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BALLET / 2017-2018

La Bayadère

PRODUCTION CLIPS

Mariinsky Ballet

Valery Gergiev, Artistic Director of the Mariinsky Theatre Yuri Fateev, Deputy Director of the Ballet Company Choreography by Marius Petipa Music by Ludwig Minkus with the Kennedy Center Opera House Orchestra Gavriel Heine, Conductor

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BALLET / 2017-2018

La Bayadère

WORKING REHEARSAL

Mariinsky Ballet

Valery Gergiev, Artistic Director of the Mariinsky Theatre Yuri Fateev, Deputy Director of the Ballet Company Choreography by Marius Petipa Music by Ludwig Minkus with the Kennedy Center Opera House Orchestra Gavriel Heine, Conductor

Some Background First!

Whether or not you’ve touched a tutu or performed a plié, you’ve surely heard of Marius Petipa’s (pronounced PET-ee-pahs) ballets. Does Swan Lake ring any bells? What about Sleeping Beauty? And that holiday classic, The Nutcracker! But here’s the oddest thing: Petipa—born in France—is considered the “Father of Russian Ballet.” How’d that happen?

When Petipa arrived in St. Petersburg, Russia in 1847, he was considered just an “okay” dancer. Decades later, however, he had successfully danced his way up the ladder at the Russian Imperial Theatre. And now, to celebrate the 200th anniversary of this famous choreographer’s birth, the Mariinsky Ballet performs La Bayadère, (The Temple Dancer), a masterwork Petipa created 140 years ago. Set in India, this ballet is filled with exotic characters, passionate love, murderous betrayal, a snake!, and a mesmerizing ghostly journey into the afterlife.

Want to learn more Marius Petipa and Mariinsky Ballet? Go to www.mariinsky.ru/en/.

So, What’s Going On?

Act I

Solor, a young warrior, encounters Magdaveya, a holy man or fakir (FAH-kir), is near the wall of the Temple of the Sacred Flame. He asks Madgaveya to arrange a meeting with a beautiful Hindu temple dancer, or bayadère (BYE-ah-deer), named Nikiya that very night. Madgaveya agrees.

The temple dancer, or bayadère, known as Nikiya. Viktoria Tereshkina in La Bayadère, Photo by V. Khomyakov.

Meanwhile, the High Brahmin leads a procession marking the beginning of a temple ceremony attended by fakirs and bayadères who perform ceremonial dances. Nikiya, the dancer who keeps the temple flame, is approached by the High Brahmin. Even though he has pledged to never marry in service of the temple, the High Brahmin confesses his love to her and promises riches and power if she will be his. To his displeasure, she rejects his offer.

Elsewhere, Madgaveya tells Nikiya that the warrior Solor would like to meet her that evening. Nikiya happily agrees to the rendezvous. However, even with Madgaveya as their look out, the lovers are overheard by the High Brahim as Nikiya tells Solor she will run away with him if he promises to always be true to her.

In the palace, the King, or Rajah (RAH-juh), tells his daughter Gamzatti that today she will meet the man she has been promised to marry since her childhood. The man arrives, and it is none other than Solor. Solor is instantly mesmerized by Gamzatti’s beauty, and also confused about his promise to Nikiya.

The time for the wedding draws close. The High Brahmin visits the Rajah asking for a private audience. He tells the king about the vows he overheard between Nikiya and Solor while a suspicious Gamzatti eavesdrops. The Rajah is angered. He decides that the wedding will go on as planned, but Nikiya must die. The High Brahmin is upset by Rajah’s decision and warns the gods will take vengeance if a temple servant is killed.

Suddenly, Gamzatti comes out of hiding and sends a servant to find Nikiya. She explains her wedding plans to Nikiya and asks her to give up Solor. Nikiya, overcome with grief, tries to attack Gamzatti with a knife, but is stopped by the servant. An outraged Gamzatti pledges revenge.

Nikiya dances right before Gamzatti exacts her revenge. Oxana Skorik in La Bayadère, Photo by Natasha Razina State Academic Mariinsky Theatre.

In the palace courtyard, Solor dances before guests. Kimin Kim in La Bayadère, Photo by Natasha Razina State Academic Mariinsky Theatre.

Act II

The wedding celebrations for Solor and Gamzatti are underway with various dances as entertainment. When it is Nikiya’s turn to dance, she performs a solo filled with sorrow. At the end, she is handed flowers and is told they are a gift from her beloved Solor. But as she reaches for them, a snake slithers out and bites her. Right then, Nikiya realizes Gamzatti’s vengeance has sealed her fate. The High Brahmin offers Nikiya an antidote to the venom if she will love him, but she refuses his bid once again. Solor watches as Nikiya dies.

Dancers celebrating the wedding of Solor and Gamzatti. Photo by Natasha Razina State Academic Mariinsky Theatre.

  Act III

Solor is filled with regret for Nikiya’s death. Coming to his aid, Magdaveya calls a snake charmer in an attempt to distract Solor. Solor falls asleep and dreams of “The Kingdom of the Shades”—a place where the spirits of the dead come down from the mountain and pass before him, one by one, in a long processional line. He finds his beloved Nikiya, and she beckons him to follow her.

Watch these clips from the trailer for the Mariinsky’s recent London performances of La Bayadère here:

Who’s Who

Solor a young warrior Magdaveya a fakir, or religious man The High Brahmin the temple religious leader Nikiya a bayadère, or temple dancer The Rajah the king Gamzatti the King’s daughter The Shades ghostly maidens of the afterlife

Check This Out…

Movements That Are Out of This World The dance in “The Kingdom of the Shades” is seen as an example of the pure classical ballet style Marius Petipa was to develop further in his later ballets. It also represents the epitome, and celebration, of the true virtuosity of the corps de ballet, (a group of dancers), and is often referred to as a “white ballet” of “ballet blanc.” Watch for…

a single shade/spirit entering from the upper-right corner draped in white tulle and a veil.

the way each subsequent dancer enters, one by one, performing the same steps—a forward-reaching arabesque (ar-uh-BESK) with lifted leg behind her, then a deep, reclining back bend and two forward steps. The shade repeats the sequence as the next dancer enters from the wings and follows in synchronicity. This repetition accentuates and amplifies the effect of this simple beautiful movement. Watch as 32 ghostly maidens enter, following one another down an actual ramp on stage.

the horizontal and diagonal lines present in the choreography. Petipa uses these lines to create a visual climax with movement.

the uniformity of training and style needed for these dancers to perform together to create such a spellbinding, mesmerizing effect. Imagine if any one of the 32 shades made a misstep!

To see a portion of “The Kingdom of the Shades” from the trailer for the Mariinsky’s recent London performances of La Bayadère, watch here:

Photo by Valentin Baranovsky State Academic Mariinsky Theatre.

Everything you ever need to know about arabesques is right here:

Lines of ghostly “shades” on each side frame the formation of dancers in the middle. Photo by Natasha Razina State Academic Mariinsky Theatre.

Think About This…

Clues to Characterization Choreography, like music, can have themes that introduce a character. Watch for the following gestures that tell us something about the character performing them:

Nikiya takes her open hands and sweeps them up to the top of one shoulder, a gesture that shows how she carries water in a jug, part of her daily duties.

The High Brahmin places his hands together and moves them down his chest, as if in prayer. Listen for the music that announces his entrances.

Solor’s overhead lift of Nikiya using one hand, communicating his exuberant happiness and love.

The quick turns, high jumps, and hand gestures by the Golden Idol. You can watch a clip from the Royal Opera House series, “Ballet Evolved” here:

Solor and Nikiya create beautiful geometric shapes with the lines of their bodies as they dance together. Ekaterina Kondaurova and Timur Askerov in La Bayadère, Photo by Natasha Razina State Academic Mariinsky Theatre.

Years of training allow this dancer, playing Nikiya, to travel through the air with amazing flexibility and height, making this difficult leap look effortless. Oxana Skorik in La Bayadère, Photo by Gene Schiavone.

Take Action: The Power of Promise

In La Bayadère, a promise is made and a promise is broken. Often in life when that happens, feelings are hurt, regrets are many, and people are disappointed. Have you ever broken your promise to someone? Has someone ever broken their promise to you? How did you feel?

Share all your best reasons why we shouldn’t break promises and post it to Facebook, Instagram, Twitter, Tumblr, Snapchat, or any other platform. Then, tag five friends and ask them to share what it means to them. Use #powerofpromise as your hashtag.

Explore More

Go even deeper with the Mariinsky Ballet Extras.

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PHOTO (top) La Bayadère by Natasha Razina State Academic Mariinsky Theatre.

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Support for Ballet at the Kennedy Center is generously provided by C. Michael Kojaian.

International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

© 2017 The John F. Kennedy Center for the Performing Arts

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BALLET / 2016-2017

THE LITTLE HUMPBACKED HORSE

PRODUCTION CLIPS

Mariinsky Ballet Valery Gergiev, Artistic Director of the Mariinsky Theatre Yuri Fateev, Deputy Director of the Ballet Company Music by Rodion Shchedrin Choreography by Alexei Ratmansky

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BALLET / 2016-2017

THE LITTLE HUMPBACKED HORSE

TEACHER GUIDE

Mariinsky Ballet Valery Gergiev, Artistic Director of the Mariinsky Theatre Yuri Fateev, Deputy Director of the Ballet Company Music by Rodion Shchedrin Choreography by Alexei Ratmansky

Student Guide: The Little Humpbacked Horse Performance Extras: The Little Humpbacked Horse Noob Guide: Ballet Nerd Guide: Ballet

Parents and Teachers: We’ve Got You Covered

The Little Humpbacked Horse: History in the Making

Composer Rodion Shchedrin began his score for The Little Humpbacked Horse in 1955 while he was doing postgraduate studies at the Moscow Conservatory. He later stated that he would be happy if choreographer Alexei Ratmansky considered creating a ballet to his score:

I always dreamed that Ratmansky would turn his vision and ears on The Horse. It seemed to me that it is close to his unique, witty individuality of theme, where lyricism and humor, craftiness and light sadness are natural neighbors. (Mariinsky Theatre Notes)

His dreams came true in 2009 when Ratmansky, then Artistic Director of the Bolshoi Ballet, choreographed the work.

This is not the first production of the Russian fairy tale. Discover more about the history of the story. Or, read the original Russian tale the ballet is based on in prose and rhyme.

For more information on this ballet production of The Little Humpbacked Horse and previous versions, visit the company’s production page.

The Mariinsky Theatre

The Mariinsky Theatre can trace its history as far back as 1783. The building has survived both physical and political challenges, and the roster of artists who have called Mariinsky home includes many famous performers, composers, and choreographers.

Marius Petipa, often called the “father of classical ballet” created many well-known ballets including Swan Lake and Sleeping Beauty. Petipa made a name for himself at the Mariinsky, known then as The Imperial Theatre. During his tenure at the theatre, Petipa choreographed more than 60 full-evening ballets, including a version of The Little Humpbacked Horse completed in 1895.

Additional Resources

A Parents’ Field Guide to Ballet

Teacher Resource: The Elements of Dance

Okay, you’re ready for The Little Humpbacked Horse.

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CLASSROOM ACTIVITIES

To connect with this performance, check out these tips and resources to use with your students.

Get to the Core: Integrating National Core Arts Standards

The National Coalition of Core Arts Standards (NCCAS) identify the “what” and “how” and “why” for integrating the arts—dance, media arts, music, theater, and visual arts—in your classroom. NCCAS frames a group of artistic and creative Anchor Standards based in these Artistic Processes: Creating, Performing (dance, music, theatre), Presenting (visual arts), Producing (media arts), Responding, and Connecting.

The ”Take Action: Tell Your Tale” Activity located in The Little Humpbacked Horse Student Guide meets the following NCCAS standards:

Producing (media arts): Realizing and presenting artistic works and ideas.

Anchor Standard #4. Analyze, interpret, and select artistic work for presentation.

  Responding: Understanding and evaluating how the arts convey meaning.

Anchor Standard #7. Perceive and analyze artistic work.

Anchor Standard #8. Interpret intent and meaning in artistic work.

Anchor Standard #9. Apply criteria to evaluate artistic work.

The “Take Action" Activity asks young people to dig deeper into the fairy tale genre and to share their favorites.

We suggest using social media to activate students, but it’s no problem if that’s not your thing. Instead, modify the activity to trigger small or large group discussions, assign a writing exercise or warm-up, or even ask students for short performances or presentations.

For additional Arts Standards activities and evaluation tools, go to NCCAS.

Full STEAM Ahead: Integrating the Arts with STEM

In many educational circles today, there is a shift in approach toward integrating the arts with STEM learning. This might seem like a tough task, but we’re here to help.

In addition to the quick and easy tip below on how to incorporate STEAM into your classroom, there’s more! The Kennedy Center’s program, Changing Education Through the Arts (CETA) focuses on increasing the arts in our classrooms. Professional learning opportunities are available to any teacher in the D.C. metropolitan area. Additionally, many of these programs are nationally accessible through the Kennedy Center’s Partners in Education.

Before or after the performance, share the video below with your students. They’ll learn how physics plays an important role in ballet—especially in the madcap spinning turns known as pirouettes.

  The Physics of Ballet

Mastering English: Engaging ELLs in the Arts

English Language Learners, particularly those at emerging levels of proficiency, are often reluctant to share out loud and/or on paper. The strategies below invite students to listen, speak, and write about their experiences with live performance through the lens of reflection and critique. We encourage you to adapt from the ideas:

Write a review for parents or someone not at show

Describe the performance in an interactive group discussion with their peers

Take a picture and write caption

Use new words from performance

Make a list of new/challenging words from the student guide

Write a journal entry

Make and discuss a cultural and/or family connection to performance

The activities above connect to multiple, grade-specific standards Writing, Speaking & Listening, and Reading, and other skills contained within the English Language Arts Standards for grades 6-12. In addition, they align to the NCCAS Responding and Connecting Standards for high school students.

Every Child Challenge: Addressing Individual Needs

Activities referenced throughout these pages can be adapted for students with disabilities. Strategies for selecting appropriate, student-centered accommodations can be found in the Kennedy Center-produced publication, “Students with Disabilities and the Core Arts Standards: Guiding Principles for Teachers.”

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ALL PHOTOS by N. Razina

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Support for Ballet at the Kennedy Center is generously provided by Elizabeth and Michael Kojaian.

This performance is made possible by the Kimsey Endowment; 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.

 International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

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.

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The Kennedy Center Virtual Tour

Explore the KC

BEGIN YOUR VIRTUAL TOUR HERE Make your way through all of the different, historic spaces at the KC.

AND BE SURE NOT TO MISS THESE!

Bust From the steps of the Opera House one has a commanding view of the Grand Foyer including the eight-foot bronze bust of President John F. Kennedy. The 3000 pound bust, designed and created by American sculptor Robert Berks, reminds us that the nation’s premiere performing arts center also stands as a living memorial to our 35th president, John Fitzgerald Kennedy.

Concert Hall

Eisenhower Theater

Family Theater

Hall of States and Hall of Nations Immediately inside of the first set of plaza doors to the Kennedy Center, is the Hall of States, the main feature of which is a collection of flags from all 50 states, the 5 U.S. territories, and the District of Columbia. The flags are hung in the order in which their respective states entered the Union. They begin with Delaware, which is located in the right corner as you are facing the street entrance to the Hall. Parallel to the Hall of States, accessible through the second set of plaza doors to the Kennedy Center, is the Hall of Nations. In this hall hang the flags of every country with which the U.S. has diplomatic relations. When a country changes its name, a 60-foot scaffold is erected in order to rearrange the flags. The flags are displayed in alphabetical order.

Opera House

Terrace Gallery

Theater Lab

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BALLET / 2016-2017

The Little Humpbacked Horse

WORKING REHEARSAL

Mariinsky Ballet

Valery Gergiev, Artistic Director of the Mariinsky Theatre Yuri Fateev, Deputy Director of the Ballet Company Music by Rodion Shchedrin Choreography by Alexei Ratmansky

Noob Guide: Ballet Nerd Guide: Ballet

Once upon a time, there was a beloved Russian fairy tale that was told to countless generations about a young boy’s amazing adventures with a magical horse. By way of a ton of twists and turns, the story captured everything found in Russian folklore—fantastical animals, comical characters, and the central values, fears, and hopes of its people. But no matter how old the story, audiences today still appreciate truth over trickery and applaud humor, kindness, and especially love. Now, Alexei Ratmansky and the Mariinsky Ballet re-imagine this classic story in 21st-century style.

So, What’s Going On?

Hold on to your hat because this plot may make your head spin! Here’s what happens: When the story begins, we meet three brothers and their father who are wheat farmers. The two older brothers like to have fun, which frustrates their hard-working dad. To help them be more responsible, he tells them about a terrible villain that comes during the night and tramples their wheat. He sends the oldest two sons, Gavrilo and Danilo, to guard the field. Ivan, the youngest, is left behind because he is considered too young and clumsy. But Ivan is determined to capture the villain and goes out to the field alone.

In the field, Ivan sees a beautiful horse trampling the wheat. He mounts the horse who cannot buck him off. In exchange for her freedom, the horse promises Ivan two stallions and a small humpbacked horse. Ivan agrees. Suddenly, he is distracted by firebirds that land in the field and does not notice his brothers enter and take off with the two stallions. Meanwhile, the humpbacked horse, which is clearly no ordinary animal, promises to help him get the stallions back.

Ivan finds his brothers trying to sell the horses to the Tsar (King) and stops them. The Tsar likes the stallions, and offers Ivan the job as his Chamberlain. But hold your horses! The current Chamberlain, now demoted, is angry and starts a series of attempts to get rid of Ivan in order to get his old job back.

Still following the story?

Ivan and the Humpbacked Horse enter the square to stop his brothers from selling the stallions.

So that evening, the Chamberlain creeps up where Ivan is sleeping and steals the firebird feather Ivan found in the field. The Chamberlain shows it to the Tsar, who wonders about this rare and precious item. The Tsar has a vision of a maiden, called the Tsar Maiden, who lives with the firebirds. He wants to meet her and marry her, and the Chamberlain convinces him that Ivan is just the man for the impossible task.

Luckily for Ivan, he has the help of the Humpbacked Horse, who leads him to the maiden. She likes Ivan, and agrees to return with him, after some convincing. The Tsar wants to marry her, but the Tsar Maiden states she first must have a ring with a stone from the bottom of the sea.

Okay, now guess who gets to find that stone? Ivan, of course!

The Chamberlain convinces the Tsar that Ivan is up for another difficult and likely more dangerous task. Fortunately, Ivan is again accompanied by the Humpbacked Horse. They have trouble finding the stone until Ivan asks for help from the Sea Princess, who brings him the stone ring.

Ivan returns triumphant, much to the disappointment of the Chamberlain. The Tsar gives the ring to the Tsar Maiden, but she has one more trick up her sleeve to avoid marrying the old and tired Tsar. She tells him he must look as handsome as a painted portrait, and that she knows what will improve his looks—hopping into a pot of boiling water. Really! No kidding!

The Tsar is eager to wed, but is hesitant to take the plunge. But the Chamberlain has the solution: Make Ivan try out the boiling water first to see if it works. The Chamberlain hopes he’s finally going to get rid of Ivan once and for all.

Once again, the Humpbacked Horse comes to the rescue as Ivan submerges in the water. The Horse casts a spell and Ivan is transformed into a handsome Tsarevich (the eldest son of a Tsar). Thinking this must be some special water after all, the Tsar jumps in. But, um, there’s no special spell to keep him from getting cooked!

After the Tsar’s death, Ivan and the Tsar Maiden make plans to marry, and the country gets ready for a new Tsar!

The Tsar Maiden among the Firebirds.

Who's Who

Ivan a young man eager to prove himself Gavrilo and Danilo Ivan’s older brothers who think Ivan is a “fool” Old Man father of Ivan, Gavrilo, and Danilo The Humpbacked Horse a small, magical horse given to Ivan The Tsar the Russian King The Chamberlain servant of the Tsar The Tsar Maiden a lovely young maiden that lives with the firebirds The Sea Princess the underwater royalty of the sea people

Check this out...

The costumes and set design suggest pop culture and a child’s cartoons. Look for the upside down faces on costumes of the sea people. Could it represent their reflections in water?

The Sea Princess with the sea people

Composer Rodion Shchedrin’s music varies in color and mood from the happy, upbeat phrasing reminiscent of folk music, to more dramatic sections. Choreographer Alexei Ratmansky interprets the rhythms in the music with his movement. Watch for the dance by the six Nurses where Ratmansky changes his choreographic structure in playful ways. The nurses dance in a variety of groupings, sometimes five and one, or two and four. See how many groupings occur during just this one dance!

The Nurses in a group of six. Listen to some of the musical score:

Ratmansky blends the old and new in this ballet. Watch for the elegant quadrille performed by the Boyars who are high ranking officials in the Tsar’s party. This courtly dance, performed in a square formation by four couples, hails from Europe in the 18th and 19th centuries. Ratmansky mixes things up later on by adding contemporary dance moves for Ivan and the Tsar Maiden. Watch closely to see if you catch them in the act.

Think About This...

What are some of the folk/fairy tales that we grew up with in America?

Who does Ivan represent in our culture as an unlikely hero?

Christopher Robin

Joseph (of the amazing coat of many colors)

How the dancers use mime, or gestures, to communicate parts of the story. Because ballet doesn’t use language like spoken word in theater, or lyrics in opera, the movement has to tell the whole story. Sometimes dancers act out the meaning using mime. You can see examples of these types of gestures in the following:

When Ivan communicates to the Tsar Maiden that she needs to travel with him back to the Tsar.

When the Tsar communicates to the maiden that he wants to marry her, by taking her hand and pointing to her ring finger.

When the Chamberlain reacts to the Tsar Maiden after she still refuses to marry the Tsar, even with the ring she requested from the bottom of the sea. His gestures seem to say “What? You won’t marry him? Even after he dove down in the water, holding his nose, to get this ring for you?” Her pantomimed response might be read “I don’t care; I don’t love him.”

The use of humor throughout the ballet. At the end, when Ivan and the Tsar Maiden are free to marry, they dance celebratory solos. This is usually the part of the ballet where the star dancers show off their ability. Ratmansky pokes fun at this ballet tradition by interrupting the typical display of skill. The Tsar Maiden get dizzy during her solo, requiring support so she doesn’t fall down. When it’s Ivan’s turn, he can’t remember his steps and has to start over several times, finally giving up and doing something different. What do you think Ratmansky is trying to do by poking fun at some of ballet’s traditions? Watch the following video on Mariinsky dancers who have played the parts of Ivan, the Tsar Maiden, and the Humpbacked Horse and listen for their take on Ratmansky’s use of humor.

Meet the Choreographer

Alexei Ratmansky PHOTO by Fabrizio Ferri

Hear what American Ballet Theater Dancers think of working with Ratmansky.

Take Action: Tell Your Tale

The Little Humpbacked Horse is based on a Russian folk tale of the same name that was written in 1834 by Pyotr Pavlovich Yershov. The tale was politically incorrect after it was written, because it showed the head of the country, the Tsar, as being cowardly and mostly interested in fulfilling his own desires. Plus, it ends up with him being boiled to death!

Despite this harsh critique of the ruling elite, the story was turned into a ballet in 1864 by Arthur Saint-Leon in St. Petersburg, Russia. It was the first ballet to use Russian mythology for the storyline. Ratmansky choreographed this version in 2009 to music by Shchedrin, composed in 1960.

Think about fairy tales you heard as you were growing up. Do any of them make some kind of statement about a king or queen, or communicate a moral message? Has the fairy tale been used as a story line in a movie or play you know?

Share your favorite fairy tale, what version of it you like (book, movie, or song for example), and what you think it communicates with friends on Facebook, Instagram, Twitter, Tumblr, Snapchat, or any platform of your choice. Tag five friends and ask them to do the same. Use #tellyourtale.

Explore More

Go even deeper with the Mariinsky Ballet Performance Extras.

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ALL PRODUCTION PHOTOS by N.Razina

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Support for Ballet at the Kennedy Center is generously provided by Elizabeth and Michael Kojaian.

This performance is made possible by the Kimsey Endowment; 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.

 International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

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.