the latter work is about a group of people from an entirely different social class—immigrants‚ evidently around the turn of the nineteenth century. So how disparately they dance from the stylish‚ refined ladies and gentlemen populating a Viennese ballroom! While Mauro Bigonzetti’s ballet may not be conventionally beautiful and was disappointing on first viewing‚ it serves as an excellent foil to the Balanchine masterwork mentioned above and reminds both the performers and the audience at the Koch
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The camera follows the main protagonist Ichabod and comes into a Gothic style ballroom and steps into the middle of party game. Even though he is trying to go straightly to find Baltus and avoid getting involved into other people‚ he’s still caught by Katrina and kissed by her. The composition of this scene reveals the future relationship
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story telling. The Wizard of Oz could have probably been done without the costumes‚ but the effectiveness of implications towards it themes and its dramatic effect would be lost. “A character’s relationship to the story’s themes‚ the plot developments‚ and the other characters can be suggested‚ emphasized‚ and intensified for the audience by the use of certain costumes‚ makeup” (Goodykoontz & & Jacobs‚ 2014). Both costume designers and makeup artists work closely with the film’s production designer
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gladiatorial arenas. Throughout Scott’s masterpiece are a wide range of filmic techniques in the visual and auditory channels that collaborate in enunciating the overall narrative. The opening sequence is a prime example that uses Mise-en-scene‚ lighting‚ costume and film speed to enunciate the key scene. The opening scene begins with some historical information that introduces the audience into the scene and sets up the narrative. Scott informs his audience on the vast scale of the Roman Empire‚ “One
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what actions are taking place in the play. • LIGHTING DESIGN—Define…why is lighting design important Lighting design reflects the mood of the act and the structure of the play. The lighting design focuses on what the production requires of us based on actors and settings and our perception of forms and depth. The lighting also allows the audience to experience the time and place of the actions. COSTUME DESIGN—Define…what do costumes reflect? Costume design reflects the era through what the actors
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communicating the themes of a dance. (20 marks) Physical setting within a dance is extremely important and contributes in the communication of themes being portrayed. Physical setting not only includes the location or set of the dance‚ but the costumes‚ lighting‚ properties and how it’s presented as a whole (whether it’s a film or on stage). Two good examples that portray physical setting being used in different ways to communicate the themes are Revelations by Alvin Ailey in 1960 and Cross Channel
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The classical dance piece I will be analysing is ‘Elsa Canasta’ choreographed by Javier De Frutos and performed by Scottish Ballet. As the curtains came up on stage the audience were presented with a staircase. The first section performed is a pas de deux by two men who are in love. This part is a powerful opening and gives the audience an insight of the style that is most likely to continue throughout ‘Elsa Canasta’. Tension builds on stage and in the audience as they dance closely together‚ the
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Crucible seeks to illustrate how intolerance of other’s‚ and mass-hysteria can lead to the destruction of a society through use of dramatic elements such as characterization‚ and conflict‚ as well as production elements such as set design‚ costume design‚ and lighting design. This
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explored throughout the course of director Tate Taylor’s filmic text The Help. However‚ racial prejudice is not the only form of discrimination in the text; gender inequality is also highlighted through filmic techniques such as camera angle‚ costume design‚ lighting‚ and music. The Bridge Club Scene‚ in which the educated Eugenia ‘Skeeter’ Phelan tells of her new job
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directing his fellow moose counsel was brilliantly staged upstage front and seemed to be addressing the audience‚ making them feel like a part of the play. The consciousness ensemble was also well directed in their moans and hand motions as well as the lighting scheme‚ seeming to make it obvious that the scene was out of reality. The director’s apparent unifying metaphor was that a person who is bound to a wheel chair is like an invalid and shouldn’t interact with "normal" children‚ shouldn’t hold a normal
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