In Aszure Barton‚ the performers beautifully conveyed stories through music‚ lighting‚ costumes‚ props‚ scenery‚ and most importantly‚ dance. “‘Tarantella’ from August Bournonville’s Napoli”‚ “Consumed”‚ and “Closer to Closure” particular stuck out during the duration of the concert. The movements held the audience’s attention as they followed the suspenseful and striking storylines. In “‘Tarantella’ from August Bournonville’s Napoli” the graceful movements of the dancers portrayed the story of
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Musicals have been a form of entrainment for many years‚ in many different formats‚ either in the form of a theatre production or as a form of films. A musical has always been a form of escapism and entertainment‚ from the classical and now the post –classical versions of musicals. Over the years‚ many conventions of musicals have changed in the transition from theatre to film‚ but many fundamentals that make up a musical have stayed the same. In this essay‚ I will be commenting on these changes
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Music History Research Paper on Stravinsky’s Rite of Spring I. Introduction A. The music and choreography of the premiere Igor Stravinsky’s Rite of Spring on the 29th of May 1913‚ in Paris‚ France changed the form and sentiments of ballet by challenging conventional expectations of the past‚ transforming the work into the acclaimed masterpiece and milestone in ballet it is today. II. Stravinsky- brief background of life up until the premiere of The Rite of Spring A. Birth and Life in Russian
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Yesterday I had the privilege of eating at a great Melbourne restaurant – Maha. The food was exceptional but what I came away from the meal with was…. well it was an ‘experience’ and not just a ‘meal’. A number of things went into the 3 hours that we dined at Maha that stood out and left me pondering what I could learn from the success of this restaurant and apply to my own business. Walking into Maha there was an immediate transformation that occurred that drew us into the experience. Situated
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used in various ways. Throughout my life‚ I’ve found the power of music within my passion for dance. I enjoy finding different instrumental pieces and discovering how I can create movement based on them. However‚ my favorite part about creating choreography is letting myself go and using my experience in theatre to understand the power of conveying a story. I decided to follow this passion when we were assigned to create a creative assignment based off of one of the topics we’ve covered this year
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of Johann Sebastian Bach’s musical life as a composer‚ however‚ more specifically‚ in the section Prelude‚ two dancers share the stage‚ illustrating the relationship between a musician and his instrument‚ in this case‚ Bach and a cello. Duato’s choreography has an immense amount of balletic influences but is laced with modern dance and still holds true to its contemporary name. In its entirety‚ Prelude symbolizes the clash of old with new‚ or in other words‚ the traditional‚ tranquil
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exemplified out in the plantations‚ and jazz dance itself came about as a crossbreed of American culture‚ European jigs and the music and movement were tradition of the African slaves. Jazz music obviously inspired some of the first documented jazz dance choreography‚ and this further adds to the rich and diverse history of jazz dance. Europe lent elegance to the technique; Africa gave it its movement and rhythm‚ and America allowed it to have the exposure and growing popularity that has sustained it as a cherished
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historical work Beach birds for camera by Merce Cunningham in 1993. It has developed my performance skills in a range of ways‚ as I faced challenges that I have overcome in a safe and professional way.. One difficulty I faced was transferring the choreography from the screen to the studio accurately‚ as everybody was trying to use the video at the same time. To achieve this we found that by everyone working as team‚ it was more effective than working individually. I believed I worked well within the
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Why? During the 1930s‚ Americans went to see filmic musicals to escape the harsh confines of their reality‚ to glimpse a world of fantastical opportunity. Therefore‚ the cinematic musical’s supra-diegetic music‚ extravagant sets‚ and geometric choreography—specifically within the number “Shadow Waltz” directed by Busby Berkeley—combine to create an “on-screen fantas[y]‚” enabling the viewer to “inhabit luxurious spaces well beyond his or her financial means” (Fischer‚ 120). However‚ these spaces
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particular scene I thought Romeo and Juliet’s performances were just perfect. Romeo seemed laid back but at the same time excited and sensual. I thought Juliet overacted and threw careless energy into the scene. She seemed very tense and fidgety. The choreography of this movie provided liveliness and bounce like I have never seen before. Juliet prances back and forth giggling playfully as Romeo climbs a tree--twice-- and embraces her fervently. When the lovers part and Romeo descends‚ the camera shows their
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