Is Tchaikovsky’s score the only thing keeping The Nutcracker alive?
“Tchaikovsky also wrote scores for The Nutcracker (1892) and Swan Lake (1875). Unfortunately both of these ballets suffered from indifferent productions and they would have disappeared completely but for the music.” (Harrold, Robert, 1980, Ballet. Dorset: Blandford press.)
Tchaikovsky composed the score for Nutcracker from 1891–92 and the production was first danced on 18th December 1892 at The Imperial Mariinsky Theatre in St Petersburg Russia staged by Marius Petipa. It has subsequently been adapted by many choreographers and companies throughout the world, although it remains one of the most popular ballets often securing a longer run than any other production in a company’s calendar; Birmingham Royal Ballet have twenty-two performances of The Nutcracker at The Birmingham Hippodrome and only eleven of Sleeping Beauty there next longest run. It has also proved to be one of the most popular with audiences:
“The sales of tickets for The Nutcracker represent manna for dance companies, accounting for approximately half of their annual box office earnings.” (Renaud, L, 1991. Nutcracker Suite: a timeless musical fairytale http://www.scena.org/lsm/sm5-4/NutcrackerSuite-en.htm [16/11/2009])
But whilst the costumes, lighting, staging, characters and choreography have all been changed from one production to another the music has remained the same.
“I would also like to think that the main reason that Nutcracker has retained its perennial appeal is because of Tchaikovsky’s incredible score. Act One contains some of the most engaging and, at times, profound story telling music and Act Two has one glorious melody after another. After 110 years it retains its mystery, magic and the power to transport us to another world.” (Bourne, M http://www.matthewbournesnutcracker.com/ [16/11/2009])
Tchaikovsky’s music seems to resonate beyond the stage. Televisions advertising has immortalised Tchaikovsky’s score for ‘The Nutcracker’ and many of the general public who have never set foot in a theatre will be familiar with the sounds of this ballet heralding the start of the Christmas season. Dance of the Sugar Plum fairy has been used in advertising campaigns for: Always (2009) Warburton’s (2008) Pringles (2007) Andrex (2007). Whilst Danse de Merlitons will be fondly remembered as the overture for the Cadburys Fruit and Nut advert which first aired in 1998.
Whilst it can be said that the music does provide the core of the ballet, and is arguably the most publically recognisable aspect of the ballet; there must be other things drawing the audience in, otherwise The Nutcracker would be performed solely by orchestras in Symphony Halls as opposed to ballet companies in packed theatres throughout the world. The examples above demonstrate that the music needs an image and narrative associated with it to retain its powerful impact on the public, which is why it has been so successful in theatres around the world. I have consulted others reviews in order to support my theory that it is a combination of factors that maintain the ballet’s popularity.
“Clara’s flight on the back of a giant snow goose (always greeted with gasps of wonderment)”
(Dougill, D, 2007. ‘The Nutcracker’ The Sunday Times, December 9, 2007)
“Peter Wright’s interpretation of this favorite Russian classic is a Christmas stocking stuffed with a box of magic tricks, gorgeous dressing-up clothes, toy soldiers, furry animals, dolls in national costumes and – right at the very end of the toe - a scrumptious sugar plum. But one doesn’t have to be a child, or have a couple to take along, to be captivated by the ballet’s festive spirit.”
(Turner, S, 2008. ‘Birmingham Royal Ballet - The Nutcracker, at Birmingham Hippodrome’ Birmingham Post – Life and Leisure, Nov 30 2008)
To conclude, whilst some may believe that the music is the only thing keeping the Nutcracker alive, I believe that it is the seamless blend of all the elements, along with a large dose of Christmas spirit that have maintained this ballets popularity all the way into the millennium.
Sunday, December 27, 2009
Final Writing Style 2
The Nutcracker
The curtain opens on a household preparing for a Christmas party. As an audience member you feel as if you are peering through one of the snow-lined windows into this magnificent home. The set is stunning with deep red cloths draped from the ceiling and a sparkling Christmas tree set in the corner of the stage with a mass of presents underneath. Guests begin to arrive and the scene starts to stir and becomes alive with colour and movement. Clara was youthful, light and technically incredible. She possessed a playful quality, which made you believe that she was a young girl.
Drosselmeyer, dominating and powerful, provided much of the magic of the production as he made the lavish set then grow seamlessly; giving the illusion of Clara shrinking to the size of a small toy as she drifted about in a dreamy state. This transaction was marvelously done and the new set was even more magical! As battle commenced the soldiers were in unison and well regimented whilst the rats twitched and scurried sending a shiver down my spine.
Following the battle, the scene changes to a winter wonderland, with shimmering silver being the predominant colour. The snowflakes wore iridescent costumes and drifted in an ethereal state about the stage. Lei Zhao captured the quality of a snowflake as she drifted across the stage, holding impossible balances for what seemed like minutes at a time. Her secure technique enables her to really use her port de bra and sparkle.
The second act opened with Clara flying through the air on the back of a shimmering white goose, a lovely touch which recaptures any magic that may have been lost in the interval! Clara watches a host of different cultures dance before her with their ‘National’ dance. The Spanish dance was first and was full of feisty Mediterranean spirit; you could almost feel the heat radiating from the stage. This was followed by the Arabian dance, led by Victoria Marr who danced with the fluidity that this dance requires whilst the men used their strength to contrast her movements. The Russian dance followed and in contrast to the piece before, was very scrappy. Whilst they had a good energy throughout, the piece ended on a very bad technical note with Clara almost falling off the back of one of the dancers. The Chinese dance was quaint but uneventful and unmemorable. The Dance of the Mirlitons was last but by no means least. The dancers had the clean technique that this piece demands. Natasha Oughtred in particular danced beautifully with absolutely exquisite footwork. The Rose Fairy, the lead in The Waltz of the Flowers danced with disdain and looked both arrogant and bored, not something that I believe a fairy is supposed to be.
The production ended spectacularly with the Grand pas de deux danced by two of Birmingham Royal Ballet’s principals. The Prince shone within the role by demonstrating his clarity of line and enthusiasm. Sugar Plum Fairy was good however the role requires classical line that this dancer doesn’t possess. She has the type of legs that look breath taking at 180˚ but very disappointing at 90˚, she is therefore not suited to this role. She was however very charming and did a very good job of milking her curtain call.
The curtain opens on a household preparing for a Christmas party. As an audience member you feel as if you are peering through one of the snow-lined windows into this magnificent home. The set is stunning with deep red cloths draped from the ceiling and a sparkling Christmas tree set in the corner of the stage with a mass of presents underneath. Guests begin to arrive and the scene starts to stir and becomes alive with colour and movement. Clara was youthful, light and technically incredible. She possessed a playful quality, which made you believe that she was a young girl.
Drosselmeyer, dominating and powerful, provided much of the magic of the production as he made the lavish set then grow seamlessly; giving the illusion of Clara shrinking to the size of a small toy as she drifted about in a dreamy state. This transaction was marvelously done and the new set was even more magical! As battle commenced the soldiers were in unison and well regimented whilst the rats twitched and scurried sending a shiver down my spine.
Following the battle, the scene changes to a winter wonderland, with shimmering silver being the predominant colour. The snowflakes wore iridescent costumes and drifted in an ethereal state about the stage. Lei Zhao captured the quality of a snowflake as she drifted across the stage, holding impossible balances for what seemed like minutes at a time. Her secure technique enables her to really use her port de bra and sparkle.
The second act opened with Clara flying through the air on the back of a shimmering white goose, a lovely touch which recaptures any magic that may have been lost in the interval! Clara watches a host of different cultures dance before her with their ‘National’ dance. The Spanish dance was first and was full of feisty Mediterranean spirit; you could almost feel the heat radiating from the stage. This was followed by the Arabian dance, led by Victoria Marr who danced with the fluidity that this dance requires whilst the men used their strength to contrast her movements. The Russian dance followed and in contrast to the piece before, was very scrappy. Whilst they had a good energy throughout, the piece ended on a very bad technical note with Clara almost falling off the back of one of the dancers. The Chinese dance was quaint but uneventful and unmemorable. The Dance of the Mirlitons was last but by no means least. The dancers had the clean technique that this piece demands. Natasha Oughtred in particular danced beautifully with absolutely exquisite footwork. The Rose Fairy, the lead in The Waltz of the Flowers danced with disdain and looked both arrogant and bored, not something that I believe a fairy is supposed to be.
The production ended spectacularly with the Grand pas de deux danced by two of Birmingham Royal Ballet’s principals. The Prince shone within the role by demonstrating his clarity of line and enthusiasm. Sugar Plum Fairy was good however the role requires classical line that this dancer doesn’t possess. She has the type of legs that look breath taking at 180˚ but very disappointing at 90˚, she is therefore not suited to this role. She was however very charming and did a very good job of milking her curtain call.
Final Writing Style 1
Birmingham’s Christmas Cracker
On 27th of November at 7.30pm the Birmingham Hippodrome will be transformed into a magical Winter Wonderland as Birmingham Royal Ballet brings The Nutcracker to the West Midlands. This is the start of twenty two performances of this masterpiece, created by Sir Peter Wright choreographed to music by the world famous composer Tchaikovsky.
This Christmas cracker makes a return to the stage this festive season, proving once again its popularity with audiences both young and old. The production has been running since 1990 and has been a box office hit, with sell out performances year after year. Be sure to book your tickets early to avoid disappointment.
As you make your way in from the cold, wet streets of Birmingham you are given the opportunity, whilst sitting in your seats, to peer through the snow lined windows of this magnificent home preparing for a Christmas party. Warm both your hands and your heart with this magical story of a young girl, Clara who is taken on a wondrous journey and you are invited to go with her. Watch as she is transported from the comfort of the fireside in her own home to the miraculous land where sweets come to life, snowflakes fall from the sky and the nutcracker transforms from a toy to a prince.
Clara watches as her favourite sweets come to life in dances from different lands. Chocolate gains Mediterranean flair within the feisty Spanish Dance, Arabian coffee swirls within a sea of feathers, tea transforms into a duo of lively Chinese dancers and sweet candy canes complete this delicious line up.
It’s many little girls’ dreams to become a ballerina and this is their opportunity to watch this story unfold. Clara is one of these little girls and becomes the Sugar Plum Fairy, one of ballets most renowned ballerinas. The pretty pink tutu and sparkling tiara are sure to appeal to every little girl in the audience, whilst the boys will be taken with the thrilling battle scenes between the evil rats and the chivalrous soldiers. I am sure when they leave the theatre they will truly believe that they have been an integral part of this magical journey.
Children and adults also have the chance to take away a Nutcracker Doll of there own, as there is a souvenir shop within the foyer of the Hippodrome selling a wide range of merchandise that is sure to give you a piece of the ballet to keep forever.
Birmingham Royal Ballet is a world renowned ballet company with a spectacular array of young vivacious talented dancers. You will have the opportunity to see many of these dancers perform in roles that albeit created for others twenty years ago are eminently suitable for the company today.
Nutcracker is one of the most popular and spectacular ballets ever created so make sure that you are there to be taken on a magical journey right into the heart of Christmas where it is guaranteed to snow!
To book for December 2009: http://www.birminghamhippodrometickets.com/tickets/
On 27th of November at 7.30pm the Birmingham Hippodrome will be transformed into a magical Winter Wonderland as Birmingham Royal Ballet brings The Nutcracker to the West Midlands. This is the start of twenty two performances of this masterpiece, created by Sir Peter Wright choreographed to music by the world famous composer Tchaikovsky.
This Christmas cracker makes a return to the stage this festive season, proving once again its popularity with audiences both young and old. The production has been running since 1990 and has been a box office hit, with sell out performances year after year. Be sure to book your tickets early to avoid disappointment.
As you make your way in from the cold, wet streets of Birmingham you are given the opportunity, whilst sitting in your seats, to peer through the snow lined windows of this magnificent home preparing for a Christmas party. Warm both your hands and your heart with this magical story of a young girl, Clara who is taken on a wondrous journey and you are invited to go with her. Watch as she is transported from the comfort of the fireside in her own home to the miraculous land where sweets come to life, snowflakes fall from the sky and the nutcracker transforms from a toy to a prince.
Clara watches as her favourite sweets come to life in dances from different lands. Chocolate gains Mediterranean flair within the feisty Spanish Dance, Arabian coffee swirls within a sea of feathers, tea transforms into a duo of lively Chinese dancers and sweet candy canes complete this delicious line up.
It’s many little girls’ dreams to become a ballerina and this is their opportunity to watch this story unfold. Clara is one of these little girls and becomes the Sugar Plum Fairy, one of ballets most renowned ballerinas. The pretty pink tutu and sparkling tiara are sure to appeal to every little girl in the audience, whilst the boys will be taken with the thrilling battle scenes between the evil rats and the chivalrous soldiers. I am sure when they leave the theatre they will truly believe that they have been an integral part of this magical journey.
Children and adults also have the chance to take away a Nutcracker Doll of there own, as there is a souvenir shop within the foyer of the Hippodrome selling a wide range of merchandise that is sure to give you a piece of the ballet to keep forever.
Birmingham Royal Ballet is a world renowned ballet company with a spectacular array of young vivacious talented dancers. You will have the opportunity to see many of these dancers perform in roles that albeit created for others twenty years ago are eminently suitable for the company today.
Nutcracker is one of the most popular and spectacular ballets ever created so make sure that you are there to be taken on a magical journey right into the heart of Christmas where it is guaranteed to snow!
To book for December 2009: http://www.birminghamhippodrometickets.com/tickets/
Sunday, November 22, 2009
Writing Task 3
Is Tchaikovsky’s score the only thing keeping The Nutcracker alive?
“Tchaikovsky also wrote scores for The Nutcracker (1892) and Swan Lake (1875). Unfortunately both of these ballets suffered from indifferent productions and they would have disappeared completely but for the music.” (Harrold, Robert, 1980, Ballet. Dorset: Blandford press.)
Tchaikovsky composed the score for Nutcracker from 1891–92 and the production was first danced on 18th December 1892 at The Imperial Mariinsky Theatre in St Petersburg Russia staged by Marius Petipa. It has subsequently been adapted by many choreographers and companies throughout the world, although it remains one of the most popular ballets often securing a longer run than any other production in a company’s calendar; Birmingham Royal Ballet have twenty-two performances of The Nutcracker at The Birmingham Hippodrome and only eleven of Sleeping Beauty there next longest run. It has also proved to be one of the most popular with audiences:
“The sales of tickets for The Nutcracker represent manna for dance companies, accounting for approximately half of their annual box office earnings.” (Renaud, L, 1991. Nutcracker Suite: a timeless musical fairytale http://www.scena.org/lsm/sm5-4/NutcrackerSuite-en.htm [16/11/2009])
Whilst the costumes, lighting, staging, characters and choreography have all been changed from one production to another the music has remained the same.
“I would also like to think that the main reason that Nutcracker has retained its perennial appeal is because of Tchaikovsky’s incredible score. Act One contains some of the most engaging and, at times, profound story telling music and Act Two has one glorious melody after another. After 110 years it retains its mystery, magic and the power to transport us to another world.” (Bourne, M http://www.matthewbournesnutcracker.com/ [16/11/2009])
Televisions advertising has immortalised Tchaikovsky’s score for ‘The Nutcracker’ and many of the general public who have never set foot in a theatre will be familiar with the sounds of this ballet heralding the start of the Christmas season. Dance of the Sugar Plum fairy has been used in advertising campaigns for: Always (2009) Warburton’s (2008) Pringles (2007) Andrex (2007). Whilst Danse de Merlitons will be fondly remembered as the overture for the Cadburys Fruit and Nut advert which first aired in 1998.
Whilst it can be said that the music does provide the core of the ballet, there must be other things drawing the audience in, otherwise The Nutcracker would be performed solely by orchestras in Symphony Halls as oppose to ballet companies in packed theatres throughout the world. I have consulted others reviews in order to support my theory that it is a combination of factors that maintain the ballet’s popularity.
“Clara’s flight on the back of a giant snow goose (always greeted with gasps of wonderment)”
(Dougill, D, 2007. ‘The Nutcracker’ The Sunday Times, December 9, 2007)
“Peter Wright’s interpretation of this favorite Russian classic is a Christmas stocking stuffed with a box of magic tricks, gorgeous dressing-up clothes, toy soldiers, furry animals, dolls in national costumes and – right at the very end of the toe - a scrumptious sugar plum. But one doesn’t have to be a child, or have a couple to take along, to be captivated by the ballet’s festive spirit.”
(Turner, S, 2008. ‘Birmingham Royal Ballet - The Nutcracker, at Birmingham Hippodrome’ Birmingham Post – Life and Leisure, Nov 30 2008)
To conclude, whilst some may believe that the music is the only thing keeping the Nutcracker alive, I believe that it is the seamless blend of all the elements, along with a large dose of Christmas spirit that have maintained this ballets popularity all the way into the millennium.
“Tchaikovsky also wrote scores for The Nutcracker (1892) and Swan Lake (1875). Unfortunately both of these ballets suffered from indifferent productions and they would have disappeared completely but for the music.” (Harrold, Robert, 1980, Ballet. Dorset: Blandford press.)
Tchaikovsky composed the score for Nutcracker from 1891–92 and the production was first danced on 18th December 1892 at The Imperial Mariinsky Theatre in St Petersburg Russia staged by Marius Petipa. It has subsequently been adapted by many choreographers and companies throughout the world, although it remains one of the most popular ballets often securing a longer run than any other production in a company’s calendar; Birmingham Royal Ballet have twenty-two performances of The Nutcracker at The Birmingham Hippodrome and only eleven of Sleeping Beauty there next longest run. It has also proved to be one of the most popular with audiences:
“The sales of tickets for The Nutcracker represent manna for dance companies, accounting for approximately half of their annual box office earnings.” (Renaud, L, 1991. Nutcracker Suite: a timeless musical fairytale http://www.scena.org/lsm/sm5-4/NutcrackerSuite-en.htm [16/11/2009])
Whilst the costumes, lighting, staging, characters and choreography have all been changed from one production to another the music has remained the same.
“I would also like to think that the main reason that Nutcracker has retained its perennial appeal is because of Tchaikovsky’s incredible score. Act One contains some of the most engaging and, at times, profound story telling music and Act Two has one glorious melody after another. After 110 years it retains its mystery, magic and the power to transport us to another world.” (Bourne, M http://www.matthewbournesnutcracker.com/ [16/11/2009])
Televisions advertising has immortalised Tchaikovsky’s score for ‘The Nutcracker’ and many of the general public who have never set foot in a theatre will be familiar with the sounds of this ballet heralding the start of the Christmas season. Dance of the Sugar Plum fairy has been used in advertising campaigns for: Always (2009) Warburton’s (2008) Pringles (2007) Andrex (2007). Whilst Danse de Merlitons will be fondly remembered as the overture for the Cadburys Fruit and Nut advert which first aired in 1998.
Whilst it can be said that the music does provide the core of the ballet, there must be other things drawing the audience in, otherwise The Nutcracker would be performed solely by orchestras in Symphony Halls as oppose to ballet companies in packed theatres throughout the world. I have consulted others reviews in order to support my theory that it is a combination of factors that maintain the ballet’s popularity.
“Clara’s flight on the back of a giant snow goose (always greeted with gasps of wonderment)”
(Dougill, D, 2007. ‘The Nutcracker’ The Sunday Times, December 9, 2007)
“Peter Wright’s interpretation of this favorite Russian classic is a Christmas stocking stuffed with a box of magic tricks, gorgeous dressing-up clothes, toy soldiers, furry animals, dolls in national costumes and – right at the very end of the toe - a scrumptious sugar plum. But one doesn’t have to be a child, or have a couple to take along, to be captivated by the ballet’s festive spirit.”
(Turner, S, 2008. ‘Birmingham Royal Ballet - The Nutcracker, at Birmingham Hippodrome’ Birmingham Post – Life and Leisure, Nov 30 2008)
To conclude, whilst some may believe that the music is the only thing keeping the Nutcracker alive, I believe that it is the seamless blend of all the elements, along with a large dose of Christmas spirit that have maintained this ballets popularity all the way into the millennium.
Sunday, November 15, 2009
Writing Task 2
The curtain opens on a household preparing for a Christmas party. As an audience member you feel as if you are peering through one of the snow-lined windows into this magnificent home. The set is stunning with deep red cloths draped from the ceiling and a sparkling Christmas tree set in the corner of the stage with a mass of presents underneath. Guests begin to arrive and the scene starts to stir and becomes alive with colour and movement. Clara was youthful, light and technically incredible. She possessed a playful quality, which made you believe that she was a young girl.
Drosselmeyer, dominating and powerful, provided much of the magic of the production as he made the lavish set then grow seamlessly; giving the illusion of Clara shrinking to the size of a small toy as she drifted about in a dreamy state. This transaction was marvelously done and the new set was even more magical! As battle commenced the soldiers were in unison and well regimented whilst the rats twitched and scurried sending a shiver down my spine.
Following the battle, the scene changes to a winter wonderland, with shimmering silver being the predominant colour. The snowflakes wore iridescent costumes and drifted in an ethereal state about the stage. Lei Zhao captured the quality of a snowflake as she drifted across the stage, holding impossible balances for what seemed like minutes at a time. Her secure technique enables her to really use her port de bra and sparkle.
The second act opened with Clara flying through the air on the back of a shimmering white goose, a lovely touch which recaptures any magic that may have been lost in the interval! Clara watches a host of different cultures dance before her with their ‘National’ dance. The Spanish dance was first and was full of feisty Mediterranean spirit; you could almost feel the heat radiating from the stage. This was followed by the Arabian dance, led by Victoria Marr who danced with the fluidity that this dance requires whilst the men used their strength to contrast her movements. The Russian dance followed and in contrast to the piece before, was very scrappy. Whilst they had a good energy throughout, the piece ended on a very bad technical note with Clara almost falling off the back of one of the dancers. The Chinese dance was quaint but uneventful and unmemorable. The Dance of the Mirlitons was last but by no means least. The dancers had the clean technique that this piece demands. Natasha Oughtred in particular danced beautifully with absolutely exquisite footwork. The Rose Fairy, the lead in The Waltz of the Flowers danced with disdain and looked both arrogant and bored, not something that I believe a fairy is supposed to be.
The production ended spectacularly with the Grand pas de deux danced by two of Birmingham Royal Ballet’s principals. The Prince shone within the role by demonstrating his clarity of line and enthusiasm. Sugar Plum Fairy was good however the role requires classical line that this dancer doesn’t possess. She has the type of legs that look breath taking at 180˚ but very disappointing at 90˚, she is therefore not suited to this role. She was however very charming and did a very good job of milking her curtain call.
Drosselmeyer, dominating and powerful, provided much of the magic of the production as he made the lavish set then grow seamlessly; giving the illusion of Clara shrinking to the size of a small toy as she drifted about in a dreamy state. This transaction was marvelously done and the new set was even more magical! As battle commenced the soldiers were in unison and well regimented whilst the rats twitched and scurried sending a shiver down my spine.
Following the battle, the scene changes to a winter wonderland, with shimmering silver being the predominant colour. The snowflakes wore iridescent costumes and drifted in an ethereal state about the stage. Lei Zhao captured the quality of a snowflake as she drifted across the stage, holding impossible balances for what seemed like minutes at a time. Her secure technique enables her to really use her port de bra and sparkle.
The second act opened with Clara flying through the air on the back of a shimmering white goose, a lovely touch which recaptures any magic that may have been lost in the interval! Clara watches a host of different cultures dance before her with their ‘National’ dance. The Spanish dance was first and was full of feisty Mediterranean spirit; you could almost feel the heat radiating from the stage. This was followed by the Arabian dance, led by Victoria Marr who danced with the fluidity that this dance requires whilst the men used their strength to contrast her movements. The Russian dance followed and in contrast to the piece before, was very scrappy. Whilst they had a good energy throughout, the piece ended on a very bad technical note with Clara almost falling off the back of one of the dancers. The Chinese dance was quaint but uneventful and unmemorable. The Dance of the Mirlitons was last but by no means least. The dancers had the clean technique that this piece demands. Natasha Oughtred in particular danced beautifully with absolutely exquisite footwork. The Rose Fairy, the lead in The Waltz of the Flowers danced with disdain and looked both arrogant and bored, not something that I believe a fairy is supposed to be.
The production ended spectacularly with the Grand pas de deux danced by two of Birmingham Royal Ballet’s principals. The Prince shone within the role by demonstrating his clarity of line and enthusiasm. Sugar Plum Fairy was good however the role requires classical line that this dancer doesn’t possess. She has the type of legs that look breath taking at 180˚ but very disappointing at 90˚, she is therefore not suited to this role. She was however very charming and did a very good job of milking her curtain call.
Writing Task 1
On 27th of November at 7.30pm the Birmingham Hippodrome will be transformed into a magical Winter Wonderland as Birmingham Royal Ballet brings The Nutcracker to the West Midlands. This is the start of twenty two performances of this masterpiece, created by Sir Peter Wright choreographed to music by the world famous composer Tchaikovsky.
This Christmas cracker makes a return to the stage this festive season, proving once again its popularity with audiences both young and old. The production has been running since 1990 and has been a box office hit, with sell out performances year after year. Be sure to book your tickets early to avoid disappointment.
As you make your way in from the cold, wet streets of Birmingham you are given the opportunity, whilst sitting in your seats, to peer through the snow lined windows of this magnificent home preparing for a Christmas party. Warm both your hands and your heart with this magical story of a young girl, Clara who is taken on a wondrous journey and you are invited to go with her. Watch as she is transported from the comfort of the fireside in her own home to the miraculous land where sweets come to life, snowflakes fall from the sky and the nutcracker transforms from a toy to a prince.
Clara watches as her favourite sweets come to life in dances from different lands. Chocolate gains Mediterranean flair within the feisty Spanish Dance, Arabian coffee swirls within a sea of feathers, tea transforms into a duo of lively Chinese dancers and sweet candy canes complete this delicious line up.
It’s many little girls’ dreams to become a ballerina and this is their opportunity to watch this story unfold. Clara is one of these little girls and becomes the Sugar Plum Fairy, one of ballets most renowned ballerinas. The pretty pink tutu and sparkling tiara are sure to appeal to every little girl in the audience, whilst the boys will be taken with the thrilling battle scenes between the evil rats and the chivalrous soldiers. I am sure when they leave the theatre they will truly believe that they have been an integral part of this magical journey.
Children and adults also have the chance to take away a Nutcracker Doll of there own, as there is a souvenir shop within the foyer of the Hippodrome selling a wide range of merchandise that is sure to give you a piece of the ballet to keep forever.
Birmingham Royal Ballet is a world renowned ballet company with a spectacular array of young vivacious talented dancers. You will have the opportunity to see many of these dancers perform in roles that albeit created for others twenty years ago are eminently suitable for the company today.
Nutcracker is one of the most popular and spectacular ballets ever created so make sure that you are there to be taken on a magical journey right into the heart of Christmas where it is guaranteed to snow!
This Christmas cracker makes a return to the stage this festive season, proving once again its popularity with audiences both young and old. The production has been running since 1990 and has been a box office hit, with sell out performances year after year. Be sure to book your tickets early to avoid disappointment.
As you make your way in from the cold, wet streets of Birmingham you are given the opportunity, whilst sitting in your seats, to peer through the snow lined windows of this magnificent home preparing for a Christmas party. Warm both your hands and your heart with this magical story of a young girl, Clara who is taken on a wondrous journey and you are invited to go with her. Watch as she is transported from the comfort of the fireside in her own home to the miraculous land where sweets come to life, snowflakes fall from the sky and the nutcracker transforms from a toy to a prince.
Clara watches as her favourite sweets come to life in dances from different lands. Chocolate gains Mediterranean flair within the feisty Spanish Dance, Arabian coffee swirls within a sea of feathers, tea transforms into a duo of lively Chinese dancers and sweet candy canes complete this delicious line up.
It’s many little girls’ dreams to become a ballerina and this is their opportunity to watch this story unfold. Clara is one of these little girls and becomes the Sugar Plum Fairy, one of ballets most renowned ballerinas. The pretty pink tutu and sparkling tiara are sure to appeal to every little girl in the audience, whilst the boys will be taken with the thrilling battle scenes between the evil rats and the chivalrous soldiers. I am sure when they leave the theatre they will truly believe that they have been an integral part of this magical journey.
Children and adults also have the chance to take away a Nutcracker Doll of there own, as there is a souvenir shop within the foyer of the Hippodrome selling a wide range of merchandise that is sure to give you a piece of the ballet to keep forever.
Birmingham Royal Ballet is a world renowned ballet company with a spectacular array of young vivacious talented dancers. You will have the opportunity to see many of these dancers perform in roles that albeit created for others twenty years ago are eminently suitable for the company today.
Nutcracker is one of the most popular and spectacular ballets ever created so make sure that you are there to be taken on a magical journey right into the heart of Christmas where it is guaranteed to snow!
Monday, October 26, 2009
Kolb's Learning Cycle
In my life so far I have not come across Kolb or his Learning Cycle; however I found it interesting that I was able to immediately indentify where I enter Kolb’s Learning Cycle.
Active experimentation
This is where I feel that I personally enter the cycle. In the past trial and error has taught me that I work best when I have a clear bullet point plan of what I wish to include in each task, this allows me to assemble my thoughts in a coherent manner. For Task A I researched which websites would be best to use in each section, as well as what style I would like to convey within my blogs, I tried these styles out and judged which was best to use in my blog. For Task B I thought about which methods would be best to use to gather the information for my essay and concluded that an interview would be the best method to get the information necessary. I then analysed questions that would be most applicable to the assignment. I find it difficult to keep within the word count restraints set so I have learnt to always have these in mind when I am planning what I would like to include, this also helps me filter out any unnecessary information. I feel that my A Level English also equipped me well in the planning and preparation of any written task, thus enabling me to work within Kolb’s Learning Cycle without necessarily being aware of the process. This planning then led me on to undertaking and actually doing the task.
Concrete experience
As I was doing the interview and typing up the notes I could relate this to concrete experience of doing and learning as seen in Kolb. It has been proven in educational theory that we retain more by physically doing a task than by hearing or seeing it being done. This is certainly true of my personal learning style. As a kinaesthetic learner, I need to do the task to gain the most from it. During the interviews I felt that I was learning more about what had influenced me and was intrinsically part of me as a dancer by hearing and talking to my two teachers; especially when I formulated what I had heard from them into the diagram that I later constructed. Having to summarise and pick out the key points to form a visual summary meant that I retained the most important concepts that I needed to. By visiting other students’ blogs I could formulate my initial plans into concrete blog pages of my own and by creating these pages and the links that went within them I could then begin the reflective practise that was necessary as I moved on to the next stage within Kolb’s Cycle.
Reflective observation
For this task (C) I have been forced to reflect upon my learning so far; not only within this course but within my overall training. I have maintained a reflective diary throughout my four years of training at Elmhurst, so I am used to analysing the way in which I work and learn. This was related more to a practical experience within my ballet classes; however it has enabled me to understand the importance of reflection and critical analysis of my strengths and weaknesses. I feel that my thorough preparation and planning of assignments has enabled me to produce a good standard of work, which for me means something that I am proud of and feel reflects the high standard that I am capable of. Reflecting on task A and B and the outcomes that they have generated has enabled me to construct this evaluation of the efficiency of the way in which I learn and work. Constantly reviewing the progress of my learning and adapting it has facilitated my achievement and enabled me to progress through the tasks to this final section with a greater understanding of my own learning. This reflection, I believe, has allowed me to maximize the opportunities to improve my professional practice.
Abstract conceptualism
From my initial planning, doing and then reflecting I can conclude that my most effective way of learning is to start with a good initial plan. I believe that the plan of an essay or blog is like the foundations of a building, the stronger and more concrete that they are, the more you can build upon them. These and other intangible ideas are often harder to understand and learn from than concrete evidence which we see in a dance class every day. This assignment has enabled me to understand how to develop abstract ideas into concrete essays. I am sure that I will now use Kolb’s Learning Cycle in a more practical and effective way as I am now aware of how important each of these different stages are if I wish to achieve excellent results. Although these processes are cyclic; in my own mind I often work through them at such a pace I find it to hard to consciously separate them. By working through in a logical manner and reflecting at each stage of the cycle what I have to do next I will be able to continue to learn. Now I have become conscious of this cyclic process, I will endeavour to actively use it to enable me to develop my professional practise.
Active experimentation
This is where I feel that I personally enter the cycle. In the past trial and error has taught me that I work best when I have a clear bullet point plan of what I wish to include in each task, this allows me to assemble my thoughts in a coherent manner. For Task A I researched which websites would be best to use in each section, as well as what style I would like to convey within my blogs, I tried these styles out and judged which was best to use in my blog. For Task B I thought about which methods would be best to use to gather the information for my essay and concluded that an interview would be the best method to get the information necessary. I then analysed questions that would be most applicable to the assignment. I find it difficult to keep within the word count restraints set so I have learnt to always have these in mind when I am planning what I would like to include, this also helps me filter out any unnecessary information. I feel that my A Level English also equipped me well in the planning and preparation of any written task, thus enabling me to work within Kolb’s Learning Cycle without necessarily being aware of the process. This planning then led me on to undertaking and actually doing the task.
Concrete experience
As I was doing the interview and typing up the notes I could relate this to concrete experience of doing and learning as seen in Kolb. It has been proven in educational theory that we retain more by physically doing a task than by hearing or seeing it being done. This is certainly true of my personal learning style. As a kinaesthetic learner, I need to do the task to gain the most from it. During the interviews I felt that I was learning more about what had influenced me and was intrinsically part of me as a dancer by hearing and talking to my two teachers; especially when I formulated what I had heard from them into the diagram that I later constructed. Having to summarise and pick out the key points to form a visual summary meant that I retained the most important concepts that I needed to. By visiting other students’ blogs I could formulate my initial plans into concrete blog pages of my own and by creating these pages and the links that went within them I could then begin the reflective practise that was necessary as I moved on to the next stage within Kolb’s Cycle.
Reflective observation
For this task (C) I have been forced to reflect upon my learning so far; not only within this course but within my overall training. I have maintained a reflective diary throughout my four years of training at Elmhurst, so I am used to analysing the way in which I work and learn. This was related more to a practical experience within my ballet classes; however it has enabled me to understand the importance of reflection and critical analysis of my strengths and weaknesses. I feel that my thorough preparation and planning of assignments has enabled me to produce a good standard of work, which for me means something that I am proud of and feel reflects the high standard that I am capable of. Reflecting on task A and B and the outcomes that they have generated has enabled me to construct this evaluation of the efficiency of the way in which I learn and work. Constantly reviewing the progress of my learning and adapting it has facilitated my achievement and enabled me to progress through the tasks to this final section with a greater understanding of my own learning. This reflection, I believe, has allowed me to maximize the opportunities to improve my professional practice.
Abstract conceptualism
From my initial planning, doing and then reflecting I can conclude that my most effective way of learning is to start with a good initial plan. I believe that the plan of an essay or blog is like the foundations of a building, the stronger and more concrete that they are, the more you can build upon them. These and other intangible ideas are often harder to understand and learn from than concrete evidence which we see in a dance class every day. This assignment has enabled me to understand how to develop abstract ideas into concrete essays. I am sure that I will now use Kolb’s Learning Cycle in a more practical and effective way as I am now aware of how important each of these different stages are if I wish to achieve excellent results. Although these processes are cyclic; in my own mind I often work through them at such a pace I find it to hard to consciously separate them. By working through in a logical manner and reflecting at each stage of the cycle what I have to do next I will be able to continue to learn. Now I have become conscious of this cyclic process, I will endeavour to actively use it to enable me to develop my professional practise.
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