ballet through the present. (5 – 8)

Frogs and the Ballet by Donald Elliott – Members of the Frog Corps-de-Ballet introduce many of the
ballet steps and tell of the training and practice that makes each step so beautiful and seemingly ef-
fortless. (5 and up)

Baryshnikov a Most Spectacular Dancer by Saul Goodman (5 – 7)

Ballet for Boys and Girls by Kathrine Sorley Walker and Joan Butler – Photographs, an anecdotal
text and clear explanations create a meaningful overview of the world of dance. (5 and up)

Young Auditorium Study Guide: The Nutcracker 30

 WI Academic Standards
The following WI Academic Standards are addressed by the performance and the
activities in this study guide.

Theatre
E.4.1 Create a scene or play based on a story, another piece of literature, or an idea,
with a beginning, middle, and end. E.8.7 Rehearse and perform a scene or play for
peers or invited guests.
E.8.4 Analyze a play and determine appropriate setting, lighting, costume, and make-
up requirements. E.12.4 Research and design at least one element of a play (sets,
costumes, make-up, lights, and/or sound)
E.12.3 Analyze a play and determine appropriate setting, lighting, sound, costume, and
make-up requirements.

Language Arts
A.4.3 Read and discuss literary and nonliterary texts in order to understand human
experience.
B.4.1/ B.8.1/ B.12.1 Create or produce writing to communicate with different audiences
for a variety of purposes.
F.4.1/ F.8.1/ F.12.1 Conduct research and inquiry on self-selected or assigned topics,
issues, or problems and use an appropriate form to communicate their findings.

Dance
A.4.7 Create shapes through movement and move at low, medium, and high levels.
B.4.5 Develop and value a positive body image. B.8.5 Continue to develop and value a
positive body image.
C.4.1 Use improvisation to explore, discover, and invent movement.

Young Auditorium Study Guide: The Nutcracker 31

Courtesy Counts
Please share this information with your students . . . most children are unfamiliar
with proper theatre behavior. Make sure you share these courtesies as a part of their
experience, and be sure to select shows appropriate for their age & attention span.
Have them use the restroom before the performance begins.

Produce positive energy…Watching a live theatre performance is very different

from watching a movie or television show. A live presentation has not been pre-re-
corded with the mistakes edited out. The audience’s behavior and reactions can
either add or detract from a performance. Each audience member affects those
around him/her as well as the performer. Concentrate on helping the performer by
producing only positive energy!

Find your seat…An usher will show you where to sit. Walk slowly and talk quietly as
you are seated.

Keep it clean…Chewing gum is not allowed in the theatre!

Quiet on the set . . . Young Auditorium is known for its excellent acoustics, so if you
make a noise others will hear you (including the performers)! Please no talking, hum-
ming, unwrapping cough drops, candy, or foot tapping during the performance. Ex-
ceptions to this rule include shows that ask for audience participation. Applause and
laughter are appreciated and appropriate.

Unplug . . . Turn off pagers, cell phones, cameras, and watch alarms during
performances. Better yet, leave them at home or school!

Respect personal space . . . Please keep feet on the floor, not on the seat or
balcony in front of you. Shifting in your seat, wearing hats, or wandering in the aisles
is extremely distracting to those around you; please stay in your seat until intermis-
sion or the final curtain.
FOR YOUR INFORMATION
(teachers & chaperones)
PLACE: All Horizons School Matinee Series performances will be held in Young Auditorium, on
the UW-W campus.

TIME: The doors of the auditorium will be opened 30 minutes prior to curtain time. Please ar-
range your schedule so the buses will arrive with time for seating and a bathroom stop. Late
arrivals will not be seated until there is an appropriate pause in the production.

BUSES: The east side of Lot 1 is reserved for buses that are staying for the duration of the
Horizon’s performance. Buses that are not staying will pull into Lot 2 and unload (and pick up)
their students. Please make sure that your bus driver receives the Bus Driver’s Memo.

WHEELCHAIR: All entrances are wheelchair accessible. If you have upper level seats, use the
elevator. Main floor seats are on the same level as the lobby. Please inform us at least 4 weeks
in advance if you need wheelchair seating or any other special accommodations.

RESTROOM: Main floor men’s and women’s restrooms are located on each side of the auditori-
um. On the upper level, the women’s restroom is on the south side and the men’s restroom is on
the north side of the building. Please try to limit your restroom visits to before or after the show.

SEATING: An auditorium escort has been assigned to your school. The escort will direct you to
your seats. All seats are reserved; thus each group must adhere to the seating assignment and
may use only the number of seats reserved. Please plan to have chaperones seated with the
students under their supervision. Chaperones - please do not bring infants/babies to the school
matinee performance.

After all the students and respective chaperones have been seated, please settle in and remain
seated during the entire show. No one should leave the hall until after the final curtain, except in
the case of emergency. Leaving during the performance is exceedingly distracting for both the
performers and members of the audience. If students must leave during the performance for any
reason, re-entry into the auditorium will be allowed only when there is an appropriate pause in
the program.

CAMERAS/ RECORDERS AND CELL PHONES: The use of cameras or recorders during any
performance is strictly forbidden. Please do not bring them to the program. Cell phones must be
turned off for the duration of the program. We encourage you to ask your students not to bring
cell phones with them to the theatre.

FOOD, drinks, and chewing gum are not permitted in the auditorium.

EMERGENCY: Please contact the nearest usher in case of emergency.

LOST ARTICLES: Report lost articles to the house manager, or call 262-472-4444.

EXITING: Please disperse in an orderly manner. Teachers and chaperones have the responsibility
of keeping their group together. Ushers are not assigned to oversee your exit from the building.

BUS PICK-UP: Your bus pick-up will be the same place as the drop-off.

LUNCH: Local fast food establishments and restaurants, as well as UW-W campus dining (262-472-
1161) are happy to accommodate your group for lunch. Please make advanced arrangements to
promote efficient service.

LUNCH SPACE: Schools may request a place to eat their bag lunches. Young Auditorium can
accommodate a very limited number of people eating lunch picnic-style seated on the floor. This
must be scheduled in advance. You will receive an admission slip in the mail confirming lunch
space, which you must bring along with your lunches.

We thank you, in advance, for cooperating in implementing these procedures, giving all audience
members the opportunity to sit back, relax, and enjoy the show.

Thank you for coming – we appreciate having you as a part of the Horizons program!

SPECIAL NOTE: Please print the Bus Driver Memo/ Map from our web site and give it to your driver
on the day of the show!

Policies
Please note the following policies are in place to ensure enjoyment for all!

The house opens at least one-half hour before the curtain.

A seat must be purchased for everyone attending an event, including teachers, chaper-
ones, and bus drivers.

Timing is everything . . . so don’t be late! Performances begin at 10:00 a.m. and 12:30 p.m.
so plan to arrive at the theater 30 minutes early.

Patrons arriving late are seated in the closest available seats at a suitable pause in the
performance.
 UW-Whitewater/ Young Auditorium
930 W. Main Street
Whitewater, WI 53190
262-472-4444 (main office)
262-472-4400 (fax)
www.uww.edu/youngauditorium

Shannon Dozoryst
Education and Outreach Coordinator
262-472-1432 (office)
262-472-4400 (fax)
dozoryss@uww.edu
www.uww.edu/youngauditorium/horizonsSeries.php

Staff:

Ken Kohberger, Director

Shannon Dozoryst, Education and Outreach Coordinator

Malinda Hunter, Office Manager
Leslie LaMuro, Marketing Director
Michael Morrissey, Audience Services Coordinator
David Nees, Technical Director
Ben Strand, Development Director

The Horizons School Matinee Series is funded cooperatively by the

University of Wisconsin-Whitewater, participating schools, grants from
the Wisconsin Arts Board, Dorothy Remp Elmer Children’s Arts Outreach
Endowment, and Target, and a partnership with the National Endowment for the
Arts, in addition to various public and private institutions. Young Auditorium is
a non-profit organization under Section 115 of the Internal Revenue Code.

The Dorothy Remp Elmer

Children’s Arts Outreach Endowment