STRUGGLE ON SETTo show the rough world in which Blanche is trying to survive, t he creative team uses an empty train station as a set design device. People often go to train stations with hope for a change—perhaps to travel to a new location, or to make a fresh start. This station is empty; it feels haunted by the past, just like Blanche.

Di� erent scenes in the ballet are created by using wooden crates, the kind you might fi nd littering a train station. During the performance, watch how the crates are rearranged in the ballet to create:

■ the mansion “Belle Reve” where Blanche once lived, what happens to the house, and what this moment symbolizes for Blanche.

■ the train that Blanche takes to New Orleans, where rude passengers surround her.

■ Stanley and Stella’s apartment where Stanley ultimately attacks Blanche.

SCOTTISH BALLETWORKING REHEARSAL

A Streetcar Named DesireDirection: Nancy Meckler Choreography: Annabelle Lopez Ochoa

Music and Sound: Peter Salem

Original play by Tennessee WilliamsPresented through special arrangement with The University of the South, Sewanee, Tennessee

Blanche’s pointe shoes make her seem more delicate and refi ned. Compare and contrast the way she moves with her sister, Stella, who is more sensual and natural.

David M. RubensteinChairman

Deborah F. RutterPresident

Darrell M. AyersVice President, Education

The Kennedy Center’s Ballet Season is presented with the support of Elizabeth and Michael Kojaian.

General Dynamics is the proud sponsor of the 2014-2015 Ballet Season.

Additional support for this working rehearsal is made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.kennedy-center.org/artsedge

Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

Learn more about education at the Kennedy Center at www.kennedy-center.org/education

The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.

© 2015 The John F. Kennedy Center for the Performing Arts

COVER PICTURE © SCOTTISH BALLET 0141 333 1092 BY GRAHAM WYLIE

ADDITIONAL PHOTOS BY ANDREW ROSS

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The play A Streetcar Named Desire was written 65 years ago, but the themes of the play are as relevant today as they were then. Considered one of the greatest American plays of the 20th century, playwright Tennessee Williams tells the story of Blanche DuBois, a fragile woman in a harsh world, who searches for love but struggles with loss and addiction. Director Nancy Meckler and choreographer Annabelle Lopez Ochoa have chosen Williams’s words as the inspiration for their ballet.

FOCUSING ON A MAIN IDEAHow to tell a story without words? When Meckler and Lopez Ochoa took on this significant challenge, they decided

■ the light and bouncy way Blanche moves at the beginning of the ballet when she is a young bride about to be married. This changes when she sees her new husband waltz off in an erotic embrace with another man.

■ the trio, or pas de trois, (pronounced PAH-duh-TWAH) between Blanche, her husband, and his lover. The love triangle is broken when her husband takes his own life.

■ the conflicting shame and desire Blanche feels as she indulges in a succession of lovers. She is humilliated by them but is powerless to stop her behavior.

■ the expression of Stanley’s physical dominance and need for control at the bowling alley. His brute strength is used against Blanche later in the ballet.

SHOWING INNER EMOTIONSTennessee Williams considered calling his play “The Moth.” He was interested in how Blanche, a very fragile creature, was attracted to things that could ultimately destroy her, the way a moth is attracted to light. Meckler and Lopez Ochoa used this and other images to illustrate Blanche’s character. During the performance, watch for:

■ Blanche’s fi rst solo performed under a single light bulb. She looks up and reaches for the light in the same way she reaches out for love.

not to recreate Williams’s entire play through dance. Instead, they focused on exploring a central theme: the struggle between Blanche, a world-weary, penniless former Southern belle, and Stanley Kowalski, the abrasive husband of Blanche’s sister Stella. The ballet explores how these two main characters battle for Stella’s loyalty and affection.

Meckler and Lopez Ochoa choose important moments to emphasize from the play and tell them through movement chronologically, starting with Blanche’s days as a carefree girl through her evolution into a fragile character haunted by her past. During the performance, watch for:

A Story Told Without Words

■ the way Blanche’s dead husband haunts her by returning throughout the ballet.

■ the fi nal solo Blanche dances under a single light bulb. Stanley has degraded and humiliated her, and she has lost hope for the future. Her imagination is populated by black fi gures carrying scarlet fl owers for the dead.

THE CORPS BE BALLETIn order to utilize the talents of the entire Scottish Ballet dance company, Lopez Ochoa and Meckler created a dance chorus. These dancers add to the story by creating, for example, a crowd at a train station or a rowdy group at a bowling alley. During the performance, watch how the corps de ballet allows Blanche’s memories to come to life.

Composer Peter Salem created the jazzy musical score for the ballet. Jazz music is especially appropriate for the setting of the story, New Orleans, the city considered the birthplace of American jazz.

Dancers are often taught the steps fi rst, and then think about the character. In A Streetcar Named Desire, the dancers often focused on their characters’ wants and desires fi rst, and then worked on choreography to express those emotions. Here, the dancers rehearse the complicated relationship between Stella and Stanley. Note the crates which are used as set pieces.

The play A Streetcar Named Desire was written 65 years ago, but the themes of the play are as relevant today as they were then. Considered one of the greatest American plays of the 20th century, playwright Tennessee Williams tells the story of Blanche DuBois, a fragile woman in a harsh world, who searches for love but struggles with loss and addiction. Director Nancy Meckler and choreographer Annabelle Lopez Ochoa have chosen Williams’s words as the inspiration for their ballet.

FOCUSING ON A MAIN IDEAHow to tell a story without words? When Meckler and Lopez Ochoa took on this significant challenge, they decided

■ the light and bouncy way Blanche moves at the beginning of the ballet when she is a young bride about to be married. This changes when she sees her new husband waltz off in an erotic embrace with another man.

■ the trio, or pas de trois, (pronounced PAH-duh-TWAH) between Blanche, her husband, and his lover. The love triangle is broken when her husband takes his own life.

■ the conflicting shame and desire Blanche feels as she indulges in a succession of lovers. She is humilliated by them but is powerless to stop her behavior.

■ the expression of Stanley’s physical dominance and need for control at the bowling alley. His brute strength is used against Blanche later in the ballet.

SHOWING INNER EMOTIONSTennessee Williams considered calling his play “The Moth.” He was interested in how Blanche, a very fragile creature, was attracted to things that could ultimately destroy her, the way a moth is attracted to light. Meckler and Lopez Ochoa used this and other images to illustrate Blanche’s character. During the performance, watch for:

■ Blanche’s fi rst solo performed under a single light bulb. She looks up and reaches for the light in the same way she reaches out for love.

not to recreate Williams’s entire play through dance. Instead, they focused on exploring a central theme: the struggle between Blanche, a world-weary, penniless former Southern belle, and Stanley Kowalski, the abrasive husband of Blanche’s sister Stella. The ballet explores how these two main characters battle for Stella’s loyalty and affection.

Meckler and Lopez Ochoa choose important moments to emphasize from the play and tell them through movement chronologically, starting with Blanche’s days as a carefree girl through her evolution into a fragile character haunted by her past. During the performance, watch for:

A Story Told Without Words

■ the way Blanche’s dead husband haunts her by returning throughout the ballet.

■ the fi nal solo Blanche dances under a single light bulb. Stanley has degraded and humiliated her, and she has lost hope for the future. Her imagination is populated by black fi gures carrying scarlet fl owers for the dead.

THE CORPS BE BALLETIn order to utilize the talents of the entire Scottish Ballet dance company, Lopez Ochoa and Meckler created a dance chorus. These dancers add to the story by creating, for example, a crowd at a train station or a rowdy group at a bowling alley. During the performance, watch how the corps de ballet allows Blanche’s memories to come to life.

Composer Peter Salem created the jazzy musical score for the ballet. Jazz music is especially appropriate for the setting of the story, New Orleans, the city considered the birthplace of American jazz.

Dancers are often taught the steps fi rst, and then think about the character. In A Streetcar Named Desire, the dancers often focused on their characters’ wants and desires fi rst, and then worked on choreography to express those emotions. Here, the dancers rehearse the complicated relationship between Stella and Stanley. Note the crates which are used as set pieces.

STRUGGLE ON SETTo show the rough world in which Blanche is trying to survive, t he creative team uses an empty train station as a set design device. People often go to train stations with hope for a change—perhaps to travel to a new location, or to make a fresh start. This station is empty; it feels haunted by the past, just like Blanche.

Di� erent scenes in the ballet are created by using wooden crates, the kind you might fi nd littering a train station. During the performance, watch how the crates are rearranged in the ballet to create:

■ the mansion “Belle Reve” where Blanche once lived, what happens to the house, and what this moment symbolizes for Blanche.

■ the train that Blanche takes to New Orleans, where rude passengers surround her.

■ Stanley and Stella’s apartment where Stanley ultimately attacks Blanche.

SCOTTISH BALLETWORKING REHEARSAL

A Streetcar Named DesireDirection: Nancy Meckler Choreography: Annabelle Lopez Ochoa

Music and Sound: Peter Salem

Original play by Tennessee WilliamsPresented through special arrangement with The University of the South, Sewanee, Tennessee

Blanche’s pointe shoes make her seem more delicate and refi ned. Compare and contrast the way she moves with her sister, Stella, who is more sensual and natural.

David M. RubensteinChairman

Deborah F. RutterPresident

Darrell M. AyersVice President, Education

The Kennedy Center’s Ballet Season is presented with the support of Elizabeth and Michael Kojaian.

General Dynamics is the proud sponsor of the 2014-2015 Ballet Season.

Additional support for this working rehearsal is made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.kennedy-center.org/artsedge

Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

Learn more about education at the Kennedy Center at www.kennedy-center.org/education

The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.

© 2015 The John F. Kennedy Center for the Performing Arts

COVER PICTURE © SCOTTISH BALLET 0141 333 1092 BY GRAHAM WYLIE

ADDITIONAL PHOTOS BY ANDREW ROSS

Cuesheet P

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FO

RM

AN

CE G

UID

E