Firebird - San Francisco Ballet

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About Set Designer Yuri Zhukov Y uri Zhukov began his dance training at the legendary Vaganova Academy in St. Petersburg in Russia. In 1982, Zhukov joined the Maryinsky (Kirov) Ballet and performed under the direction of Oleg Vinogradov for seven years. In 1989, he joined the San Francisco Ballet as a soloist, where he was known for his Classical and Romantic repertoire. It was during this time that he met former Bolshoi dancer and principal with San Francisco Ballet Yuri Possokhov, with whom he would later collaborate on the production of Firebird. Zhukov remained with San Francisco Ballet until 1995 when he moved to the United Kingdom to join the Birmingham Royal Ballet. Zhukov began his choreographic career in 1993, creating Dances from Carmen and The Story in Five Pictures for the San Francisco Ballet School and San Francisco Ballet Workshop. He has also contributed pieces to the Dancers Care concert as well as the annual Resolution Dance season at London’s The Place. While dancing with the Birmingham Royal Ballet, Zhukov created “Winter” from Vivaldi’s Four Seasons, and No Time Jazz for the BRB’s Changing Stages Program. In 2001, he choreographed Till the last sound and after for the Royal Swedish Ballet Workshop. In demand as a teacher and repetiteur, Zhukov has taught at San Francisco Ballet School, as well as for the Royal Swedish Ballet and the Royal Birmingham Ballet. He has designed sets and costumes for numerous ballets, although his work for Yuri Possokhov’s production of Firebird at Oregon Ballet Theater marked his first major production. What Did You Learn? 1) With which company did Yuri Zhukov first perform? 2) When did Yuri Zhukov create his first ballet? 3) With whom did Yuri Zhukov collaborate on the Firebird? SEE PAGE 35 FOR ANSWERS. S A N F R A N C I S C O B A L L E T 10 F I R E B I R D / B L U E R O S E S T U DY G U I D E
About Costume Designer Sandra Woodall T he recipient of numerous awards for her design work, Sandra Woodall is both a talented costume designer and skilled visual collaborator, whose sets and costumes have delighted audiences in opera, ballet and theater around the world. Born in the Bay Area, Woodall grew up in Oakland and studied painting at the San Francisco Art Institute. Working out of her SOMA district studios in San Francisco, Woodall and her workshop have designed and executed creations for more than 200 productions for dance companies such as San Francisco Ballet, Ballet West, the Joffrey Ballet, Houston Ballet and Stuttgart Ballet. She has worked with the San Francisco Opera, and also created the scenery and costumes for the San Francisco Symphony’s production of Rimsky-Korsakov’s Mlada. In the theater world, Woodall designed the costumes for the Eureka Theater’s landmark production of Angels in America, as well as for the American Coservatory Theater, the Magic Theater and the Kronos Quartet. A gifted visual artist, Woodall received a Fulbright Scholar appointment for study in Taiwan from 1999 to 2000, where she taught at the National Institute of Arts in Taipei. While in Asia, she designed costumes for Shangri-La, a story of man’s battle with the natural elements, and she also worked as a visual collaborator on Stan Lai’s eight hour production of Dream Like a Dream at the Hong Kong Repertory Theatre. Woodall’s attention to small details makes her one of the Bay Area’s most sought after costume designers, and her organic natural motifs, such as autumn leaf patterns or Russian folk designs, are always carefully selected to integrate with the concept of each work. Drawn to images and objects found in nature, Woodall often collects small items ––plants, shells, stones––for inspiration. While in Washington, D.C. one autumn, she began picking up the fallen leaves, which later evolved into the set design for the ballet Lambarena. From the earliest concept sketches to the fully realized sets and costumes, Woodall’s exacting craftsmanship extends to the selection of each distinctive element, the colors, fabrics, and textures that will make up the complete visual picture. For her work on San Francisco Ballet’s Lambarena, Woodall received the third of five Isadora Duncan Awards for design. She has also been honored with several Bay Area Theatre Critics’ Circle Awards. Princess costume for Yuri Possokhov’s Firebird © Sandra Woodall © 2001 Marty Sohl S A N F R A N C I S C O B A L L E T 11 F I R E B I R D / B L U E R O S E S T U DY G U I D E
Page 1 and 2: OUT OF THE WINGS A Study Guide Seri
Page 3 and 4: Table of Contents Mission Statement
Page 5 and 6: What is Dance? B ending, stretching
Page 7 and 8: Choreography by Yuri Possokhov Song
Page 9: An urbane and cultured figure, Stra
Page 13 and 14: However, Ivan ignores their warning
Page 15 and 16: Famous Firebirds 1910 1954 The orig
Page 17 and 18: Bird Steps Many different kinds of
Page 19 and 20: Set the Stage In any story ballet o
Page 21 and 22: About Composer Elena Kats-Chernin E
Page 23 and 24: Theater Etiquette • The performan
Page 25 and 26: Ballet Essentials Just as sports, m
Page 27 and 28: Common Questions about Ballet 1. Wh
Page 29 and 30: Profile: San Francisco Ballet Helgi
Page 31 and 32: Profile: San Francisco Ballet Orche
Page 33 and 34: Profile: San Francisco Ballet Cente
Page 35: Answers YURI POSSOKHOV (P. 7) 1. Uk

Firebird - San Francisco Ballet

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