peter and the wolf - triangleyouthballet.org and the wolf study... · each character in the story...

PETER AND THE WOLFTHE TRIANGLE YOUTH BALLET

AND THE TCHAIKOVSKY VIRTUOSI

Study Guide

Carolina Theatre Arts Discovery Series

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TABLE OF CONTENTS

Introduction for Teachers! 3The Story ! 4The Characters! 5The Musical Themes and Instruments! 6The Composer ! 8The Ballet! 9The Theatre! 11Theatre Etiquette! 13

Class Room Activities and Work Sheets! 14 - 19! 1! Story Sequencing ! 14-16! 2! Elements of Dance! 17! 3! Peter and the Wolf Classroom Activities for Children! 18 - 19

The Directors! 20

Evaluation Form for Educators! 21


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TEACHER’S GUIDE

In this guide you’ll be able to find out about who we are and our goals for your class’s experience at Peter and the Wolf. We’ve included a synposis of the story and an introduction to the characters. But you will also find many other useful things, like the composer’s biography, a brief introduction to ballet, the history of the Carolina Theatre and theatre etiquette. For your students, we have suggested class room projects as well as activity pages and puzzles for you to photocopy and use.

At the theatre, we will begin in an unconventional manner with the dancers and musicians in the house, greeting and talking with our guests, your students. As everyone settles in, we will move to the front of the stage where Andrew McAfee, our conductor, will lead a discussion about musical instruments and the different kinds of sounds they make. This is the beginning of discussion about musical themes and how they personify the characters in the ballet. From here we will ask the audience if they would like to see the production. At this time, the dancers and musicians will take their places on stage and we will close the curtain. As an introduction to the magic of the theatre, we will have a brief moment to reinforce the behaviour of a fabulous audience.

After the performance, the conductor will address the audience with some concluding remarks. Dancers and musicians will be in the lobby to say good-bye.

At the end of this guide there are discussion points for you to take back to the classroom. Choose the ones you feel are the most relevant to your curriculum. Peter and the Wolf provides a starting point for many interdisciplinary discussions.

And finally, please take a few minutes to fill out the evaluation form included in this guide. We would very much like to know if we met your expectations and how we can better develop the Triangle Youth Ballet’s lecture demonstrations to serve you, the teacher.

Thank you,

Lauren Lorentz de Haas, Director Triangle Youth Ballet

Andrew McAfee,Music Director Triangle Youth Ballet


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THE STORYPeter and the Wolf

A Synopsis of the Story

! Subtitled a “symphonic fairy tale” by the composer Sergei Prokofiev, Peter and The Wolf was written in 1936. Performed with a narrator, the musical work is as an introduction to the instruments of the orchestra and a delightful ballet. Each character in the story is personified by its own instruments and melody.

! The story is set in the European countryside in the 1900’s. The main character is a young boy called Peter (about 8 years old) who lives with his Grandfather in a small country house surrounded by meadows, a pond and woods. Peter’s three best friends are a little Bird who has a nest near Peter’s home, a Duck who likes to splash in the nearby pond at the edge of the woods, and a playful Cat who is forever chasing his own tail!

" Peter is a young boy who lives with his grandfather in the Russian countryside. He is a bit rambunctious and certainly doesn’t listen to his grandfather’s advice – to lock the gate and stay inside! Well, that’s no fun!

" So one day, while playing in the meadow, he leaves the gate open to let a duck loose for a swim in the pond. While Peter chats and argues with a little bird, his cat sneaks out and is on the prowl. Luckily, Peter sees this, warns the bird and both the duck and the bird are safe.

" Grandfather is not happy about this. What if a wolf were to find them? Peter is told to go inside and to lock the gate. As if on cue, a wolf does appear! The agile cat escapes into a tree, but the duck isn’t so lucky. The wolf swallows him whole!

" Peter is not going to give up so easily and let this wolf feast on his animal friends. He concocts a plan to catch the wolf and tie him to the tree with the help of the daring bird. Together, they capture the wolf and hang him up by his tail.

" Some hunters, who have also had their eyes on the wolf, come by and prepare for their own attack. Peter won’t hear of it though. He announces that they will take him to the zoo, much to the hunters’ and his grandfather’s chagrin. All Grandfather can mutter to himself is, “What if Peter hadn’t caught the wolf? What then?”

" On the way there, guess what they heard?! A quack, quack, quacking coming from the belly of that big, bad wolf.


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THE CHARACTERSin Peter and the Wolf

Peter, a boy of about 8, and a bit precocious.Red Bird, Peter’s friend in the meadow.Cat, also a friend of Peter, but not a friend of the Bird.Duck, Peter’s friend who plays in the pond, argues with the Bird and isn’t so fond of the Cat.Wolf, no one’s friend, very dangerous - just ask the Duck!Grandfather, a cautious man who knows there are dangerous things in the world.


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Peter

DuckCatBird

Grandfather

Wolf

MUSICAL THEMES AND INSTRUMENTSEach character in the story has a particular instrumentand a musical theme, or leitmotif:

Peter - StringsBird - Flute

Duck - OboeCat - Clarinet

Grandfather - BassoonWolf - 3 French Horns

Hunters (gunshots) - Timpani and Bass Drum(The hunters' theme is actually introduced by the woodwinds)

The ConductorThough not an instrument, one of the most important people in an orchestra is the conductor. The conductor’s job is to start and stop the orchestra, to keep the beat, and to guide the musicians as they play together. Holding a short stick called a baton and using his hands, body movements, and facial expressions, the conductor communicates silently with the musicians to get them to play louder or softer, faster or slower, and to express the different moods or qualities of the music.

Instrument FamiliesAn orchestra is a group of musicians who play together on different instruments. The instruments in the orchestra are grouped into four different families. The instruments in each family sometimes look alike and are often played in similar ways. The four instrument families are described below:

" 1" WoodwindsWoodwinds are a group of instruments that get different pitches by opening and closing holes on a long tube (sometimes with the use of extensive hardware). This changes the length of the vibrating air column inside the tube. There are three main types of woodwinds in an orchestra." • Flutes" • Single-Reeds" • Double-ReedsExercise:! To hear how a woodwind instrument might sound, blow across a bottle. Does the sound change when you use different sized bottles? How?

" 2" BrassBrass is a group of instruments that uses lip ‘buzzing’ to produce their sound. The sound created from the lips ‘buzzing’ onto the mouthpiece, which is inserted inside the brass instrument, is then transformed to the familiar sounds we all know from a French horn, trumpet , trombone or tuba. The pitch is changed by making the instrument longer or shorter by either using a slide (Trombone) or by pressing buttons called valves (French horn, Trumpet, Tuba). As the valves are pushed or released, they open or close varying lengths of tubing which changes the length of the instrument and therefore changes the pitch.


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The brass family also has another similarity: they are all made of brass or another type of metal." • French Horn" • Trumpet" • Trombone" • TubaExercise:! To hear how a brass instrument might sound, press your lips loosely together and blow. This makes a buzzing sound. Does the sound change when you puff your cheeks or firm your lips? How?

" 3" StringsThe string family are instruments that create sounds in two major ways: Rubbing the strings with an object called a bow, made of wood and stretched horsehair; and plucking the strings with one’s finger (called pizzicato). The big difference between the string instruments is their size: The violin is small and therefore creates high pitches, while the bass is an instrument that is taller than a person, and therefore creates much lower pitches. String players get different sounds on their instruments by pressing their fingers on the stringsto change the length of the vibrating part of the strings." • Violin (often there are two sections of violins, but the instruments are the same)" • Viola" • Cello" • Double BassExercise:! To hear how a string instrument might sound, take a rubber band and pull it tight. (Don’t let it break!) Pluck the rubber band with your finger. Does the sound change when you pull the rubber band tighter? How?

" 4" PercussionPercussion instruments make sound when you shake, rattle, or hit them with your hand or a stick. Here are some of the percussion instruments:" • Timpani (kettledrum)" • Maracas" • Triangle" • Xylophone" • Chimes" • Snare drum" • Bass DrumExercise:! To hear how a percussion instrument might sound, take a pencil and lightly tap it on your desk, a pile of books, and then the floor. Does the sound change when you tap different things? How?

" and " The PianoAnother instrument that you’ll sometimes see in the orchestra is the piano. When you press the keys on a piano, it makes small hammers hit the strings inside the instrument. Some people say that the piano is a percussion instrument because it makes its sound by striking. Others say it’s a string instrument because it has strings. Which family do you think the piano belongs to?


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THE COMPOSER

Sergei Prokofiev1891-1953

Sergei Prokofiev was born in the village of Sontsovka in the Donets region of Ukraine. He was a child prodigy on the order of Mozart, composing for piano at age five and writing an opera at nine. His first teacher was his mother, a talented pianist.

He attended the St. Petersburg Conservatory from 1904 to 1914, winning the Anton Rubinstein prize for best student pianist when he graduated. He traveled widely, spending many years in London and Paris, and toured the United States five times.

In 1936, Prokofiev returned to settle permanently in the Soviet Union. One of his first compositions after his return was Peter and the Wolf, written in just two weeks in April 1936 for a children’s theater in Moscow. Prokofiev invented the story and wrote the narration himself, drawing on memories of his own childhood. He constructed the music as a child’s introduction to the orchestra, with each character in the story represented by a different instrument or group of instruments: Peter by the strings, the bird by the flute, the duck by the oboe, the cat by the clarinet, the wolf by the horn section, and so on.

Peter and the Wolf was an immediate success and has been loved by children all over the world. The music is sophisticated enough to be enjoyed by adults, even through repeated hearings. And its moral — you can’t be a hero if you don’t take risks — delights children as much as it must have cheered the composer.


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/Other Ballet Music written by Sergei Prokofiev

Romeo and JulietThe Prodigal Son

CinderellaThe Tale of the Stone Flower

THE BALLETBallet and Football

" Imagine what it would be like to watch a football game for the first time if you didn’tknow a single thing about the game. Not only would you be confused, you probablywouldn’t enjoy it very much." Watching a football game is a lot more fun if you know something about how the game is played, if you know the rules, and have an understanding of what kind of training and practice the athletes need to perform well. It’s even more fun if you have tried playingfootball yourself. The same is true of watching ballet." Ballet is a way of telling a story using music and movement instead of words. The“language” of ballet consists of patterns of movement that have developed over centuries.Ballet began as ballroom dancing in the courts of Italy and France about 450 years ago. It is based on a response that is natural to all human beings – the desire to move ourbodies when we hear music. " Like all sports and forms of dance, ballet takes movements we are familiar with - running, jumping, balancing and lifting - and uses them in a very particular and formalized way. The most notable feature of ballet technique is the outwardly rotated position of the feet and legs, called turn-out. Proper turn-out begins at the hips. The thighs and knees are well turned-out, and the feet and ankles do not roll forward. Turn-out is acquired gradually as a dancer’s muscles gain strength and develop through careful training and practice. A good turn-out allows the dancer to move freely in all directions with grace and ease." Although there are hundreds of steps and positions in any single ballet performance,each of them begins and ends with one of the five basic positions of the feet. The fivebasic ballet positions are:


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/First PositionHeels together,

toes turnedout

Second PositionFirst position

opened up, with the heels as far apart as

the length of the dancer’s own foot

Third PositionHeel of the front foot touching the instep of the back foot, toes of both

feet equally turned out

Fourth PositionHeel of the front foot

opposite the toe of the back foot, feet

parallel and separated by a space the length of the dancer’s own

foot, toes of both feet equally turned out

Fifth PositionFeet closed together, the heel of the front foot touching the toe

of the back foot. A perfect fifth position requires perfect turn-

out and is very difficult to achieve

Ballet and Football (cont’d)

" Another technique characteristic of ballet is dancing en pointe. Dancing en pointe means dancing on the tips of the toes. The first ballerina to do this was the famous dancer Marie Taglioni in 1832. To dance en pointe, dancers wear special shoes made of fabric stiffened with glue." Although the shoes are stiffened, they do not hold the dancer up on her toes; her muscles do that. Most girls are about 12 years old before they have enough strength and training to begin dancing en pointe. It is important that young dancers do not try to go en pointe until their ankles and feet are strong enough. Usually only girls dance en pointe. " Dancers who perform ballet on stage are highly trained. They often begin studying dance at the age of eight or nine, or even younger. While girls learn to dance en pointe, boys who study dance must be very strong in order to perform high jumps and turns and to lift their partner in the air. The training of male dancers includes weight lifting and other exercises to build upper body strength.

" To pursue ballet as a career, a person must be talented and athletic, very hardworking, and dedicated to the art. As many people who aren’t professionals enjoy playing football and other sports for fun, many people, children and adult, study ballet just for enjoyment. Taking ballet classes is an excellent way to gain physical fitness while developing grace, poise, and agility. Many football players and other pro athletes take ballet classes to improve their balance, rhythm, coordination and flexibility. " Lynn Swann was a wide receiver for the Pittsburgh Steelers whose ballet training was well known throughout the league. According to the Pinstripe Press, Swann was described in NFL films as "a lethal combination of smooth sipping whiskey and greased lightning ... Swann was arguably the most graceful receiver in NFL history. He made more key catches - in more big games - and in more spectacular fashion - than any receiver did. His ballet training enabled him to defy gravity and his hands were second-to-none." Swann played in 4 Superbowls and was inducted into the Hall of Fame. He is now on the board of directors of Pittsburgh Ballet Theatre, where he has created a youth scholarship.


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A HISTORY of THE CAROLINA THEATRE

1923 Durham High School opens at Duke Street Location. The City of Durham chooses to renovate former Morris Street School for City Hall and to construct an auditorium on an adjacent vacant lot.

1925 Bids for construction are accepted May 1, 1925. Budget for the auditorium is $250,000.

1926 The new building is completed and opens on February 2 providing for both public functions and live entertainment. The Carolina becomes the only Durham theatre to admit African Americans, though there are

separate entrances, ticket booths, seating and lounges.

1927 Famed African-American opera singer, Marian Anderson, performs for an audience of all races.

1929 The City Council decides that more revenue can be generated if the theatre is remodeled to accommodate movies.

1930 A flashing light marquee is installed and movies are the main attraction.

1940-1945 Due to popularity, there are as many as five movie showings a day. A bus depot across the street brings soldiers from Camp Butner. War bonds are sold and tin cans collected as admission for films to support the war effort. Windows are painted black to accommodate blackout regulations.

1960s As a city-owned building, the theatre becomes a focal point of civil rights activists in Durham.

1963 The theatre becomes integrated in the summer.

1977 The Carolina Theatre is the only remaining theatre in Durham and is noted as a “significant building in the city,” and the entire center portion of downtown is placed on the National Register of Historic Places.

1978 In March, the City Council agrees to lease the auditorium to the Carolina Cinema Corporation (not-for-profit) to run as an art film theatre.


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1986 Durham County and the City of Durham appropriate $7.8 million from a bond issue to restore The Carolina Theatre.

1988 Construction begins on The Carolina Theatre restoration project. The private, non-profit Carolina Theatre of Durham, Inc. was formed to manage the theatre.

1998 The Carolina Theatre of Durham Inc. signs a 10-year management agreement with the City of Durham to program, operate and manage The Carolina Theatre complex. The Carolina Theatre celebrates its 75th birthday by welcoming the 1,000,000th (one millionth) customer since reopening in 1994.

2003 Marked the beginning of the 10th anniversary season of performing arts being produced by The Carolina Theatre of Durham, Inc. The Fletcher Hall stage area was closed for three months to facilitate repairs and upgrades.

2004 The Carolina Theatre of Durham, Inc. held a successful gala reception and fundraiser andannounced that it was debt-free for the first time since the nonprofit took over operation of the theatre in 1994.

2007 Between June and August, the theatre closed for renovations that included roof repairs, restroom upgrades, electrical work and a state-of-the-art heating and cooling system. It was the first time the theatre completely closed since re-opening in 1993.

2008 Between June and August, a new dimmer system was installed in Fletcher Hall and additional upgrades were made to the outdoor plaza area.

2009 In late January the Carolina Theatre commemorated 15 years since

the re-birth of the historic facility and the founding of the its non-profit operator, the Carolina Theatre of Durham, Inc.

2011 Carolina Theatre was closed and reopened with repair to plaster work, windows, doors and flooring.


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THEATRE ETIQUET TE

" When you enter the theatre, you are entering a very special place. In the theatre, anything can be true. Your imagination is free to soar and magical things can happen. Going to the theatre is different from going to a movie. The people performing for you have worked very hard to prepare the best possible performance. The costume and wardrobe people, the technical director, lighting designer and stage manager, the artistic director and choreographer, as well as the dancers, have all done their part to make a good performance for you. They are eagerly waiting to see whether you like and appreciate their work.

Please laugh or clap with your hands to show your appreciation, but . . . Please NEVER scream, whistle, boo, or stomp your feet. Please do no talk to your neighbor during the show. It is distracting to thedancers and you won’t be able to hear the beautiful orchestral music. Please sit still and stay in your seat from the beginning of the performance untilthe intermission. It is discourteous to the performers and audience to get up and walk out during the performance. Please do not eat during the performance. The sound of rustling wrappers and the smell of the food disturbs the dancers and others around you. Of course, cell phones and pagers must be turned off, and no electronic devicesmay be used during the performance.

The people who have worked so hard ask for your undivided attention while they present the performance for you.


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Story Sequencing! (Language Arts Classroom Activity)

MaterialsPeter and the Wolf Story Sequencing Strips handoutPeter and the Wolf Illustration handout(preferably photocopied back front of a single sheet of paper.

Activity1." Begin by asking students to list some of the important elements of a story. This list should include: beginning, middle, end, characters, setting

2." Read the story of Peter and the Wolf to your class.

3." After reading the story to your class, ask students to identify the characters and setting of the tale. Next, ask students to describe the events that composed the beginning, middle and ending of the story.

4." Beforehand, make copies of the Peter and the Wolf Story Sequencing Strips handout and the Peter and the Wolf Illustration handout. If possible, make a double sided printing of these two worksheets. If you can’t make a double-sided printing of the two, glue the two pages back-to-back making certain both pages are right side up before gluing together.

5." Pass the Story Sequencing/Illustration handout to students. Allow students time to color the picture.

6. " Ask students to turn over the page and make individual strips by cutting on the dotted lines.

7. " Have students mix up the strips and place them print side up on the desk in front of them.

8. " Based on the reading level of the class, have students read the strips and place them in the order in which they occurred in the story, or read the strips together as a class and come up with the correct sequential order of the story.

9. " After the students finish placing the strips in order, ask them to turn the strips over. If students have placed the strips in the correct order, the picture will be complete. If the picture is jumbled, have students to try again.


Class Room Activities and Work Sheets

Photo copy and use any of these to help support your lesson plans.

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Class Room Activities and Work Sheets

The Elements of Dance

BODY ( Use this outline to lead a creative movement class)

The body is the dancer’s tool that is used to explore the elements of time, space and energy. It has shape and is capable of forming other shapes. The body is the extension of the person and one’s ideas, feelings, perception, and intent direct all movement.

Body parts:

Inner: muscles, bones, joints, heart, lungs (breath)

Outer: head, shoulders, arms, hands, back, rib cage, hips, legs, feet

Non-loco-motor moves: Stretch, bend, twist, circle, rise, collapse, swing, sway, shake

Loco-motor moves: Walk, run, leap, hop, jump, gallop, skip, slide

Parts of the body that have movement potential: Head, shoulders, arms, hands, fingers, rib cage, hips, legs, feet, toes. The body may move its parts in isolation or in combination or as a total unit. Various parts of the body can initiate or lead movement such as falling, turning, pushing, pulling, descending, and rising. Various parts of the body can be used for balancing, either alone or in combined ways.

Exploring the Elements of Body: Identify parts of the body and how they can move.

When you move, what really moves - muscles? Bones? Joints?

How many ways can you move your body parts?

How can you initiate traveling with your nose? Your shoulder? Your knees?

Use different loco-motor skills to travel in combinations. Example: You can create a movement ‘sentence’. Jump, jump, hop, hop, run, run, leap.

Use your body to create geometric shapes – alone, with a partner, or in a group.

Make the shape of a letter with your body and use partners to spell a word.


Peter and the Wolf Classroom Activities for ChildrenAudio games: (All ages)

Recognize the instruments from pictures and then from hearing the instrument.

Feelings Game (Quick for All ages) Play/listen to the soundtrack and identify what feelings come up using the 4 basic emotion groups: Happy, Sad, Afraid, and Angry.

Stop the audio playback on certain characters or scenes and ask the group to label it with a feeling (Happy, Sad, Afraid, Angry).

What facial expressions and body positions go with each feeling? Ask for volunteers to demonstrate the way they express that emotion for 5 seconds.

Communication skills:

1a) “Facts” Game: (4-6 grade, paper and pencil)Have the students pair up. Pick any scene from “Peter” and play or read a short segment.Have the partners talk to each other for a minute to find agreement on what is happening at that point in the story. Have them write down (1 sentence) what they have agreed is happening (keep it simple).Ask for a couple of volunteers to read their observation to the class. Then repeat the process with 4 people together (join 2 pairs together), then 8, then 16… Allow a little more time, as the group gets larger.Discussion on the process: what happened? Did you stick to your story or did you change it to match other’s view of the story? How did you work together to find the same facts as your partner or group?

1b) “Feelings” Game: (full version)Divide the class into 4 groups, (Happy, Sad, Afraid, Angry). Let the children choose which group they would like to be in for the game. Best if the desks are out of the way and the groups can have their own space together.

--Play a certain place in the music (like where the wolf has his tail caught). --Have each group talk amongst their own group for about 30 seconds and decide what the emotion it is.--Ask the class to raise their hand if they are in the group with that emotion.--Have at least one volunteer from that group show the class their feeling for about 5 seconds, with body language, movement or by making sounds. It can be Afraid, Angry, Sad or even Happy when the wolf is caught.Repeat with different musical sections, feelings and also children rotate participation in the different groups, as you like.



1c) The Judgment game: (You be the Judge!)This is to tell the difference between facts and judgments. The facts are a description of the events that everyone can agree upon. A judgment is what you think about it (that was a smart thing to do or he should have stayed inside the gate). Good/bad, like/dislike, and should/shouldn’t are indications of judgments. The sentence can start with “I think” but not “I feel.”

Ask for some volunteers to judge Peter. Questions to stimulate thought: Is he a good boy? Should he have gone out the gate or stayed? At what time in the story should Peter have done something different? Is Peter a good example for boys and girls to follow? How does Peter inspire you to be more courageous or cautious? What is the lesson for you by seeing Peter go through such an ordeal?

1d) Wants - Exploring the Character Traits: (discussion)What survival traits did each character use in Peter and the Wolf? What do humans/you use to be/feel safe or to protect yourself? What did Peter want (food, adventure, challenge, recognition?) What did the other characters want? Did they get it?

2) Writing: (Grades 4-5-6+)Based on the games above (1a,b,c), use the following 4 part template (Facts, Feeling, Judgment, Want) to describe a scene.

Write a sentence or two that tell just the FACTS of the situation (the undisputed information, a clear observation of the scene that everyone would agree on).

Write a sentence or two on which FEELING may be present (Happy, Sad, Afraid, Angry).

Write a sentence or two on your JUDGMENT of the situation (what do you think about what is happening?).

Write a sentence or two on what you WANT (in an ideal world) to happen next.

This exercise is about telling the difference between the facts, feelings, and judgments. Many times we become confused in our communications and this process helps clarify information so others can better understand us.



The Directors

Andrew M. McAfee, Conductor

After playing Principal Horn with the North Carolina Symphony for 15 years (1992-2007), Andrew McAfee now focuses on mentoring through teaching horn at the University of North Carolina at Chapel Hill (UNC) and conducting as the Music Director/Conductor of the Triangle Youth Ballet (www.triangleyouthballet.org) and the Masterworks Reading Orchestra (www.masterworksro.com). Mr. McAfee completed his Bachelor of Music in Performance at Northwestern University and has won national auditions and held positions with the Fresno Philharmonic, Honolulu Symphony, Columbus Symphony, New Mexico Symphony and the North Carolina Symphony Orchestras. He studied conducting for 9 summers with Maestro Harold Farberman at the Conductor’s Institute

and then with Maestro Ransom Wilson at the University of North Carolina School of the Arts, where he completed his Master of Music in Orchestral Conducting in May 2009. As Music Director/Conductor of the Triangle Youth Ballet in Chapel Hill, Mr. McAfee has conducted full orchestral productions of Tchaikovsky’s The Nutcracker since December 2008 and Sleeping Beauty in May 2008 and March 2009. The May 2011 edition of The Horn Call, the monthly Journal of the International Horn Society, featured his article “Five Basics for a Horn Embouchure.” His method book titled “The Horn Book, Advanced Techniques for Horn Players” is now in its 6th edition. His website, www.hornlessons.org features videos and other helpful information on horn playing technique. His CD, “The Passionate Horn,” will be released in late 2011.

Lauren Lorentz de Haas, Choreographer

A North Carolina native, she began her training in Fayetteville with Josephine von Strasnicsak and studied ballet at Virginia Intermont

College in Bristol, VA under Constance Hardinge and North Carolina School of the Arts. An anthropology graduate of UNC, she received

her MA in dance from UNC-Greensboro with recognized credits from American Dance Festival. Ms. Lorentz de Haas has been

teaching ballet for over 30 years. She founded the Triangle Youth Ballet to serve the needs of young aspiring dancers and has served as

director since 1995. For the Triangle Youth Ballet she has choreographed the full length ballets The Nutcracker and Dracula. Her choreography was just featured with the North Carolina Symphony in

their Young People Concert Series, Bug Songs.


EVALUATIONDear Teachers,

Please let us know if we met your expectations and how we may improve. Send to

Triangle Youth BalletPO Box 2067Chapel Hill, NC 27515

Did your students find the performance interesting?

" Not very " 1" 2" 3" 4" 5 " Very interesting

Did your students enjoy the class room activities?

" Not at all" 1" 2" 3" 4" 5 " Completely

Did you find this a helpful addition to your music, language arts or art appreciation curriculum?

" Not helpful " 1" 2" 3" 4" 5 " Very helpful

How can we improve the study guide to better meet your needs?

We welcome any comments or contributions so that we can improve upon future school performances. Feel free to contact us at [email protected] or 919-932-2676

Thank you,

Lauren Lorentz de Haas and Andrew McAfee


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peter and the wolf - triangleyouthballet.org and the wolf study... · each character in the story...

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