ability to deliver a cohesive performance whilst maintaining the illusion of fantasy using music composed by Pyotr Tchaikovsky of the Romantic era‚ eloquent set design and usage of techniques such as lighting and special effects‚ as well as precise choreography and overall cohesiveness of the dance and the music. Despite dance being the primary subject‚ it is necessary to note the orchestra’s performance of Tchaikovsky’s compositions. The orchestra consisted
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Abilene Christian University Singin’ in the Rain Study Guide! Table of Contents Synopsis………………………………………….Page 1 Director’s Concept……………………………….Page 2 The Creation of Singin’ in the Rain………………Page 3 Slang of the 1920’………………………………..Page 6 History of the 1920’………………………..…..Page 8 1920’s Hollywood Stars….………………………….Page 12 Singin’ in the Rain in YOUR class…………………Page 14 Synopsis: Main Characters: Don Lockwood‚ Hollywood Star Lina Lamont‚
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as a result of this issue the group spent too much time trying to combined three separate stories in order to create a coherent performance. At times my partners and I lost the aim of focus which were the actions of the score rather than story. “Choreography itself
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The movement of the dancers and the changes in the props location across the stage gives the illusion of fast and slow motion of the image. Pina uses a lot of dynamic movements in her choreography and follows it by stillness and a moment of pause and then back to the tension again. We also notice Pina’s body melting and regaining life back again. This rhythm in Bausch’s movements indicates devastation and the sentiment of confusion in Pina’s
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of the “circle of life‚” just as the name of the song suggests. Later‚ they each moved into varying lineups and performed different movements to represent different animals. There were leaps and shapes made‚ and not every performer did the same choreography at once. I liked their use of variety in that aspect. I also liked how they made good use of the stage and did not limit themselves to one formation or section of the stage. There were a few things that I did not like‚ however. While they were
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Dance of the Sugar Plum Fairy. I had never seen The Nutcracker Ballet before‚ and witnessing it for the first time was a captivating unique experience. It was both visually and musically stunning‚ and was a treat for both my eyes and ears. The choreography was spectacular and the music accompanied the dancer’s movements very well. Although‚ I did not anticipate the non- traditional ballet aspect of the production‚ thinking it would be more old- fashioned since it originated from Russia in the late
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First major Choreography “Jardi Tancat” which is Catalonian for “enclosed garden” by Nacho Duato performed in 1983 is based on Catalan folk tales. The work explores the hardship and sorrow of the Catalonian people as they struggle working in the barren‚ water stricken Catalonian land. Throughout Jardi Tancat you can see the presentation of contemporary dance‚ with a background of classical techniques; this is evident through the training accompanied. Throughout the performance you can see the influence
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Emily Ahrens Kathy Gorman Dance Appreciation-05 Dance Performance Critique 14 December 2013 Nutcracker Ballet December 14‚ 3013 On December 14‚ 3013‚ I attended the Nutcracker Ballet at Viterbo University in La Crosse‚ Wisconsin. This ballet was put on by the La Crosse Dance Center’s. When critiquing a dance performance there are lots of things to take into consideration. You should pay attention to the following: number of turns‚ speed‚ coming up and down and on and off point‚ direction of turns
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For my final project I chose to put together a dance/video which was filmed in a variety of locations‚ and accompanied not only by Mary Robinson’s “the Haunted Beach”‚ but supported by an instrumental soundtrack. Through the use of a somber‚ haunting setting as well as repetition‚ Mary Robinson’s The Haunted Beach presents a fisherman’s struggle coping with never ending guilt and internal endless negotiation with the dooming trauma of his actions. Set in eerie environments and accompanied by Agnes
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The concept was born out of Tharp’s head because she has been choreographing Sinatra songs since the 1970s‚ including Nine Sinatra Songs‚ in 1982‚ and Sinatra Suite‚ in 1984‚ and even some of the new pieces includes some of her earlier choreography. Come Fly Away is set in a New York City nightclub‚ follows the relationships of four couples as they seek love and romance. The pas de deux‚ ballet term for “partner dance”‚ as a flirtatious battle of wills is a recurring theme in Come Fly Away
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