Stroia Ballet Company

Nutcracker
Teaching Curriculum
And Study Guide
 Index Page

Introduction 4

Nutcracker History 5

Profile of Tchaikovky 6

The Story 7

About Stroia Ballet’s Artistic Director 8

About Stroia Ballet Studios 9

Pre-Performance Lessons 10-13

Part I – Pre-Performance Background of the story
Part II – Appropriate Audience Behavior

Post-Performance Lesson s 14-18

Six different lessons that will aid students to explore
through art who they are and how they feel.
Contest in Lesson II, page 16

Additional Ballet Resources 19

FAQ’s 20

What is Dance? 21

Fun Facts About the Nutcracker Performance 22

Ballet Terms 23-24

More Fun Activities 25-30

Answer Keys 31-32

Teacher Comment Survey 36-37

Information Compiled by Linda Meyer 2003

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 Acknowledgements

I would like to thank the New York City Ballet and the San Francisco Ballet Education Department’s
for their commitment and passion to the education of school age children everywhere. Their
willingness to share educational resources made this study guide possible for the benefit and learning
experience in our entire community.

Special mention goes to Sue Moehling. An elementary teacher in central Minnesota whose insight and
beginnings for a study guide inspired its contents.

Greatest thanks to Carlos Stroia and his cast of performers and volunteers who for over twenty years
have given tirelessly endless hours of dedication to the art form of ballet. Without their dedication
performances like the Nutcracker would not be possible.

Most of all, thank you the audience for supporting us all these years!

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 Introduction to the ‘Nutcracker’ Education Guide

The ‘Nutcracker’ teaching curriculum is designed for second through sixth grade classes. The tools
presented are designed to promote artistic expression in a variety of ways among students. Using the
elements and themes from the ‘Nutcracker’ ballet to inspire exploration and students will begin to
discover their own creativity.

Students and teachers are engaged in a variety of learning activities for pre and post performance. The
climax is a live performance of the ‘Nutcracker’ ballet presented by the Stroia Ballet Company at a
matinee in an auditorium or theater designated in the confirmation letter you received with this packet.

During the curriculum students will use both literal and abstract thinking skills and begin to make
connections that can transform their everyday life experiences into artistic expression. Students
develop increased confidence and discover new communication skills through participation in the
program.

Goals and Objectives

• Students will be given a broad view of many aspects in learning and discovery using the Nutcracker
theme.
• Students will begin to develop both literal and abstract thinking skills while identifying and
reflecting upon the many themes of the ‘Nutcracker’.
• Students will explore language and movement as well as reflect upon their emotions by discussing
their experience of the performance and creating their own works of art.
• Students will investigate ballet’s ability to stimulate imagery by creating their own artistic
impressions.

These objectives have been created to provide students with opportunities for artistic expression and
communication skills. We hope by using the tools provided your students would begin to transform
these elements into a better learning experience and explore the different avenues of self-expression.

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 Nutcracker History

In 1816, E.T.A. Hoffman published The Nutcracker and the Mouse King, a tale full of dark undertones
and bleak views of human nature and family relationships – a tale specifically not intended for children.
Many years later a man named Alexander Dumas adapted the story, filling it with love and warmth,
making it ideal for young children. Marius Petipa, a great ballet teacher and choreographer with the
Russian Imperial Ballet, read the tale with interest and soon commissioned a well respected composer
named Peter Ilyitch Tschaikovsky to write the musical score. Petipa gave Tschaikovsky very detailed
instructions on the kind of music he wanted to convey for certain actions and moods. In 1891
Tschaikovsky set to work on composing the musical score. The Nutcracker was then first performed in
St. Petersburg in 1892. Although the Nutcracker is one of the most popular ballets today, its premiere
was far from a success. Audiences criticized nearly everything from the choreography to the dancers to
the music, and the ballet was dropped from the repertoire after just two seasons. Today all that remains
of the original choreography is the final pas de deux between the Sugar Plum Fairy and her Cavalier.
In 1919, George Balanchine first danced The Nutcracker Prince at age fifteen in Russia.

Decades later, Balanchine and another ballet dancer named Alexandra Danilova brought the Russian
version to America as a way to fill in the unoccupied space in the San Francisco Opera House between
Christmas and New Year’s Day. The community’s reaction to the Nutcracker was beyond their wildest
dreams. Later Balanchine created his own version of The Nutcracker, which would become the most
lasting hit in dance history. This version celebrates an old-fashioned Christmas and the imagination of
a young girl, has been an annual holiday tradition since 1954.

Unlike a painting or piece of sculpture, which is static, dance changes over time. Nowhere is this more
visible than in watching the Nutcracker.

How well can you remember Nutcracker history?

When did Tschaikovsky start composing the Nutcracker? ______
Who first wrote the ‘Nutcracker and the Mouse King’? _________
What Russian choreographer first choreographed this story into a ballet? _______
Where was the first Nutcracker performed? _________
Who brought the Nutcracker ballet to America? ________________
Answers are on page 31

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Profile of the Composer:
Peter Ilych Tchaikovsky
Peter Ilych Tchaikovsky was born in Kamsko-Votinsk, Russia on May 7th, 1840. He was a very bright
child who could read Russian, French, and German by the time he was six years old. He also hated
physical exercise, did not like to wash and didn’t care about how he looked or what he wore.

He showed an interest in music that was so strong for a young child that his governess worried about
him. If he could not find a piano to try out the music he made up, he would use his fingers to tap out
his tunes on the windowpanes of his house. One time while he was doing this he tapped so hard that he
broke the glass of the window, and cut himself very badly. Peter began taking piano lessons when he
was six years old. After attending boarding school he studied law and mathematics and got a job as a
clerk working in the Ministry of Justice. After just four years he quit his job to go to music school full
time in order to study composition. He was soon invited to teach classes.

Tchaikovsky was a nervous, unhappy man all his life, yet his beautiful music made him the most
popular of all the Russian composers. He wrote the music for the three most famous ballets of all time,
Nutcracker, Swan Lake, and The Sleeping Beauty.

In his lifetime he also wrote nine operas, six symphonies, four concertos, three string quartets, and
numerous songs, suites, and overtures. One of his most famous pieces is The 1812 Overture, which
uses cannons and church bells; because it sounds so grand it is often chosen to accompany fireworks at
4th of July celebrations.

Tchaikovsky was only 53 when he died in St. Petersburg in 1893. He had just completed his sixth
symphony, which he felt was the best piece of music he ever created.

How well do you remember numbers?

Tchaikovsky…
Was born in this year _______
Began taking piano lessons at this age ______
Could read this many languages at three _______
Wrote this many symphonies ________
Was this old when he died _________
Wrote this many Operas ________
Worked as a clerk this many years _________
Answers are on page 31

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 The Story
The Stroia Ballet Company presents a timeless yuletide fantasy:
The Nutcracker
Story originally written by E.T.A. Hoffman
Music by Piotr Ilyich Tchaikovsky
Choreographed by Carlos Stroia

The Silberhaus family complete final preparations for their annual Holiday party as guests travel
through a crisp winter night. The Silberhaus children, Clara and Fritz, eagerly greet the partygoers and
lead festive dances. Suddenly, a stranger disguised with an eye patch interrupts the party. The
gentleman amazes the guests with feats of magic. He brings forth-mechanical dolls that dance for the
guests. When the stranger removes his disguise and reveals himself as Herr Drosselmeyer, Clara’s
Godfather, he presents Clara with a nutcracker doll. Herr Drosselmeyer transforms the Nutcracker to
life size. The children dance with the doll until Fritz breaks it. The Nutcracker is placed in a chair
where, heartbroken Clara curls up on its lap and is soon asleep.
Clara wakes to a dreamland where her house has grown to tremendous proportions. Fritz’s toy
soldiers, led by her Nutcracker, engage in a ferocious battle with the Mouse Queen and her army of
mice. The Nutcracker fights valiantly and is victorious over the Mouse Queen.
Clara travels to the Land of Sweets where snowflakes swirl and flowers waltz in celebration.
Harmless mice tease Madame Bonbonniere. Rare toys from far away lands each dance their unique
repertoire. The Sugar Plum Fairy and the Nutcracker Prince dance a Grand Pas de Deux and are wed.
Clara awakens with the Nutcracker doll in her arms and wonders…was this all just a lovely
dream?

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 About Stroia Ballet Company and the Artistic
Director

Established in the early 1980’s, Stroia Ballet Company and Studios are committed to high
quality instruction, innovative programming and the sponsorship of dance events. Stroia Ballet, with its
professional productions and events, has enriched the cultural life of central Minnesota.

Stroia Ballet Company is a regional ballet company, which provides a unique opportunity for
students from the Stroia studios to participate in full-length ballets. The company’s repertoire includes
classical and contemporary ballets such as Sleeping Beauty Act III, Peter & The Wolf, Coppelia Sute,
Romeo & Juliet, Mignon, Grande Pas de Quarte, Rodeo, Waltz by the Beautiful Danube, Shadows of a
Though, Dvertismento, Silhouettes, Giselle, Dancing Around the World, Texas Dream and the world
famous Nutcracker.

Carlos Stroia, the company’s founder, artistic director, instructor, choreographer and principal
dancer, was born in Transylvania, Romania. Mr. Stroia graduated from one of only two dance schools
in the country, The School of Choreography in Cluj, Romania. Mr. Stroia was a guest artist with
companies around the world. He has performed extensively in 26 countries including Teatrul De
Opera, Si Ballet Bucuresti, Ballet Nacional De Cuba, Teatruo La Scala, Milano, Italy, Compangia
Balleto, Clasico CosiStefanescu, Hamburg Ballet, Metropolitan Opera and Minnesota Dance Theatre.

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 About Stroia Dance Studio
The studio offers three convenient locations. St Cloud 320-656-8808
Little Falls 320-632-5531
Brainerd 218-825-7167

The training program is designed to take students from their very first step through a comprehensive curriculum of
classical ballet technique while nurturing an environment of excellence, dedication and integrity.

Classes
Fall class sessions begin after Labor Day and conclude with the Spring Dance Recital in May.

Summer class sessions begin the first week of June and conclude at the end of July.

August is reserved for intensive workshops, which offer students the opportunity to tremendously improve their
dance skills and provides additional comprehensive curriculum.

There is a week break during winter holidays and after the Spring recital.

Spring Dance Recital

The annual spring dance recital is the perfect occasion for family and friends to celebrate student achievements.
Recitals are in full prop and costume. Students are individually measured for the costumes, ordered through the studios in
January and purchased by the parents. Every student will be offered a dancing part.

The Nutcracker
Performed annually during the holiday season at several central Minnesota locations, involves the majority of the
student body. Mr. Stroia does casting for various parts according to individual student ability.

Summer Intensive Workshops

The summer intensive ballet workshops are held the months of July through August. Students are split into four
levels: Beginner, Intermediate, Advanced and Adult. Workshops are one or two week periods.

Dancewear Requirements
Girls/Women – Black leotard, pink footed tights, pink ballet slippers, hair secured away from the face.

Boys/Men – Dance pants or tights, sweat pants acceptable, plain t-shirt.

Dancewear supplies can be bought through Stroia Studio. All orders for dancewear or pointe shoes must be paid
for in advance.

Class Description – Classical Ballet/Vaganova method

1. Beginning Ballet – 1 hour per week
2. Beginning Ballet I – 1 hour per week
3. Beginning Ballet II – Some experience required. 2 hours per week
4. Intermediate Ballet & Pointe – 3 hours per week
5. Advance Ballet & Pointe – 5 hours per week
6. Partnering Class, Pointe Technique, Adult Ballet & Exercise

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Pre-Performance Lesson
We suggest that you conduct Part I of the pre-performance lesson any time prior to seeing the
performance and Part II of the lesson as close to the date of the performance as possible.

Materials needed:
• The Nutcracker Story (see below)
• Images of the Nutcracker Story – optional (see www.nutcrackerballet.net)
• The Nutcracker audio recording (optional - can be purchase at any music store or internet
download)
• Chart paper or chalkboard to record student responses

Introduction:

As an introduction to the program and prior to the live performance of the Nutcracker, this lesson
attempts to provide students with a background to view the dance. Feel free to adapt the lesson to suit
the needs and/or level of your students.

Discussion (Part I & II)

Part I of the lesson will invite students to discuss the themes listed below.
Optional: You may also want to assign one of the discussion items below as a writing activity.

Part II of this lesson includes a discussion of appropriate audience behavior. We recommend that
you have this discussion with your students the day before or just prior to coming to the theater.

Part I - Begin the lesson by informing the students that they will be seeing a performance of a
ballet that is based on a fictional story that is almost 200 years old. (Other information supplied
in this manual may be used as well or in addition to.)

1. The Nutcracker takes place in Nuremberg, Germany, and begins with a party on Christmas
Eve. The main character of the story is Clara, a young girl whose parents host a big
gathering for friends and relatives. As the Silberhaus family complete final preparations for
the annual holiday party their guests travel through the crisp winter night.

(You may begin discussion of the related theme with the suggested leading questions. Feel free to
modify classroom discussion to meet your specific needs and interests as well as those of your students.
Record student responses.)

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 Theme #1: A celebration or party
• What kinds of parties have you had?
• What are the reasons and occasions that you celebrate with a party?
• Who comes to these celebrations and parties?
• What do you do at these parties? Do people dance? Listen to music?

1. There are many friends and relatives at Clara and her family’s Christmas party, but not
everyone is fun to be with. Clara’s brother, Fritz, is an annoyance. He and his friends
constantly taunt and tease Clara and her friends.

Theme #2: Family and differences of opinion

• Do you have differences with your brothers and sisters?
• Other members of your family?
• What are they about?
• How do you resolve them?
• How can you prevent them from happening in the future?

2. Luckily, Clara has her friends and other family members to keep her in the holiday spirit.
Her godfather, Herr Drosselmeier, arrives with gifts for all the children. He also magically
brings special toy dolls to life. His gift to Clara is a Nutcracker.

Theme #3: A special gift

• What special gifts have you received?
• What makes a gift special?
• Has anyone given a special gift to someone?
• What was it? For whom?
• What is the most special gift one can give or receive?

3. The party ends and all the guests depart. Clara falls asleep in the living room by the
Christmas tree and has a magical dream. In her dream there is a ferocious battle between
larger-than-life mice and toy soldiers. The mice are defeated, and a Nutcracker Prince who
defeats the Queen Mouse rescues Clara.

Theme #4: Dreams and fantasies

• What kind of dreams do you have?
• Where did you go in your dream?
• What did you do in your dream?
• Why do some dreams feel real to you?
• What do you think your dreams mean?

4. After the victory over the mice, the Nutcracker Prince brings Clara to the magical Land of
Sweets where snowflakes swirl and flowers waltz in celebration. Harmless mice tease
Madame Bonbonniere. Rare toys from far away lands perform their native dance.

Theme #5: Journey to a new and different place

• Has any of you been on a journey or a trip?
• Where did you go? How far did you travel? How did you get there?

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• How would you describe this place? Was this place similar to or different from where you live
now?
• Did people have different customs or traditions?
• Did people look the same? Did they speak a different language?
• Where would you like to go on your next trip? Why?

Note: Students may want to save their responses for use in post-performance lesson.

Part II - Because this activity deals with the practice of appropriate audience behavior at a dance
concert, we encourage you to have this discussion just prior to your trip to the theater. It is
important for the students to know that we want everyone in the theater to enjoy the performance
without distraction.

Explain to students that they will be making a very special journey. They will be going to a theater
to see one of the world’s most famous ballets. The Nutcracker. You may wish to explain that the
theater is a special place for people to experience magical and beautiful things. They may expect to
see new things. However, in order to fully appreciate the performance a certain kind of behavior is
necessary. The following discussion might be helpful in preparing students for the concert.

Appropriate Audience Behavior Discussion

• How many of you have been to a theater?

• How many of you have been to a ballet performance?
• What was the performance and where was it?
• How did people behave during the performance?
• Is going to the theater like going to a football game? Is it like going to a symphony
performance? Why or why not?
• How do people express themselves at a ballet? (Do people talk loudly, eat, move around, or
jump up and down during a dance concert? Do people pay close attention? Are they quiet?
When do they applaud?)
• Why do we behave differently at a ballet performance than at a baseball or hockey game?
• How do you intend to behave when you go to the ballet performance?

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 A Guide to Theater Etiquette
• The performance will begin promptly. Be sure to verify your theater show time and location.
• Let your students know in advance what behavior is expected of them. This is a LIVE
performance. Unlike television or the movies, the people on stage are there at that moment and
are dancing for the audience’s pleasure. Any noise distracts them. The performance will be
exciting, but let your students know that they will be required to sit quietly in their seats for a
fairly long period of time.
• School clothes are appropriate dress, however, some students may choose to “dress up.”
• Please plan to arrive at the Auditorium/Theater at least 30 minutes prior to the performance.
• Your confirmation of seating is located on the first page of this study guide. Please retain the
top portion and show this to the volunteer usher, and he/she will help you locate your seats.
The bottom portion should be submitted with your payment to the Stroia Ballet Company prior
to the performance.
• No food, drink, chewing gum, walkmans, cameras, or recording equipment are allowed inside
the theater because this is disruptive to the dancers and other members of the audience. If you
plan to bring any of these items, please have your students leave them on the bus until after the
performance has ended. We do not have provisions for storing these items.
• It is important to have your students visit the restrooms before the performance begins. It is
inappropriate to visit the rest rooms during a live performance. At all times, an adult must
accompany children to the restrooms. Volunteer ushers will direct you to the rest rooms.
• Please remember to turn off your cell phones and pagers.
• This performance will last approximately 1 hour and 50 minutes. Please remain seated
afterwards. Schools will be dismissed according to bus location.
• Please notify us in advance if you will require accommodations or special needs for anyone in
your group.

We recommend that you provide your students with some guidelines of things to look and
listen for during the performance. You may also want to encourage your students to add to
this list. This will be used in the following lessons and perhaps give them better re-call of their
experience if they are prepared in what to look for.

Students should be encouraged to:

• Watch the dancers.
• Listen to the music.
• Look at the costumes and set designs.
• Laugh when they see the dancers do something funny.
• Clap to show the dancers that they are enjoying the performance when the dancing has
finished. It is customary to applaud when the dancers take a bow.

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Post-Performance Lesson
We recommend that this lesson follow the performance. Lessons are meant to be used as presented or
a variation that is appropriate for your class.

In the Stroia Ballet performance of the Nutcracker they will have seen one artistic interpretation of a
story through music and ballet. We anticipate that the performance will stimulate a lot of excitement
and an opportunity to discuss some of the themes that are central to the story and ballet. This exercise
will give students the chance to reflect upon their experience and to express their responses and
interpretations. The lesson will allow students to note how ideas and characters can be expressed
through dance and music.

Introduction:

In these lessons students will get to explore and freely express through art and writing who they are and
how they feel. The student may select one activity or image that has left a strong impression to recreate
in a drawing, collage or poem.

Lesson I

Materials needed:
• The Nutcracker audio recording (optional)
• Chart paper or chalkboard to record student responses

The questions below attempt to draw responses that are evocative of the ballet’s themes. As in the pre-
performance lessons, feel free to modify the exercise to suit you and your students’ interests and needs.

We suggest that you record students’ responses to the discussion on the chalkboard (or chart
paper/worksheet). Be sure to save their responses. The various activities included in this manual can
also be used.

Encourage the use of words and phrases that are precise, vivid and original. Avoid generalities; solicit
details and distinctive imagery. When appropriate, incorporate use of all the senses: sight, sound, taste,
touch and smell. Encourage students to imagine freely.

During this exercise, you may also decide to play excerpts from the Nutcracker audio recording, which
may stimulate more reflection.

1. Theme #1: A celebration or party

What words describe the party? What images and events stand out in your memory? Describe your
favorite character.

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2. Theme #2: Family and differences of opinion
Describe the relationship between Clara and Fritz. How would you describe the relationship between
parents and children?

3. Theme #3: A special gift

How would you describe Drosselmeier’s gifts: the Harlequin dolls, Columbine, toy Soldiers and Fritz’s
hobby horse? Were there others? Why was Clara’s gift, the Nutcracker, so special?

4. Theme #4: Dreams and fantasies

Can anyone describe Clara’s dream?

5. Theme #5: A journey to a new and different place

What words describe the place where Clara travels with the Nutcracker Prince, The Land of Sweets?
Which of these places would you like to visit?

Again, save the responses as material for other lessons.

Lesson II

Materials needed:
• The Nutcracker audio recording (optional)
• Art materials: Poster paper at least 18” x 24” and drawing implements
• Any of the materials, worksheets, etc. from the previous lessons.

In this lesson students will get to explore and freely express through art who they are and how they feel.
The student may select one activity or image listed below that has left a strong impression to recreate in
a drawing or collage.

Ask the students to take a few moments to consider their favorite activities or images from the
Nutcracker program they have experienced thus far. These activities may range from their excursion
to the Auditorium, to any memories from the performance, to any of the classroom activities. Explain
that they will be creating a visual work of art to document this memory. The students have the freedom
to choose any of the following:
• They may visually recreate a poem.
• They may draw an image from the ballet.
• They may draw a visual impression of a piece of music that they have been listening to.
(What colors, textures or feelings is the music expressing? How can the student express
these notions visually? What art media – paint, tissue paper, pastels, clay, etc. – capture the
mood of music?)

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This culminating art project may be completed over the course of several days. Three of your students’
artworks may be submitted to the Stroia Ballet Company for display in the Studio.
• All artwork must be received by February 1st
• On the back of each entry in the center, please clearly print (or type) the following:
1. Student’s Name
2. School
3. Class/room number
4. Classroom teacher
5. Guardian’s name
6. Student’s home address
7. Student’s home phone number
• Three names will be randomly drawn from all entries received by February 1st. Students
will be notified and awarded four complimentary tickets to a Stroia Ballet performance.
• All submitted artwork will become the property of the Stroia Ballet.
• Send submission to: Stroia Ballet Company
113 2nd St. NE
Little Falls, MN 56345
• If you have any questions, please call the Education Resources at 320-259-5546.

Throughout this lesson you may play excerpts from the Nutcracker audio to spur your students’
imagination.

Do not hesitate to consult or seek assistance from your Arts teacher.

Lesson III

Materials Needed:
• Drawing materials and various paper, paints, or other textures such as string, macaroni, etc.
• Glue and scissors.
• OR can also use a shoebox and create their own stage scene.

Have the student draw a vision from an imaginary Land of Dreams. You may guide them to imagine
their own magical place like Clara did where unexpected things happen.
• What colors do you imagine? What textures (soft, smooth, hard, etc.) do you notice?
• What objects fill the space? How do they feel?
• What characters inhabit this place? What are they doing?
• What does the place look like? What makes this place magical and special?
• What do they smell and hear?
• How can one construct this magical place visually?

Lesson IV
Materials Needed:
• Distribute implements for collage: assorted types and colors of paper.
• Glue, scissors, etc.

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Lead students to explore the unique properties of paper by folding, crumpling, tearing and cutting.
Explore the relationships among the various pieces of paper by placing them side by side, one over the
other, etc. Note the various relationships that students discover.

Distribute to students the work they have completed and you have saved throughout the course of the
Nutcracker project, which should include words, phrases, poetry, artwork, reflective writing, etc. Help
the students to experiment with all of these elements, including the collage materials, in one visual
work of art. They may explore the same processes of exploration and experimentation (relationship of
shapes, space, textures, and ideas) before they decide on a final collage.

The guidelines for the artwork are purposefully left open to you and your students’ interpretation.
Hopefully your students will have experienced a wide range of imaginative, analytical and creative
modes.
.
It is our wish that these final exercises serve as a form of reflection. Again consult your Arts
specialist in your school to design an appropriate and effective activity that demonstrates student
understanding.

Display students finished works in the hallways or bulletin board in their school.

Lesson V

Materials Needed:
• Words, phrases, etc. from Lesson I
• Pencils and paper
• Chalkboard
• Nutcracker music (optional)

This exercise aims to have the students collaborate on a class poem. There are many ways to achieve
this and below we describe one possible way. Feel free to incorporate your own methods to create the
poem and to modify the lesson to suit your teaching style. One important objective is to make this
exercise a collective process. As much as possible, try to elicit participation from every student in the
class. The combination of different-minded students can contribute to freshness and dynamic language.

• Begin by discussing with the class the similarities between dance and poetry. What kinds of things
appear in both dance and poetry? Among the many similarities between both forms, one of the
most obvious is that just as a choreographer puts movement together a poet puts words together to
express a thought or feeling.

• Discuss the notion that a ballet takes many different people, not only dancers and musicians, who
must work together collectively. Can the students name others who are involved in a ballet
production? Explain that the class will need to work together to create a poem.

• Have the entire class close their eyes and imagine a scene or element of the ballet (celebration,
family, special gift, dreams and fantasies, journey to a new place.) Ask them to imagine being apart
of the scene or a character rather than the audience. Focus on details such as what they see, hear,

17
 time of day, year, the smells, what are they doing, feeling. (The Nutcracker music will help create
the atmosphere.)

• After the students have imagined this event, have them quickly write down a brief line of words
capturing or recalling the most vivid image from the experience. As the students are writing, you
may suggest that students describe something so special that nobody else knows about it. They
should avoid generalities and focus on the concrete details. Spelling and grammar should not be a
worry until later.

• Divide into groups and give each group a piece of paper. Ask each group to put their lines together
to form a stanza or an interesting line of words. They may move the words around as they choose;
they may add, remove and replace words. Words and phrases discussed in Lesson I can also be
used. The stanzas must include a part of each student’s phrase.

• As you walk around the room, watch each group and make suggestions when appropriate. Identify
the word choices that resonate and discuss why. If some students are having difficulty, suggest that
they simply write everyone’s line down in any order. The accumulative effect can still be
interesting.

• When the students have completed the task, ask each group to write their stanza on the chalk board
or read to the class. Discuss each line with the class. Why did they choose that order of words?
What are the vivid details and images? What words sound musical or have movement? How so?

Lesson VI

After the performance, many students say that the snow scene was their favorite part. This is a great
lesson to coincide with real snow and the excitement of a winter storm and school closings.

Begin by discussing snow, from Eskimo names for snow to scientific facts to poems and pictures of
snow. Students write their own snow poem, using ballet as a jumping off point. Accompanying
illustrations can be drawings or snowflake cut outs.

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Ballet Information Websites:

http://www.abt.org/library/dictionary/ - American Ballet Theatre DICTIONARY

http://www.nycballet.com/programs/balletkids.html – full of links, activities and information from the

New York City Ballet.

http://www.jeannepasero.com/nutcracker.html – Nutcracker links

http://www.balletmet.org/EDUCATIO/Life.html – a day in the life of a ballet dancer.

http://www.balletmet.org/FUN.html – fun and learning activities (including quizzes and word search)

http://www.dancer.com/Hist.html – all about pointe shoes – history, how they work, famous ballerinas,
etc.

http://www.coloring.ws/ballet.htm – free ballet coloring sheets.

http/pw.psdr3.org/projects/projects97_98/careers/balletdancer.html – day in the life of a ballet dancer –

lower reading level.

http://www.nutcrackerballet.net – Nutcracker stuff

Book Resource List:

The Illustrated Book of Ballet Stories by Barbara Newman

Duke Ellington’s “The Nutcracker”

I Live in Music by Ntozake Shange

The Nutcracker (picture book) published by Barnes and Noble

The Nutcracker: A Story and a Ballet by Ellen Switzer

The Toy Soldier by Simon & Schuster

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Frequently Asked Questions about Ballet
When and where did ballet start? Ballet had its beginning in the royal courts of Europe in the 16th
century and spread throughout the world. The late Lincoln Kirstein and the late George Balanchine
formed New York City Ballet in 1948.

What is ballet? Ballet is a form of dance identified by a common vocabulary of steps that has been
arranged and added to by dancers and choreographers over the centuries. The basic vocabulary stems
from the “five positions” of the feet, legs and arms.

What language is used for ballet? The French terminology used for the social dancing of the court of
Louis XIV of France, who reigned from 1643 to 1715, has remained the language of ballet.

How do dancers stand on the tips of their toes? Pointe shoes are special shoes worn by women in
ballet. The tip of the shoe is made of layers of canvas and glue that give it a hard, flat surface for the
dancer to stand on. The shoes are covered with satin and have a leather sole.

Do pointe shoes hurt the dancers’ feet? Yes. A dancer must train for years to develop the strength in
her feet, ankles and legs to be able to stand on pointe. Dancers often bandage their feet and sometimes
wrap their toes to cushion the pressure.

Why do dancers wear tights? Dancers wear tights so they can move easily and so the audience can
see their movements. Jeans or pants would restrict a dancer’s movement. The clothes dancers wear
during a performance are called costumes.

What is a tutu? A tutu is a special shirt worn by female dancers. It is made of layers of tulle.

How do the dancers know what steps to do? A choreographer is the person who chooses the music
and tells the dancers what steps to do. The dancers learn their rolls in rehearsals and practice the steps
over and over before they perform them for an audience.

Don’t dancers get dizzy when they turn? Dancers learn a handy trick called “spotting.” Before they
begin a turn, they select something to focus on, a clock, door, distant light. As they turn they try to
keep their eyes focused on that object until they have to whip their head around quickly to find the
object.

How long does it take to become a dancer? It takes roughly eight to ten years of training to become a
professional ballet dancer. Training ideally begins when a student is between the ages of 7 and 10.
Beginners attend technique class once or twice a week. By the time a student is 15 years of age, they
will be taking 10-15 classes per week. The hope of a career with one of the world’s top ballet
companies is limited to a very few people. These dancers are quite comparable to the finest Olympic
athletes.

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What is Dance?
Bending, stretching, jumping, and turning, are all activities dancers do; however, dancers work hard
and long to transform these everyday movements into the language of dance.

Ballet is distinctive from dance in that it requires a special technique, established almost 500 years ago,
involving steps and body movements that are unique to this discipline. The most striking feature of the
technique is the turnout of the legs from the hip. This turnout enables ballet dancers to move to either
side as well as forward and back with equal ease, giving them command over a full circle of movement.
The dancer’s turnout from the hips and strong frontal orientation of ballet staging can be traced to the
European court tradition that directed the performance toward the sovereign in attendance.

Other distinct dance styles include:

Ethnic: Any dance form developed by a particular culture, like African, Spanish, Russian, Chinese,
Cuban, Hawaiian, etc.

Jazz: Truly an American dance form. Originated in America, this form combines elements of African,
modern, and ballet.

Modern: A dance form, which originated around the turn of the century in both Europe and America.
Isadora Duncan, known as the “mother of modern dance,” began dancing barefoot and without the
traditional ballet costumes as a rebellion against the constraints of ballet. Modern dance is based on the
feet being parallel from the hips, rather than turned out as they are in ballet.

Social: Any dance form that people enjoy when they are gathered together. Ballroom dancing, street
dancing and folk dancing fit into this category.

Tap: Another distinctly American dance form, tap combines elements of jazz dance, and borrows from
the Irish jig and Dutch clogging.

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Fun Facts About The Nutcracker Ballet

The Stroia Ballet has been performing the Nutcracker annually since 1985.

Eighteen children ages 5 to 12 play mice roles in the Nutcracker. All mice parts are triple cast so there
are at least 54 Stroia Ballet students located from Brainerd, Little Falls and the St. Cloud area.

There are more than 140 costumes used for the Nutcracker performance.

The mouse costumes require the most upkeep and are very warm. The body and head are made of a
heavy gray felt material, which go over the top of a full body gray spandex unitard. Each mouse head
is embellished with whiskers, eyes and a crown. Since the costumes limit the dancers’ sight, they also
step on each other’s long tails.

The snow is made of recycled paper. Approximately 5 pounds are used for each performance.

The Christmas tree in the Nutcracker is twelve feet tall. It is put together in sections and secured on a
wooden platform with wheels. The wheels make it easier to move on and off stage quickly.

A special floor is put down on top of the original stage floor to protect the dancers feet and so it’s not
so slippery.

There are 5 different scenes used for the Nutcracker. Each is twenty feet tall and 45 feet wide. Two
were hand painted by local artist on a canvas back.

During the scuffle between the Queen Mouse and the Nutcracker Prince, the Queen Mouse has very
limited site because of the full head mask that is worn and makes it difficult to breath.

The hoop on Mother Bonbonniere’s dress is 184 inches around and took 22 yards of material to make.

The Stroia Ballet Company has three costume designers and 6 seamstress who create and maintain the
costumes used for the performance.

In addition to the music the audience hears during the performance there are two additional speakers
backstage. Without these speakers the dancers would not be able to hear the music they are dancing to.

While the dancers on stage are performing, backstage is also busy with dancers preparing, changing
costumes and helping other dancers before their cue to go onto stage.

We never give away any secrets of how the magic is performed: it’s purely magic!

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 Common Ballet Terms
Just as sports, math, construction, and many other activities have their own vocabulary, so too does
ballet. Because much of ballet’s early development occurred in France, many of the words are French
and have been handed down since the 16th century. Here are some common terms and their
application.

Ballerina – A female ballet dancer.

Ballet Master/Mistress – An individual (usually a retired dancer) with varying responsibilities

including teaching, coaching, and rehearsing ballets.

Barre – The place where a dancer goes to begin class work. The barre is a long pole securely attached
horizontal to a wall, to give the dancer support. After the dancer has done barre work to warm up, they
move to the center of the classroom or studio to practice increasingly complex steps.

Choreography – The art of creating and arranging steps to create a dance.

Choreographer – The visionary of the dancing in a ballet. They are responsible for creating the ballet
for the stage and integrating the dancing, music, décor, story, costumes, and lighting.

Composer – A person who creates music.

Conductor – The leader of the orchestra.

Corps de ballet – A group of dancers who work together as an ensemble. They form the background
for the ballerina and her partner and are the backbone to any ballet company.

Costumes – The clothing dancers wear while performing. They must not only help set the mood the
choreographer wishes to create, but they must also allow the dancers to move freely and be very
durable.

Dancer – Translates the choreographer’s vision to the audience through technique and interpretation.

Divertissements – Consist of a variety of short dances inserted in certain ballets as entertainment.

Lighting Design – Is used to enhance scenery and costumes, as well as give a sense of time.

Pas de Deux – A dance for two people, traditionally a ballerina and a premier danseur.

Premier danseur – A male ballet dancer of the highest ranking.

Pantomime – The art of telling a story, expressing a mood or an emotion or describing an action
without words.

Pointe shoes – Shoes worn only by female dancers that enable them to dance on the tips of their toes.

Principal dancer – A male or female dancer of the highest ranking.

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Proscenium – The part of a modern stage directly in front and framing the curtain.

Set Designer – A person who creates the scenic design.

Scenic design – Like costumes and makeup, scenic design help to tell the story or set the mood of the
ballet. The set must be designed so that the dancers can enter and exit the stage according to the
choreographer’s wishes.

Technique – The method and procedures of classical ballet training to get desired results. A dancer’s
ability to perform all steps and movements correctly.

Turnout – The ability of the dancer to turn the legs outward from the hip joints to a 90-degree angle.

Tutu – Ballet skirt, usually made of tulle or netting. Tutus are very expensive; the cost can range from
$300.00 to $4500.00.

Passe – This is a common position of the legs that looks a bit like a number 4.

Pirouette – A pirouette is the French noun for spinning top and in ballet terminology it also means to
turn.

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The following additional pages have been added to
encourage more learning fun for your students.
Hope they will enjoy them!

• Nutcracker Word Search

• A Broken and Confused Nutcracker Story Sequence Challenge
• Nutcracker Crossword Puzzle I & II
• Nutcracker Coloring Sheet
• Ballet Dancers Coloring Sheet I & II
• Answer Keys

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 Nutcracker Word Search
S L A N D O F S N O W O N H M B
U P O I N T E W W A L T Z E O D
G C B G F C V C A O P N Z R U A
A M O C F H O H Q I G U M R S N
R B N A R A B I A N F T A D E C
P F B V I I R N M Z M C P R Q I
L S O A T K T E U U S R Y O U N
U U N L Z O Y S S P I A M S E G
M S N I L V K E I N K C B S E D
F E I E H S W M C E T K O E N O
A M R R I K R E W N L E B L M L
I U R E C Y D A N C E R P M V L
R T E R D T B A L L E T X E S S
Y S P A N I S H L A G I P Y A T
R O P C B H U K Q R W O M E U I
P C H O R E O G R A P H E R N K

Find and circle these words that inspired characters and scenes from the Nutcracker:

Prince Waltz Fritz

Dance Dancing Dolls Herr Drosselmeyer
Bonbonniere Clara Chinese
Cavalier Choreographer Tchaikovsky
Arabian Nutcracker Sugar Plum Fairy
Mouse Queen Land of Snow Pointe
Spanish Music Ballet

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A Broken and Confused Nutcracker
This version of Nutcracker is really broken. The person who wrote it must have been very confused,
because they got it all wrong. Can you put the following sentences in the correct order….The order
that the story actually happens?

But her brother broke the Nutcracker! She saw many amazing things and finally,
the Nutcracker Prince and the Sugar Plum Fairy danced. THEN THE PRINCE
TOOK CLARA TO THE LAND OF SWEETS. When Clara got up late in the night,
the Nutcracker came to life. She saw the Prince fight against the Queen Mouse and his
soldiers. Clara awoke with wonderful memories of a magical night. It all happened
once upon a time. CLARA WAS SO EXCITED TO GET A NUTCRACKER FROM
HER GODFATHER. There was a big holiday party with presents for everyone.

--------------------------------------------------------------------------------------------

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 Nutcracker Ballet Crossword I

Across Down
1. Type of dance. 5. These dance for the party guests.
2. Clara throws this at the mice. 7. Clara’s brother.
3. Clara receives this as a gift. 8. Fight against the mice with the
4. The Waltz of the ________. Nutcracker.
5. This grows VERY large in 10. Dance all in white on the way to the
Clara’s dream. Land of Sweets.
6. Main character. 11. All the guest have come to
7. Sugarplum ________. the ________.

10
5 11

7
3

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 10 12

15
2
1
11

13

3
6
16
5 17
9

4
8

Nutcracker Ballet Crossword II-Part I of II

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Nutcracker Ballet Crossword II-Part II of II

Across
1. Receives the nutcracker doll as a gift.
2. Composed the music for the Nutcracker ballet.
3. Clara awoke to find that this had grown to a huge size.
4. (French – 3 words) Grand dance for a pair.
5. Dance all in white, guide the Nutcracker to the Land of Sweets.
6. Drink from China – represented by the Chinese dance.
7. (2 words) Fights the Nutcracker.
8. Type of shoe worn by female dancers to dance on their toes.
9. Original author of the Nutcracker.

Down
1. Drink represented by the Arabian dance.
4. The Silberhaus family was hosting a _________.
5. Chocolate is represented by the _________ dance.
10. Gift that comes to life in Clara’s dream.
11. Type of dance.
12. Clara’s brother.
13. The __________Fairy dances with the Nutcracker in the Land of Sweets.
14. Clara’s Godfather, who gives her the Nutcracker.
15. Fight against the mice with the Nutcracker.
16. Clara throws this at the mice.
17. Waltz of the ___________.

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Nutcracker Word Search Key

S L A N D O F S N O W O N H M B
U P O I N T E W W A L T Z E O D
G C B G F C V C A O P N Z R U A
A M O C F H O H Q I G U M R S N
R B N A R A B I A N F T A D E C
P F B V I I R N M Z M C P R Q I
L S O A T K T E U U S R Y O U N
U U N L Z O Y S S P I A M S E G
M S N I L V K E I N K C B S E D
F E I E H S W M C E T K O E N O
A M R R I K R E W N L E B L M L
I U R E C Y D A N C E R P M V L
R T E R D T B A L L E T X E S S
Y S P A N I S H L A G I P Y A T
R O P C B H U K Q R W O M E U I
P C H O R E O G R A P H E R N K

Tchaikovsky… (pg. 6)
Was born in this year 1840
Began taking piano lessons at this age 6
Could read this many languages at 6 years of age 3
Wrote this many symphonies 6
Was this old when he died 53
Wrote this many operas 9
Worked as a clerk this many years 4

Nutcracker History (pg. 5)

When did Tschaikovky start composing the Nutcracker? 1891
Who first wrote the ‘Nutcracker and the Mouse King? ETA Hoffman
What Russian choreographer first choreographed this story into a ballet? Marius Petipa
Where was the first Nutcracker performed? St. Petersburg, Russia
Who brought the Nutcracker ballet to America? George Balanchine

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Nutcracker Ballet Crossword I – Key

Across Down
1. Ballet 5. Toys
2. Shoe 7. Fritz
3. Nutcracker 8. Soldiers
4. Flowers 4. Mouse Queen
5. Tree 10. Snowflakes
6. Clara 11. Party
7. Fairy

Nutcracker Ballet Crossword II – Key

Across Down
1. Clara 1. Coffee
2. Tchaikovsky 4. Party
3. Tree 5. Spanish
4. Pas de Deux (French) 10. Nutcracker
5. Snowflakes 11. Ballet
6. Tea 12. Fritz
7. Mouse Queen 13. Sugarplum
8. Pointe 14. Drosselmeyer
9. Hoffman 15. Soldiers
16. Shoe
17. Flowers

A Broken and Confused Nutcracker – Key

1. It all happened once upon a time.
2. There was a big holiday party with presents for everyone.
3. Clara was so excited to get a Nutcracker from her godfather.
4. But her brother broke the Nutcracker!
5. When Clara got up late in the night, the Nutcracker came to life.
6. She saw the Prince fight against the Queen mouse and his soldiers.
7. Then the Prince took Clara to the land of Sweets.
8. She saw many amazing things and finally the Nutcracker Prince and the Sugar Plum fairy danced.
9. Clara awoke with wonderful memories of a magical night.

32
33
Ballet I

34
Ballet II

35
Teacher Comments - We are very interested in your comments about the
program and we hope that you will be thoughtful and constructive in your evaluation.

School Matinee Program

Please take a moment and complete this questionnaire after you have attended the performance. Your
comments and suggestions are greatly appreciated and will help us tremendously to make our
performances and activity guide more meaningful for you and your students.

Date of Performance __________

1. What subject do you teach? ____________________________

2. What grade level(s) do you teach? __________________________

3. How many years have you been bringing students to see Nutcracker performances? ________

4. Do you accompany your students to other performing arts programs? __________

If yes which ones: Theater
Symphony
Opera
Other __________

5. I used the Study Guide in preparing my class for the performance? YES NO
A. What sections of the Study Guide did you find most useful?

B. What sections of the Study Guide did you find least useful?

6. Was the volume of information: Too much Sufficient Too little?

7. What other materials or subject matter would help you to prepare your students to see the ballet?

8. How much time did you spend on pre and post performance discussion and activities with your students?
< 1 hour 1-3 hours 3-6 hours > 6 hours

9 Please rate the following with E (Excellent), G (Good), F (Fair), P (Poor)

a. ____Appropriateness of program Comments:______________________________

b. ____Length of program Comments: _____________________________

c. ____Student enjoyment Comments: _____________________________

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10. How and when did you hear about the Student Matinee program?

Fall Winter Spring

Principal Teacher Other ___________

11. Tell us how to improve study guides or suggest other materials you would find useful.

12. Is there any teaching materials you would like to share with the studio to be used in this study
guide for other teachers? Please Include.

OPTIONAL:
Your Name: ___________________________

Your School: __________________________

Address: ______________________________

Daytime Tel: ___________________________

Evening Tel.: ___________________________

MANY THANKS!!!
Please return your completed questionnaire to:
Stroia Ballet Company
113 2nd St. NE
Little Falls, MN 56345
Attn: Linda Meyer
OR
Email to linda.meyer@primevest.com

37