2016jan

14feb 6

THEATRE FOR YOUNG AUDIENCES GENEROUSLY SUPPORTED BY

MAINSTAGEJOHN HIRSCHMAINSTAGEJOHN HIRSCHMAINSTAGEJOHN HIRSCH

s t u dy g u i d e

TheRoyalManitobaTheatreCentreProductionof

StudyGuidebyAnnaSchmidt

THEATREETIQUETTE

“Thetheaterissoendlesslyfascinatingbecauseit'ssoaccidental.It'ssomuchlikelife.”–ArthurMillerArriveEarly:Latecomersmaynotbeadmittedtoaperformance.Pleaseensureyouarrivewithenoughtimetofindyourseatbeforetheperformancestarts.Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gamingsystems/cameras.Wehaveseenanincreaseintexting,surfing,andgamingduringperformances,whichisverydistractingfortheperformersandotheraudiencemembers.Theuseofcamerasandrecordingdevicesisstrictlyprohibited.TalkingDuringthePerformance:Youcanbeheard(evenwhenwhispering!)bytheactorsonstageandtheaudiencearoundyou.Disruptivepatronswillbe removed from the theatre. Pleasewait to shareyourthoughtsandopinionswithothersuntilaftertheperformance.Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission,concessionsmaybeopenforpurchaseofsnacksanddrinks.Thereiscomplimentarywaterinthelobby.Dress:There isnodresscodeat theRoyalManitobaTheatreCentre,butwerespectfully request thatpatrons refrain fromwearinghats in the theatre.Wealso strive tobe a scent-freeenvironment, andthankallpatronsfortheircooperation.LeavingDuringthePerformance:Ifanaudiencememberleavesthetheatreduringaperformance,theywillbereadmittedatthediscretionofourFrontofHousestaff.Shouldtheybereadmitted,theywillnotbeusheredbacktotheiroriginalseat,butplacedinavacantseatatthebackoftheauditorium.Being Asked to Leave: The theatre staff has, and will exercise, the right to ask any member of theaudience to leave the performance if that person is being disruptive. Inappropriate and disruptivebehaviour includes, but is not limited to: talking, using electronic devices, cameras, laser pointers, orother light- or sound-emitting devices, and deliberately interferingwith an actor or the performance(tripping,throwingitemsonornearthestage,etc.).Talkbacks: All Tuesday evening performances and final matinees at MTC feature a talkback withmembers of the cast following the show. While watching the performance, make a mental note ofquestionstoasktheactors.Questionscanbeaboutthestory,theinterpretation,lifeinthetheatre,etc.Enjoytheshow: Laugh,applaud,cheerandrespondtotheperformanceappropriately. Makesuretothankalltheartistsfortheirhardworkwithapplauseduringthecurtaincall.

MAJORCHARACTERSBillyElliot AyoungboywithapassionfordanceMichael Billy'sfriend

Jackie Billy'sfather,aminerTony Billy'solderbrother,aminerMum Billy'smother

Grandma Billy'sgrandmother.Sheappearstosufferfromdementiaandhasatasteforpasties.

Mrs.Wilkinson Billy'sballetteacherMr.Wilkinson Mrs.Wilkinson'shusbandDebbie Mrs.Wilkinson'sdaughter,shetakesballetclasswithBillyMr.Braithwaite Thepianist

George Theboxingteacher

Lesley AminerBigDavey Aminer

BalletGirls Youngworking-classgirlsinballetclass.Alltheywanttodo

itshine.

TheMiners Workingclassmen,minerswhoareonstrike.

CreatingBillyElliot—TheStoryOnSeptember29,2000,UniversalPicturesandFocusFeaturesreleasedaBritishfilmcalledBillyElliotaboutaboywhosedreamofbecomingaballetdancerputhimatoddswithhisworkingclasscoal-miningfamily.ThefilmwasproducedbyGregBrenmanandJonFinn,writtenbyLeeHall,directedbyStephenDaldry,andco-producedbyBBCFilms,TigerAspectPictures,StudioCanalandWorkingTitleFilms.Setinnorth-easternEnglandduringthe1984-85coalminers'strike,thefilmstarsJamieBellas11-year-oldBilly.Thefilmwasbothacriticalandaboxofficesuccess.

Oneoftheaudiencemembersatthefilm’sfirstscreeningattheCannesFilmFestivalwasSirEltonJohn.Johnrelatedimmediatelytothethemes JamieBellasBillyElliot(source--

http://www.fanpop.com/clubs/billy-elliot/images/3806769/title/jamie-bell-billy-elliot-photo)

andcharacterizationsofthefilm,andhispartnerDavidFurnishremarkedthatitwouldmakeagreatstagemusical.

Inspiredbywhathehadseen,EltonJohnjoinedforceswithLeeHallwhohadwrittentheoriginalscreenplay.Hallwrotethebookandlyricsforthestagemusical,withJohncomposingthemusic.StephenDaldryreturnedtodirect,andBillyElliottheMusicalopenedinLondon’sWestEndin2005.ItopenedinAustraliain2007andonBroadwayin2008.

CreatingBillyElliot–TheCharacter

ThefilmversionofBillyElliotowedmuchofitssuccesstothebrilliantperformanceofJamieBell,the14-yearoldactorwhotookonthedemandingtitlerole.PerformingthecharacterofBillyElliotrequiresskillsindancing,singing,andacting,aswellastremendousendurancetocarrytheenergyofthewholeplay.Forthatreasonproductionstypicallycastmorethanoneboyintheleadingrole,withtheyoungperformerstakingturnssothatnooneboyhastobeonstageforeveryperformance.

Thetwenty-minutevideodocumentary,FindingBillyElliot,highlightsthechallengesandrevealsthelongandcomplexprocessofselectingtheyoungactorstoplayBillyforthemusical’sBroadwaydebut.Thevideoclipcanbeviewedathttps://www.youtube.com/watch?v=Zc7w608_S6Q.

DIDYOUKNOW...?TheRoyalManitobaTheatreCentrehastwoBillys,EthanRibeiroandEamonStocks.EthanandEamonhavebeenimmersedina12weektrainingprogramtogetreadyfortheirroles.Theirprogramincludestwenty-twohoursofdancingperweek(ballet,modern,tap,jazz,andcontemporarydance),twohoursaweekofvocaltraining,andtwohoursofacrotraining –allwhilekeepingupwiththeirschoolwork!

Theyhaven’tdoneitalone.OurBillyshavehadthesupportofCanada’sRoyalWinnipegBalletSchoolProfessionalDivisionFaculty,aBillyTrainer,avocalcoach,aprivateacroinstructor,acroclasses,academicsupportfromTheUniversityofWinnipegCollegiate,andtwoprivateacademictutors.IttakesavillagetoraiseaBilly!

HISTORYTheMiners’Strike

BillyElliotissetagainstthebackdropoftheyear-longminers’strikethatdevastatedcommunitiesthroughouttheUnitedKingdom(UK)fromMarch6,1984toMarch3,1985,describedbytheBritishBroadcastingCorporationas“themostbitterindustrialdisputeinBritishHistory.”Thestrikewastheculminationofyearsoftensionbetweentheminers’unionandthegovernment.

MargaretThatcherwaselectedPrimeMinisteroftheUKin1979.Intheearlyyearsofhertenure,herconservativefiscalpoliciesaimedataggressivelyfightinginflationhadtheeffectofdramaticallyincreasingthealreadyhighunemployment.

TheBritishminingindustryhadalong,proudlabourhistory.TheMiners'FederationofGreatBritain,establishedin1888,evolvedintoTheNationalUnionofMineworkers(NUM)in1945.In1909theunionbecameformallyaffiliatedwithLabourParty.

DemandforcoalhadbeenhighrightaftertheSecondWorldWar,butbegantowaneasotherenergysourcesbegantotakeprecedence.Large-scalemineclosuresinthe1960smeantthatmanyminersmigratedtotheYorkshireandMidlandsregionswherethecoalfieldswerericher.Labourunrestgrewfrom1969onwards,culminatinginanationalstrikein1972andfurtherstrikeactionin1974inresponsetoabanonovertime.In1981theThatchergovernmentannouncedaplantoclose23pits,butbackeddownatthethreatofastrikebecausecoalstockswerelow.Infact,thegovernmentgavetheminersa9.3%raise,encouragingincreasedproductivity.Ironically,thisincreasedproductivityledtocoalbeingstockpiled,whichthenenabledthegovernmenttojustifyfurtherclosures.

BetweenMarch1981andMarch1984,theNationalCoalBoard—thegovernmentagencyresponsibleforthemines--cut41,000collieryjobs.Someminerstransferredtootherminesandthereweresomelocalizedstrikes.Manyminingtownshadnootherseriousindustries,soclosingthemineeffectivelymeantdestroyingacommunity.

In1982ArthurScargill,amilitantYorkshireminer,becamepresidentoftheNUM.ScargillwasavocalattackerofMargaretThatcher'sgovernment--hebelievedthegovernmentwasouttodestroyboththecoalindustryandtheNUM.

Thestrikelastedayear,andinvolvedover142,000miners.Miningcommunitiessufferedextremehardship,andtherewereviolentclashesbetweenthestrikersandthepolice,resultinginthreedeathsandcountlessinjuries.

TheNUMvotedtoreturntoworkonMarch3,1985.Theminersweredefeated,andthepoliticalpoweroftheNUMinparticularandtheBritishlabourmovementingeneralwasseverelyreduced.WhatwasleftoftheBritishcoalindustrywasprivatizedinDecember1994.By2009therewereonly6workingminesleftofthe174thathadbeeninexistencepriortothestrike.Today,Britainimportsthemajorityofthecoalituses.

RoyalBalletSchool

TheinternationallyfamousRoyalBalletSchoolbeganin1926whenDameNinettedeValoisopenedherAcademyofChoreographicArtincollaborationwithLilianBaylis,ManageroftheOldVicTheatre.Theschoolandassociateddancecompanyunderwentanumberofmovesandnamechanges,untiltheRoyalCharterwasgrantedinOctober1956andtheywererenamedTheRoyalBalletSchool,TheRoyalBalletandtheSadler’sWellsRoyalBallet(laterrenamedBirminghamRoyalBalletfollowingitsmovetherein1990).Well-knownalumniincludeMargotFonteyn,AnyaLinden,KennethMacMillan,LynnSeymour,DavidWall,AntoinetteSibley,AnthonyDowell,MargueritePorter,StephenJefferies,DarceyBussellandJonathanCope.

AdmissiontotheSchoolcontinuesbasedpurelyontalentandpotential,regardlessofacademicabilityorpersonalcircumstances.ThemajorityofstudentsrelyonfinancialsupporttoattendtheSchool.Studentswhoareselectedembarkonaneight-yearcarefullystructureddancecourse,alongwithanextensiveacademicprogram.

SYNOPSISAct1

Scene1:ItisMarch1984.AstheplayopensthesmallYorkshireminingcommunityofEasingtonreceiveswordthattheNationalUnionofMineworkershasvotedtostrike.Theopeningmusicalnumber,TheStarsLookDown,highlightsthesolidarityofthestrikingminersandtheirdeterminationtofightforabetterfuture.WemeetyoungBillyElliot,whosharesaglimpseintohisowndreamsofadifferentfuture.

Scene2:BreakfastintheElliothousehold.Billy’solderbrotherTonyandtheirfatherJackieheadofftothepicketline,leavingBillytonavigatebreakfastwithhisgrandmother,whosebehavioursuggestsshehasAlzheimer’s.ItisevidentthattheElliotfamilyisstrugglinginthewakeoftheuntimelydeathofBilly’smother,whoappearstoBillyinaquietmoment.

Scene3:BillyandhisbestfriendMichaelgototheirregularboxinglesson.Billy’slackofinterestinboxingiseclipsedonlybyhislackofabilityinthesport.

Scene4:George,theboxinginstructor,leavesBillybehindatthecommunityhalltopracticehisboxingmoves,andBillysuddenlyfindshimselfcaughtupinaballetclassundertheinstructionofMrs.

RoyalBalletSchool(source--https://boysballet.wordpress.com/2009/07/10/strictly-come-ballet-dancing/)

Wilkinson,themotherofBilly’sclassmateDebbie.Heendsupparticipatinginthewholeclass,dancingalongwiththegirlstoShine.Mrs.Wilkinsonmakesitclearsheexpectstoseehimbacknextweek.

Scenes5:BillyisbackhomewithGrandma,onceagaindealingwithherforgetfulnessandconfusion.

Scene6:InGrandma’sSong,GrandmaremembersclearlythatherlifewithBilly’sgrandfatherwasnotahappyone.Sheregretshavingdevotedherlifetodoingonlywhatothersexpectedofher.

Scene7:Withapoliceblockadeasabackdrop,BillyreturnstoMrs.Wilkinson’sdanceclass.ThestrainsofShinenowinterminglewiththeminers’choruschantsofSolidarityandtheangrypoliceresponse.

Scene8:Billy’sfatherisfurioustodiscoverthathissonhasbeenskippingboxingclasstoattendballetandforbidsBillytocontinue.

Scene9:Mrs.WilkinsontellsBillythatshethinkshehasenoughpotentialasadancertoauditionfortheRoyalBalletSchool,andofferstoteachhimprivately.

Scene10:BillygoestovisitMichael,andfindshisfrienddressingupinwomen’sclothing.OnceBillygetsovertheinitialshock,hejoinsMichaelinthemusicalnumberExpressingYourself,celebratingthevalueofbeingtruetooneself.

Scene11:Clashesbetweenthestrikingminersandthepolicehavebecomeincreasinglyviolent,andsomeofthemoremilitantminersarebeginningtotakethelawintotheirownhands.JackieinterceptsTonywhoisheadingoutarmedforafight,andtheyengageinanuglystandoffthatsendsBillyscreamingtohisroom.

Scene12:BillyarrivesathisfirstprivatelessonwithMrs.Wilkinson.Atherrequest,hehasbroughtacollectionofoddsandendsthatmeansomethingtohimsothattheycancomeupwithideasforadance.HesharesTheLetterthathismotherleftforhimshortlybeforeshedied.TheydancetoWeWereBorntoBoogie!

Scene13:DebbieflirtswithBillybuthismindisonlyonhisimminentaudition.

Scene14:Themorningoftheaudition,Billy’shomeisinchaosbecauseTonyhasbeeninjuredinafight.FrustratedthatBillyhasn’tarrivedattheiragreed-uponmeetingspot,Mrs.WilkinsonshowsupattheElliothouseandaddstothechaosbyinformingJackiethathisyoungestsonismissinghisauditionfortheRoyalBalletSchool.Jackieordersherout,andBillytohisroom.

Scene15:Billy’sdanceshisAngryDanceasthestrikersriot,andthecurtainfallsonAct1.

Act2

Scene1:Christmas1984.Thestrikeisinitstenthmonth,andthehardshipthatthecommunityisfacingisbarelymaskedbythesatiricalchorusesofMerryChristmasMaggieThatcher.Jackie’sbittersweetsongIwon’tleavethemuntilIdieevokesmemoriesofBilly’smother.

Scene2:BillyandMichaelshareabeerintheemptycommunityhall.MichaelexpresseshisfeelingsforBillywithakiss.Billyismomentarilyshocked,andhemakesitclearthathedoesn’tsharetheattraction.Asagestureoffriendship,BillyoffersMichaelatututotryon.

Scene3:MichaelheadshomeandweflashforwardintoaDreamBalletinwhichBillydanceswithhisadultself.Jackiecomeslookingforhisyoungestson,andthedreamendswithBillystandinguptohisfather.

Scene4:Followingsomesoul-searching,JackiegoestoseeMrs.WilkinsontoaskifshethinksBillyreallyhasachancetobeacceptedintoballetschool.Sheinformshimthat,althoughBillymissedthelocalaudition,thereisstillachancehecouldauditioninLondon.Jackierefusesherofferoffinancialsupport,insistingthatBillyishisresponsibility.

Scene5:HavingmadeuphismindthatheneedstoraisethemoneytosendBillytoLondontoaudition,Jackieswallowshisprideandcrossesthepicketlinetojointheother“scabs”whoarecontinuingtoworkthemine.Tonytriestostophim,andBillygetscaughtinthemidstoftheirstruggle.Whentheyrealizewhatthefightisabout,theotherminersrallytogethertocollectmoneyforBilly’saudition.

Scene6:Jackieswallowshisprideandacceptsagenerousdonationfromoneofthescabs.TheyareofftoLondonfortheaudition.

Scene7:BillyandhisdadarriveinLondonfortheRoyalBalletSchoolaudition.Jackiefeelsuncomfortableandoutofhiselement,butachanceconversationwithamaledancerleaveshimreflectiononwhatitwouldmeantosupportBilly’sdream.Billy,meanwhile,isanervouswreck.Heissurprisedtolearnthattheauditionconsistsonlyofaseriesofexercises,andthattheauditionpanelhasnointerestinobservingthedancehehasworkedsohardtoprepare.Infrustration,helashesoutandshovesanotherboy.Theauditionpanelreprimandshimsternly.Justwhenitseemstheauditionhasbeenacompletedisaster,apanelistasksonefinalquestionthatinspiresBillytoexpresswhatdancemeanstohim,whichhedoesinElectricity.

Scene8:BackinEasington,theminersaregatheredinthecommunitysoupkitchenfortheirmeagremeal.EveryoneiseagertoknowhowBilly’sauditionwent.

Scene9:ThelongawaitedletterarrivesfromtheRoyalBalletSchool.Billyhasbeenacceptedintotheschool!Asthefamilycelebrates,theygetwordthatthestrikehasended.TheNationalUnionofMinershascavedtothegovernment’sdemandsandtheminerswillgobacktoworkwithnothingtoshowfortheiryear-longbattle.

Scene10:BillyreturnstoMrs.Wilkinson’sballetclassonelasttimetotellhisteacherhisnewsandtosaygoodbye.

Scene11:TheminerswishBillywellandpreparetogodownthemine,singingOncewewerekings.

Scene12:Billy’smotherappearstohimonelasttimeanditappearsthatheisnowreadytowishherfarewell.Thefinalfarewell,however,isforMichael,wholooksonasBillyembarksonhisnewlife.

GLOSSARY

Brit-speakCushisregionalslangfor“excellent.”

Esquireisatitlethathistoricallyreferredtoayoungnobleman.

Billypays“fiftyp”forhislessons,whichisshortfor“fiftypence.”Apenceisonehundredthofapound,ortheBritishequivalentofapenny.

LooisBritishslangforwashroom.

Poufisaderogatoryslangtermforagayman.

Trainersareathleticshoes–whatwemightcall“sneakers”or“runners.”

LabourLanguage

Collieryisanothernameforacoalmineandthestructuresassociatedwithit.Acoalmineriscalledacollier.

Whenagroupofworkersbandtogetherformallytocollectivelynegotiatetheirworkingconditionswiththeiremployer,thegroupisreferredtoasalabourunion,orjustaunion.Largeunionswilltypicallybeorganizedintosmallergroups,orlocals,eachofwhichwillhavealeaderorstewardchosenbythegroupmembers.Stewardswouldmeettogethertostrategizeundertheleadershipofaconvenorchosenfromtheirranks.

Whenaunionisunabletoreachanegotiatedsettlementwiththeemployer,itwillsometimesresorttoastrike:unionmembersrefusetoworkinthehopethattheemployerwillbeforcedtomeettheirdemandssothatthecompanywillnotceasetobeproductive.Strikesaretypicallyalastresort;theycanbeveryhardonthestrikingmemberssinceaslongastheyarenotworkingtheywillnotbepaid.

Strikingunionmemberswilltypicallywalkapicketlinecarryingsignstodrawpublic

attentiontothelabourdisputeinordertoputpressureontheemployer.

Itsometimeshappensthatanemployerwillbringinotherworkerswhoarenotmembersoftheuniontokeepproductiongoingduringthestrike.Thesestrikebreakersaresoreviledthattheyarecommonlyreferredtoasscabs.Ascabmightalsobeamemberofthestrikingunionwhohasoptedtoreporttoworkregardlessofthestrike.Goingtoworkasastrikebreakerorscabisoftenreferred

PicketersinSheffield,1984(source--Http://www.bbc.co.uk/southyorkshire/content/articles/2009/03/11/women_against_pit_closures_barbara_jackson_feature.shtml)

toas“crossingthepicketline.”

Balletterms

Ballethasawholevocabularyofitsown,traditionallyinFrench.Herearesometermsyouwillhearintheplay.

Attitudeisastandingpositionononelegwiththeotherlegliftedinthefrontorthebackwiththekneebentatanangleof90degreesandwellturnedoutsothatthekneeishigherthanthefoot.

Aballetomaneissomeonewhoisafanoftheballet.

Thehorizontalwoodenbarattachedtothewallsoftheballetclassroomwhichthedancerholdsforsupportiscalledthebarre.Everyballetclassbeginswithexercisesatthebarre.

Chainés(pronouncedsheh-NAY)Means“Chains,links”.Thisisthemostsimpletermfor“turns”.Thedancerperformsaseriesoftravelingturnsbyquickstepsthatinvolvealternatingfeet.

Adéveloppéisamovementinwhichtheworkinglegisdrawnuptothekneeofthestandinglegandslowlyextended(develops)toanopenpositionintheairwithcontrol.Itrequiresgreatbalanceandstrongcenter!

Devantsimplymeans“infront.”

Pirouette,possiblythemostcommonlyknownballetterm,means“spin”.

Pliémeans“Bent,bending”.OneofthemostfamousmovesinBallet,itreferstothebending

ofthekneeorkneeswithstrongturnoutfromfeet,kneesandhips.

Demi-plié(maledancer)andgrandplié(femaledancer)atthebarre.(source--http://dancewithheidi.com/wp-content/uploads/2013/10/plie1.jpg)Pointetechniqueisthepartofclassicalballettechniquethatconcernspointework,inwhichaballetdancersupportsallbodyweightonthetipsoffullyextendedfeet.

Promenademeans“Turninawalk”.Apromenadeiswhenadancerturnsaroundononelegwiththestandingleg’sheelonthefloor,whiletheotherlegisinapositionsuchasanarabesqueorattitudederriere.

Tendudescribesanymovementthatisstretchedoutorheldtightly.

Turn-outistheabilityofthedancertoturnouthis/herfeetfromthehip.Itisconsideredessentialtoballet.

Atutuistheshortclassicalballetskirt.

DIDYOUKNOW…?Balletdancersmusttrainformanyyearsbeforebecomingprofessionaldancers–infact,manyspendmoreyearsintrainingthantheydodancingprofessionally!Mostdancersbegintheirtrainingbytheageoften,andalthoughitisadvantageoustobeginearlier,somemaledancerscanstillbesuccessfuliftheystarttrainingmuchlater.Femaledancerswhointendtostudypointeworkmustmeetanumberofcriteria,includingprevioustrainingandtheirageinrelationtobonedevelopment.

QuestionsforDiscussion1. Mrs.WilkinsontellsBilly,“…dancingisasmuchaboutyoudiscoveringthingsaboutyourselfasit

isdiscoveringaboutdancing.”WhatdoesBillydiscoverabouthimselfthroughouttheplay?

2. Mrs.Wilkinsonalsostates,“Yousee,therearetwobasictheoriesaboutdance.Oneis,it'satechnicalexercise-Somethingyoulearnfromtheoutsideandjustrepeat.Orit'saverypersonalexpressionthatyourealizefromwithin.”Howarethesetwoviewpointsondancereflectedthroughouttheplay?Intheend,whichviewpointdoestheplayappeartoadvocate?Doyouagreewiththisviewpoint?

3. Theplayopensonthestartoftheminers’strike,andcloseswiththeday,ayearlater,whentheminersreturntothepitsindefeat.WhatroledoesthestrikeplayinBilly’sjourney?

4. HowisMichael’sexplorationofhissexualityimportanttothestory?

5. Billyhastocontendwithhiscommunity’sdeeplyheldstereotypethat“balletisforgirls.”Whatotherstereotypesarerevealedandchallengedthroughoutthestory?

Activities1. ViewtheoriginalfilmversionofBillyElliotthatwastheinspirationforthestageplay.Inmany

waysthestageplayremainsverytruetotheoriginalstory,buttherearesomedifferences.Inwhatwaysdoestheplaydifferfromthemovie?Whatreasonsmightbebehindthesedifferences?Whichversiondoyoupreferandwhy?

2. The2014BritishmoviePrideisanotherstoryinwhichtheMiners’strikeof1984-85iscentraltothestory.PrideisaretellingofthetruestoryofagroupofgayandlesbianyouthfromLondonwhosupportedaWelshminingcommunitywhichwasstrugglingfinanciallyduetothestrike.ComparehowtheeventsandimpactofthestrikeareportrayedinPridewiththewaytheyareportrayedinBillyElliot.

3. HereinWinnipegwehaveourveryown“RoyalBalletSchool”—affiliatedwiththeRoyalWinnipegBallet!ResearchtheprogramofstudiesthatisofferedbytheRWBProfessionalProgram.Ifyoucan,attendaperformancebytheRWB.

4. InthesongElectricity,Billystrugglestofindwordstodescribetheindescribable.Writeapoem,songorstorythatattemptstocaptureinwordsafeelingorexperiencethatisdifficulttoputintolanguage.

PhysicalEducation/Health

K.4.8.A.1

Examinetheeffectsofstereotypingbasedonavarietyoffactors(e.g.,gender,age,race,roles,mediainfluences,bodytype,sexualorientation,sourceofincome...),andways(e.g.,set/reviewpersonalandgroupnorms,standards...)topromoteacceptanceofselfandothers.

K.4.7.A.1Compareattitudesandbehaviours(i.e.,inclusive/exclusive,positiveacceptance/rejection,open/discriminatory)thatcontributetoasenseofbelonging.

English

GLO2-Comprehendandrespondpersonallyandcriticallytooral,print,andothermediatexts

ExperienceVariousTexts(2.2.1)Experiencetextsfromavarietyofformsandgenresandculturaltraditions;explainvariousinterpretationsofthesametext.AppreciatetheArtistryofTexts(2.2.3)Discusshowwordchoiceandsupportingdetailsinoral,literary,andmediatexts[includingbooks,drama,andoralpresentations]affectpurposeandaudience.

GLO5-CelebrateandBuildCommunity

AppreciateDiversity(5.2.3)Reflectonwaysinwhichthechoicesandmotivesofindividualsencounteredinoral,literary,andmediatextsprovideinsightintothoseofselfandothers;discusspersonalparticipationandresponsibilitiesinavarietyofcommunities.

SocialStudies Senior4:WesternCivilization MajorMovementsandEventsofthe19thCentury:Reaction(Conservatism)

versusReform(Liberalism)

Drama

DRC-1:Thelearnerdevelopsunderstandingsaboutpeopleandpracticesinthedramaticarts.

engagingwithlocal,Manitoban,andCanadiancontributorsandcontributionstothedramaticarts(e.g.,drama/theatreartists,groups,events,communityandculturalresources,innovations)toexpandlearningopportunities

DRC-2:Thelearnerdevelopsunderstandingsabouttheinfluenceandimpactofthedramaticarts

examininghowthedramaticartsandartistsinfluence,commenton,question,andchallengesocial,political,andculturaldiscourseandidentityexaminingtheimpactofcontext(e.g.,personal,social,cultural,political,economic,geographical,environmental,historical,technological)onthedramaticartsandartists

DRC-3:Thelearnerdevelopsunderstandingsabouttheroles,purposes,andmeaningsofthedramaticarts

exploringhowdrama/theatreandartistsmakeandcommunicatemeaningandcreateuniquewaystoknowselfandtoperceivetheworld.examininghowthedramaticartscanbeameansofsharingdiverseviewpointsandofunderstandingtheperspectivesofothersexaminingwaysthatthedramaticartsreflect,interpret,andrecordtraditions,values,beliefs,issues,andeventsinsocietyandculture

DR–R1:Thelearnergeneratesinitialreactionstodrama/theatreexperiences.

expressingfirstimpressions(e.g.,thoughts,feelings,intuitions,associations,questions,experiences,memories,stories,connectionstootherdisciplines)evokedbydrama/theatreworksandexperiencesasastartingpointforcriticalanalysisandreflection

DR–R2:Thelearnercriticallyobservesanddescribesdrama/theatreexperiences

discerningdetailsaboutdrama/theatreelements,forms,styles,tools,andtechniquestoinformanalysis,interpretation,judgment,andevaluation

DR–R3:ThelearneranalyzesandinterpretsDrama/theatreexperiences.

generatingandco-constructingcriteriatocriticallyevaluateartisticqualityandeffectiveness

CurriculumConnections:

Resources

"1984:ThebeginningoftheendforBritishcoal".London:BBCNews.Retrieved11July2015.http://news.bbc.co.uk/onthisday/hi/dates/stories/march/12/newsid_3503000/3503346.stm

BalletTermsExplained—BalletDictionaryOnline.http://www.learntodance.com/online-ballet-dance-lessons/

BillyElliot.Wikipedia.https://en.wikipedia.org/wiki/Billy_Elliot

BillyElliottheMusical.Wikipedia.https://en.wikipedia.org/wiki/Billy_Elliot_the_Musical

FindingBillyElliot.https://www.youtube.com/watch?v=Zc7w608_S6Q

MakingofBillyElliot.https://www.youtube.com/watch?v=tuBzGWrBCwE

Miners'strike30yearson:'Ifoughtnotjustfor“mypit”butforthecommunity'http://www.theguardian.com/politics/guardianwitness-blog/2015/mar/05/miners-strike-30-years-on-i-fought-not-just-for-my-pit-but-for-the-community

TheMiners'Strike-30YearsofHurt(WalesThisWeek)03-03-14https://www.youtube.com/watch?v=IMbNcTimUtw

RoyalBalletSchoolwebsite.http://www.royalballetschool.org.uk/the-school/

UKminers'strike(1984–85).Wikipedia.https://en.wikipedia.org/wiki/UK_miners%27_strike_(1984%E2%80%9385)

VisittheofficalBillyElliottheMusicalwebsiteforadditionalresourcesandlessonplans:

http://london.billyelliotthemusical.com/resources/