A

Teachers Resource Pack for Key Stage 2 /3

The Three Musketeers

Contents

The Three Musketeers Introduction

Page 1

Page 2

Scenario

Pages 3 to 5

Background and History

Page 6

Characters

Pages 7 to 8

Music

Page 9

Set Designs

Page 10

Costume

Page 11

Fighting

Pages 12 to 13

Creative Tasks

Pages 14 to 19

Photographs

Pages 20 to 26

Bibliography

Page 27

Creative Team

Choreography: David Nixon

Set Design by: Charles Cusick-Smith

Costume Design by: David Nixon

Fight Direction by: Renny Krupinski

Lighting Design by: David Grill

Scenario by: David Drew MBE

Music by: Sir Malcolm Arnold

Arranged by: John Longstaff

Production photos by Merlin Hendy

Rehearsal photos by Brian Slater

Introduction

This resource pack aims to give teachers a rich, stimulating set of materials to teach dance

and other related subjects at Keystage 3 (with adaptations for Keystage 2). You can use

this pack to build your own lesson plans and schemes of work with information and

creative ideas drawn from Northern Ballet The Three Musketeers. As well as

dance performance, composition and appreciation, the pack signposts subject material for

Design, Music, English, Drama, History and PSHE.

Northern Ballet The Three Musketeers which premiered in 2006, is based on the book

written in 1844 by Alexander Dumas, the father of Alexander Dumas fils who wrote The

Lady of the Camellias staged by Northern Ballet as La Traviata (2005). The bibliography

includes aims to signpost you to further background information.

For more information about the company, its history and repertoire please see our

website: www.northernballet.com

Prologue. Porthos, Aramis and Athos

Interpretation

The Three Musketeers is an adventure story with the central themes being intrigue, good

versus evil and loyalty which Nixon views as still being relevant today.

think as men we are always trying to think of ourselves as

the best warrior of

The Three Musketeers they never seem to be defeated. We

still have an inner desire to do the right thing but

always able to do it, so we still want to watch stories and see

people

is largely true to the

book, but the female characters have more prominent roles

and can be seen to represent three ways men might view women.

temptress who is totally evil and self-centred. Queen Anne represents the virgin queen who

is mistreated and suffering in a loveless marriage. Constance is the real woman in many

ways, she has real steel fibre. She is willing to fight for what she feels is right and she is

very loyal. Parallels can be found between the male roles in the production and those in

our present society. However, it is often more difficult for men to assert their masculinity in

Although based on the novel, the ballet is different in its

structure and concentrates on the first half of the story;

dance has to deal with things in a simpler way, you have to

create a clear focus. The production is based around three

masques, which do not appear in the book or the films but are

ppropriate for a ballet. At first I was daunted by this, but I did

some research and masques, which were early ballets, were

very

The scenario was created by David Drew over 20 years ago and was originally intended for

the Royal Ballet. worked with other

the scenario for The Three Musketeers as a ballet with

original music by Sir Malcolm Arnold. I started to think how The Three Musketeers would be

really good to do with NBT as our male dancers have a real boyishness a playful quality

that is so crucial to the Musketeers. The biggest process has been trying to bring his

ideas down in size from a very

Act 2, scene 6. Lady de Winter

and Buckingham

Act 2. Aramis, Athos and Porthos

Scenario

Prologue

Paris early 17th Century, a political minefield where few are safe.

We meet the main characters of the ballet and are introduced to their political ties. The

unhappy marriage of Louis XIII to Anne of Austria; the powerful Cardinal Richelieu who

detests the queen; the affair between the lonely Queen and the Duke of Buckingham.

Act 1

Scene 1. Gascony

mily and home to embark on a voyage to Paris to

become a Musketeer.

Scene 2. The Forest en route to Paris

servant

just as Rochefort is about to kill

t beautiful Lady de Winter.

on to Paris.

Scene 3. The Streets of Paris

A day of excitement as a huge

and

arrives

and is dazzled by what he to insult all

three Musketeers and in doing so ends up with three duels ahead of him the next day.

Ahead of the Ball Queen Anne meets secretly with the Duke of Buckingham, as Constance

prepares her for the Ball.

Scene 5. The Throne Room

Much social dancing ahead of the anticipated ballet about to be performed. The King and

passes

information to Milady, who in turn passes it to the Cardinal. The King dances with his men

before the showcase performance the Diamond Dance where a magnificent diamond

necklace is presented to the Queen.

Queen Anne finds Buckingham back in her chambers and they again express their feelings

for each other.

Scene 7. In The Early Hours

Hautebois leads Buckingham through the halls of the court and onto the streets of

Paris.They are followed by a mysterious shadow. Buckingham meets his servant and is

informed of the loss of the political letters. He quickly writes a note to Anne and gives it to

Hautebois before fleeing into the shadows. Milady appears and Hautebois allows her to

read the note.

Scene 8. The Streets of Paris

Athos arri him

the duel

guards

interrupt. The Three Musketeers prepare to fight outnumbered but are soon joined by the

or incapacitated.

Scene 9. Home of Mme Bonacieux

re-

enact the final moments, Constance arrives and thinking her friend in trouble, attacks the

young man and

Constance gaze upon each other for the first time.

Suddenly there is a loud pounding on the door and the Duke of Buckingham steps in and

explains his plight to the Musketeers and Constance. Soon, there is another knock and to

The Queen and the

Duke are left alone and she gives him her necklace as a farewell love token. Left alone in

and romance is born.

Act 2

Scene 1. A Room in the Palace

The King and Queen prepare a new ballet under the watchful eyes of Cardinal Richelieu.

Milady enters with news for the Cardinal Buckingham has fled, with

necklace. Inspired by the situation, the Cardinal interrupts the King and Queen and offers

to hold a ball, suggesting that it might be an opportune moment

new necklace. In complete panic, the Queen is at a loss at what to do, Constance gets her

to write a letter and takes it with her as she leaves.

Scene 2. The Dark Streets of Paris

Running through the streets Constance fears that she is being chased by the

guards. She is suddenly grabbed by three men and hauled away.

th

hoods to

and the four agree

an intimate parting with

Constance. Wanting to give him a token, she gives him the only thing handy her

and jumps out the window.

Suddenly the door opens and Constance is confronted by Milady.

Scene 4. The Road to Calais

The Musketeers ride towards Calais, but along the way are attacked and

to continue the quest alone.

Scene 5. Port of Calais

when

Milady step

before

boarding the ship.

Scene 6. A Room In England

Milady seduces the Duke of Buckingham, not only proving his infidelity but also takes the

necklace for the Cardinal.

Scene 7. A Cell In Calais

Milady

in his present

position. Unable to restrain herself, Constance leaps at Milady and the two begin to fight.

In a panic Milady flees the room just minutes before the Musketeers arrive. United again,

one for all, head for Paris.

Scene 8. Paris

Queen Anne is waiting, hoping that at the last moment Constance will return with the

necklace. Finally she can wait no longer and departs for the ball and her imminent

disgrace. The Cardinal awaits the arrival of Milady and gleefully receives the necklace.

Scene 9. The Ballroom

The Masquerade Ball is in full swing. The King and Queen perform the rehearsed ballet, the

large feather fan concealing her throat. Richelieu waits and

watches for the arrival of Milady and Rochefort. Feeling surrounded by enemies the queen

begins to lose all confidence. The Musketeers make it back in the nick of time and deftly

return the necklace to the Queen in the confusion and chaos of the Masquerade Ball. A

defeat for the Cardinal and Milady. The Queen proudly presents the necklace and

becoming a real Musketeer: One for all and

all for one.

History and Background

The Three Musketeers is a historical novel, which means that while much of the action, and

some of the characters real. King Louis XIII,

Queen Anne, the Duke of Buckingham and Cardinal Richelieu were key figures in European

history. Underlying the action and adventure of the novel is the serious historical conflict

between the church and the Protestant Huguenots.

Louis XIII (1601 43) ascended to the French throne in 1610 at the age of eight. His mother

acted as Regent until he came of age at thirteen, but unofficially remained in power until

he was fifteen. At fourteen he was married to Anne of Austria (1601 66), daughter of King

Phillip of Spain. Their marriage was not considered happy and they were often kept apart

intense emotional ties were with men and it was not

until 1638, after 23 years of marriage and four miscarriages that Anne finally gave birth to

a son.

Cardinal Richelieu played a major part in one

as an officer of the church, he also had an

allegiance to the Catholic Pope in Rome. There was no separation of church and state and

some historians argue that Richelieu was more powerful than the King. Catholic France

was trying to drive the Protestant Huguenots out of the country. The Duke of Buckingham

was from Protestant England and his liaison with Anne was seen by the Cardinal as not

only disloyal to the King, but as a political threat to the security of the country.

Buckingham first met in Paris where he was to escort Madame Henrietta Maria, who was to

marry Charles, Prince of Wales, back to England. Following

French custom, Anne accompanied her female kin to the

Paris had been

overly friendly so the King gave strict orders that on no

account should the two of them be left alone. When they

parted, Buckingham tried to declare his feelings and from

this point on the French rulers viewed him with great

suspicion. He made little attempt to hide the affection he

held for Anne. Continually refused entry to the country,

Buckingham had ample reason to adopt an increasingly

hostile attitude towards France and contribute to plots

that were hatching against Richelieu and the King. Act 2, scene 6. Lady de

Winter and Buckingham

Characters

The central character of the novel. A young impoverished, Gascon nobleman he comes to

make his fortune in Paris with virtually nothing but his good looks, honesty, integrity,

loyalty to the King and Cardinal and expert swordsmanship. He is brave, noble, ambitious,

crafty and intelligent. Despite initial blunders and difficulties, he quickly becomes friends

with the Musketeers. Like any romantic hero he is driven by love and ruled by chivalry.

Athos

way

appearance, intellect, bravery, and swordsmanship yet he is tortured by a deep

melancholy. During his youth he married the evil Lady de Winter whom he now presumes is

dead.

Aramis

A quiet, handsome, slightly foppish young man. Brought up in a monastery he is passing

his time as a Musketeer until the Queen provides France with an heir, at which time he will

enter the priesthood. He is secretly having an affair with Madame de Chevreuse, a close

friend of the Queen.

Porthos

The worldliest of the Musketeers, he enjoys good food and comfortable surroundings.

Loud, brash, self important and extremely vain, he dresses to impress the women of

society who seem to appreciate his good looks and courteous attentions. Nonetheless, he

is a valiant fighter and courageous friend.

Cardinal Richelieu

The in

France. Furiously self absorbed, he is an extremely effective leader of the state and adapt

at controlling individuals and nations with his clever and astute machinations. He is

presented as the antagonist to the Queen and has spies throughout the country constantly

monitoring the Musketeers activities.

King Louis XIII

A weak and incapable ruler, he is dominated by his advisors, most notably Cardinal

Richelieu. Petulant and petty, he does not trust his wife the Queen, or particularly like her.

Cinq Mars

Queen Anne

Anne is Spanish and her loyalties are divided between her Spanish heritage, her position

as Queen of France and her love for the Duke of Buckingham. Her romantic involvement

despite this she

remains faithful and loyal to the King. She leads an unhappy life in court and is hated by

the Cardinal.

Constance Bonacieux

On -in-waiting and dress maker, she is fiercely loyal to the Queen.

Constance is a strong, loyal woman who fights for what she believes is

falls madly in love with her and as a result becomes involved in cret affairs.

Characters Lady de Winter (Milady)

Represents the quintessence of evil in the story. Mysterious, beautiful and dangerous she

of numerous characters in

deeply attracted to her, even though she plans to have him

murdered, and will kill anyone who discovers her secret her left shoulder is branded

with a Fleur-de-Lis, a mark put on the worst criminals.

Duke of Buckingham

Next to the King, he is the most powerful man in England, fulfilling a similar role to the

Cardinal. Handsome, witty, brave and wealthy he is desperately in love with Anne and is

willing to use all his wealth, influence and power simply to be near her.

Count de Rochefort

sis, he is the Cardinals private spy. He continually appears at various

places at unexpected times and is a dangerous man.

Madame Bonacieux

Madame Hautebois

the Queen.

Music

The music for The Three Musketeers was composed by Sir Malcolm

Arnold. Created from existing music, the score has a cinematic feel

as much of it is taken from film soundtracks. Nixon explains,

I like about it is the size of it it is heroic and because some of it

is also film music it provides that interesting background and

choreographic freedom. It is very accessible and in dance we

cannot underestimate

vast and varied. His

orchestral experience in the London Philharmonic sowed the seeds

for brilliant orchestral textures that became a key feature in his

enormous output. He was caught directly between the folksong

and English hymnal music of Vaughn Williams and the mysticism

of Holst and Britten whose music was often informed by social

change.

Arnold was a notorious teller of funny stories but his music also reveals a deeply troubled

state of mind, concealing darker secrets. There is a very disturbing and often

uncomfortable counterpart to the ever cheerful and heroic Arnold associated with famous

film scores such as Bridge Over the River Kwai, Inn of the Sixth Happiness, and The Bells of

St Trinians.

Sweeping romantic melodic lines are punctuated by skilful orchestral effects, he was not

afraid to flirt openly with jazz, cabaret and even occasionally rock overtones. To create

dramatic effect he uses a great deal of brass and unusual percussion instruments such as

whips and bongos, harp and celeste, which features heavily

in his work. He also uses glissandi to create a sweeping

sound in the strings.

Only one piece of music was actually composed specifically

for the ballet and Constance

in Act 1, scene 9. When David Drew first wrote the scenario,

Arnold was going to write an original score, but as the

production was never actually commissioned a full score was

never produced.

Act 1, scene 6. Buckingham

and Queen Anne

Act 2, scene 1. King Louis and

Queen Anne

Set Designs

The set for The Three Musketeers was designed by award-winning designer Charles Cusick-

Smith. Charles has had an extensive career in theatre with previous work including set

designs for a number of West End musicals and international Ballet and Opera companies.

He has also exhibited his paintings in the Dragooi Galeri, Estonia, The Royal Academy,

London and in many galleries in the UK.

Below Charles talks briefly about his thought process and the challenges he faced whilst

creating the set for The Three Musketeers

he period and the

lavishness had to move smoothly and

evoke interior and exterior scenes. Maximum space for dancing was also of high

importance!

Before I could start, we had to decide on the specific year in which the production would be

set we settled on 1626. As the story takes place in many locations, I decided on a setting

that is stylised. It all takes place within the structure of a beautifully panelled room. There

are painted backdrops and structural settings that fly within this space. Within the

sidewalls are secret pivot walls, which have functional doors and windows. This was

considered necessary, as there is a lot of physical action involved with doors and windows.

Although the main stage box (room) is stylised (by exaggerating certain period features

Act 2, scene 9. Set design of the Ballroom

and settings are painted in a highly

realistic manner.

The most challenging part of

creating the set was the

journey to Calais. It was

necessary to create the effect

that the Musketeers are

travelling on horseback. This

has become a stylised scene

with backlight to silhouette

the Musketeers. The backdrop

behind them is painted as if in

motion. This was a very

difficult painting effect,

however it looks extremely impressive. Once a production starts to take shape alterations

sometimes need to be made to accommodate the action on stage, however the only real

change that was made was that the fountain in Act 1 would become a physical part of the

setting and it would be stood and jumped on. I am most pleased with the Calais backdrop

in motion

Act 2, scene 5. The Port of Calais

Act 2, scene 5. Painting a sky backdrop

Costumes

Nixon designed the costumes for the production, which were then realised by the

wardrobe department. He researched the style of dress for the period and then introduced

the idea of fantasy, elaborating on the basic silhouette. In the production there are over

100 costumes. ere are lots

of characters. The King and Queen, for example, have many different costumes because

between fulfilling

expectations and revealing something new. There is also a tight budget for the number of

costumes and so we have had to be

creative where possible, like making

whole scenes out of a cheap material, and

The costume design also had an impact

on the choreography. to

the masquerade as birds which meant I

had to make a conscious decision not to

have much partnering in the scene as the

partner work.

The relevance of the birds is that the little ballet scene in the masquerade is about the blue

jay, the bird that steals from the nest. There are three birds, representing Queen Anne,

Buckingham and Louis and the English

designs and finding suitable material to give the required effect

that is practical to use and within budget. An example of this is

the rehearsal ball scene in Act 1 where calico, a cheap,

lightweight fabric, was used. Whenever possible, NBT uses

fabric that has some stretch, such as lycra, to allow the dancers

freedom of movement. Bodices generally have lacing so that

they can be adjusted to fit several dancers as many costumes

have to be shared. If the costume cannot be washed, due to the

fabric used, removable panels are inserted that can be taken out

and washed. Vodka can also be sprayed on to the costume to

prevent it smelling.

Act 1, scene 5. Silver costumes during the

Diamond Dance

Gavin Render applying

make-up to Patrick Howell

Fighting

Swordsmanship is an important element in The Three Musketeers. During this period in

history there was no democracy in France, the majority of people did not have the right to

vote. Among the general population disputes were regularly settled by the sword. To

create realistic fight sequences Renny Krupinski was brought in to work with the dancers.

Renny is among the foremost fight arrangers in the UK, working with major companies

throughout the UK, Europe and in America and

actors. He is particularly well known and respected for his gritty realism and the ability to

achieve what some consider impossible in terms of punches and slaps. David Nixon

explains.

fight because they are supposed to be trained fighters. A

and this became important to me. It had to look as

realistic as possible without being dangerous. Fighting

fight that is important. It is not about force, but about

technique. In a certain way it is dancing. It is two men

dancing with a weapon it It is because someone is

exceptionally killed that they defeat the person, not because they are bigger and

In spite of his broad experience, this was the first time Renny had worked with dancers.

d is that the muscle memory is quite extraordinary, I set something and I

say do you want to see it again? then they show it to me and

they have actually got it right! They

The collaborative process was new to both artists. Renny

explains, this with absolutely no idea

because we have never worked with each other before. So we

how we were going to collaborate, he

actually came to me on the first morning of rehearsal and

was really

However, once they started they quickly found they worked

in a similar way, having an idea of what they wanted to

Act 1, scene 8. Athos

Act 2, scene 3. Constance and

Lady de Winter

create in mind, then thinking on their feet.

Theatre is quite different to film in creating fight scenes. In film, you have opportunity to

get the overall picture, and then focus in on specific parts. absolutely

have to work in detail all the time, you have to do your own focusing. You have to pull up

moments exciting moves, leaps and jumps

as we go back and

look at it I will add things like: can anyone leap ov

Impressed by their technical dance skill, he was also

amazed by their dedication. the breaks you

see them practising, dancers work at being dancers

which is a revelation to me and terribly exciting. They

all help ea

pursue the difficult, so working with dancers was an

eye opener as they were so keen and enthusiastic.

The dedication

Finding the right swords for the production proved difficult and led to a debate between

style (the correct period) and weight. too

heavy. I helped with design issues, for example what kind of guards would look good, what

kind of blades would look good, weight shape, length and also worked with the dancers for

their needs for what they need and what they can dance with. If it is too heavy, if is too

long, it can get in the way of the feet

Act 2, scene 5.

Yi Song during fight rehearsals

Task 1

Individually, experiment with a piece of clothing

finding wringing, shaking, scrubbing and folding

movements. Choose 2, exaggerating the movement to

develop it into a motif. Pay close attention to the

rhythm of the movement as this will change it from

pedestrian actions into dance.

Creative Tasks

Washer Women

Act 1 scene 3

Set 2 no.1. (2/2, slow march with a steady beat).

The washerwomen appear throughout the ballet and are

an integral part of the street scenes. Their movement

often involves using pieces of washing as a prop. Their

pedestrian (everyday) movements such as wringing,

shaking, scrubbing and folding are stylised to make

them into dance movements. This can be done by

exaggerating movements, doing them on different levels,

and setting them to a very clear specific rhythm and

beat.

Task 2

In groups (of 4+), teach each other your motifs and practise deciding on dynamic and

speed.

Task 3

Create a phrase using the motifs, including transitions to link them. Consider pathways

and direction of facing.

Task 4

Rehearse the sequence, concentrating on working in unison, ensuring that there are no

variations in movement. This unison sequence then can be developed by adding canon

and repetition.

Act 1, scene 3. Washerwomen (on the

streets of Paris)

Quartet

Act 1 scene 9

Copperfield: the Micawbers (4/4 allegro,

lively)

mother, Madame Bonacieux. They

pick her up, pass her between them, swing her round and kiss her in a playful, cheeky

manner.

Task 1 (In pairs)

Teach some simple supports, counterbalances

and assisted lifts;

Falling back onto a partner

A stands directly behind B, A stretching arms

forward with fingertips touchin falls

backwards, keeping body straight and rigid, A

supporting with palms of hands, bending arms.

Pushing B back to return to starting position. This

can be developed by B lifting one leg, being

caught under the arms, falling sideways, falling

forwards.

Using partner as a support

A acts as the support bent over with hands on thighs, elbows in, head down. B can use

this base to push off during jumps, cartwheel over etc.

Assisted lift

A jumps as B lifts. To develop this B

can lift and place A to one side, can turn A in the air and let go, they can face each other

(with

Assisted spin

A holds B under the arms and turns, spinning B round as they extend their legs like a

sideways leap.

Assisted leap

A and B face each other holding right hands. A leaps forward as B pulls, landing the

other side facing each other again.

Quartet (continued)

Task 2

Divide into groups of 4 and give each a character (Athos, Aramis, Porthos and Madame

Bonacieux). Madame Bonacieux is the character that is passed between the Musketeers

so each group must find 6 lifts, supports etc either as taught or their own adaptations.

Task 3

Order them and decide on how Madame Bonacieux is going to travel between them

(falling as if pushed to next person, running etc) and the pathways she is going to make

around them.

Act 1, scene 3. Washerwomen (on the streets of Paris)

Tied Duet

Act 2 scene 7

Music for this section is No Love for Johnnie Moderato (3/4, andantino, lyrical, haunting,

fluid)

In this scen back to back in a cell in Calais. During

the following duet they remain tied by one hand.

Task 3

Using this material put together a phrase that starts on the floor and finishes in a held

shape. Decide on where the sequence starts and finishes in the space and pathways for

any parts that travel.

Task 2

Find different ways of moving whilst holding on to

twisting under an arm, rolling together leading each other. Think of something that

could be motivating you to move, for instance that you are searching the room for a way

to escape, are frightened, trying to break free etc. Also find shapes you can hold with

your partner. These may involve counterbalances, being on different levels, balances.

Task 1

Find different ways of standing up from sitting, keeping backs in contact eg. Pushing

against each other, one person leaning forward and the other sliding back then on to

feet etc.

Act 2, scene 1. King Louis and Queen Anne

Fight Scene

Act 2 scene 7

Music for this section is Flute Sonata Andante (3/4, dramatic, strong contrasts in volume,

punctuated with brass and percussion)

This follows the previous section

directly. Milady enters the cell and takes

the necklace. Constance leaps at Milady

and the two begin to fight. The

choreography in this duet involves the

two characters circling each other,

jumping and leaping, dodging and

stabbing (as Milady has a knife).

Task 1

In pairs facing each other, play with the idea of shadowing each other one retreating

as the other advances and travelling sideways keeping the same distance apart.

Create a travelling phrase that can be performed with one person retreating as the

other advances, learning each role so that it can be repeated.

Create another phrase that travels sideways that can be repeated to each side.

Task 2

In the same pairs, experiment with travelling movements that circle each other. Create

a phrase using this idea that includes a jump and a movement at a low level.

Task 3

Link the two phrases considering floor patterns and direction.

Task 4

Find 3 movements where one person is attacking and the other is dodging. Consider

personal space and ways of invading and trying to retain it through lunging, ducking,

weaving, slicing. Add these into the sequence and rehearse paying attention to

maintaining eye contact and distance from each other.

Bird Masque

Act 2 scene 8

Dance (3/4, steady beat, grand)

The final ball is themed around birds, which is reflected in the costumes and the

movement vocabulary. Spatial patterns and partner work are key elements in this large

group dance.

Task 1

With a partner, find a beginning pose where one is on a low level and the other is

behind on a high level. Use the imagery of birds as a stimulus, thinking of the shape

and form of birds and flight.

Task 2

Experiment with stationary movements from this starting point, again using the

imagery of

birds. Use words such as unfolding, extending, ruffling, pecking and preening as a

starting point, exaggerating size and speed. These may be mirroring each other, move

towards or away, around each other etc. Decide on two and practise concentrating on

working as a pair, co-ordinating the movement together.

Act 2, scene 9. The Masquerade Ball

Bird Masque (continued)

Task 3

Join couples together to form groups (6+) and show each other stationary movements

and

decide on a few to learn as a group. Link together to create a sequence and practise on

working in unison. Decide on a group formation (circle, lines, staggered, V shape etc)

for this section.

Task 4

Introduce the idea of spatial pathways and patterns. This could include travelling in

circles, crossing, peeling off in pairs, travelling in lines, weaving in and out of each

other. As a group, find a travelling step that can be repeated. This may contain gallops,

hops, leaps, turns etc. Using this step, find ways of changing the group formation,

creating floor patterns and interesting pathways. Practise a set sequence, paying

attention to spatial relationships between dancers and clarity of pathways used.

Task 5

Link the stationary section to the travelling section concentrating on working as a

group.

Photographs

This session is based on the following six photographs of the production. It may be useful

to begin the session by asking the pupils to describe the images, drawing attention to:

1 Number of dancers in the picture

2 Contact between the dancers

3 Position of the dancers body

4 Where the dancer is looking

5 Areas of focus or interest in the photograph

6 The emotion suggested by the photograph

7 Sense of timing and speed captured in the photograph

8 Why this moment/person was selected

9 The different colours/how light is captured in the photograph

Task 1

Choose 4 positions from the photographs and practice performing them. Decide in

which order you are going to perform each movement.

Task 2

Find ways of linking each movement together. These transitions may include travelling

phrases, turns, changes in level etc. Decide how many counts each movement will take

(setting a time frame of 16 counts may assist this process).

Task 3

Practice and link together to form one

sequence.

Task 4

Share the work created and encourage the pupils to identify which photographs have

been used and in which order.

Act 1, scene 8. Athos

Act 2, scene 3. Constance

Act 1, scene 8. Lady de Winter and Rochefort

Act 2. The Three Musketeers: Aramis, Athos and Porthos

Bibliography

Books

Dumas, A. (1998), The Three Musketeers: Oxford University Press

Websites

Negative Space Web Archive (consulted July 2006), URL,

http://www.hoboes.com/html/FireBlade/Dumas/History

Globalstage Productions (consulted July 2006),URL,

http://www.globalstage.net/goback/three_discuss.html

Wikimedia, The Free Encyclopedia (consulted July 2006), URL,

http://en.wikipedia.org/wiki/Louis_XIII_of_France

SparkNotes (consulted June 2006), URL,

http://www.sparknotes.com/lit/3musk/summary.html

Renny Krupinski website (consulted August 2006), URL,

http://www.rennykrupinski.com/

Malcolm Arnold website (consulted August 2006), URL,

http://malcolmarnold.co.uk/bio.html

Northern Ballet Theatre (consulted July 2006), URL,

http://www.northernballet.com

Music

A CD of music from the production is available to buy on the Quartz Music website:

http://www.quartzmusic.com/cddetail.php?cat_number=QTZ2056

Produced by the Learning and Access Department

Autumn 2006