"The izu dancer" Essays and Research Papers

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    Birdsong Analysis

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    Choreographed by Siobhan Davies Contextual Information/ Key Details:  Choreographer Siobhan Davies  Movement Material Siobhan Davies and Company Dancers  Sound Score and Design Andy Pink  Visual Artist David Ward  Production Design Sam Collins  Lighting Design Adrian Plaut  Costume Design Genevieve Bennett  Dancers 8  5 Female and 3 Male  Type of Stage In the round World Premier Northern Ireland April 2004  London Premier October 2004 A pebble

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    Billy Elliot

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    gender and masculinity) This essay examines the visual representations of working-class masculinity portrayed in Stephen Daldry‟s stage musical adaptation of the film Billy Elliot (2000). After a brief discussion of the portrayal of the male ballet dancer in the dancing scene since the 1990s and the inherent voyeuristic inclinations of contemporary audiences‚ the analysis will focus on five aspects of male presence in Billy Elliot the Musical (2005). The dynamics of working-class masculinity will be

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    community because that is the only way to keep everything moving smoothly; there are going to be some rough patches that comes with the territory but it should not stop a strong bond between the dancers. Now the disabled community on the other hand would more of a place of acceptance than the abled body dancers. The reason I say this is

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    Alvin Ailey Cry Analysis

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    pain and trouble‚ she has found her way-and triumphed." In this three part solo‚ the dancer‚ clad in a white leotard and long ruffled skirt‚ brings the audience on a journey of bitter sorrow‚ brutal hardship and ecstatic joy. The dancer began the piece in the centre of the stage‚ towards the back‚ immediately pronouncing to the audience the fact that the woman will be the principal aspect of the work. The dancer

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    in fact fairly accurate. The ballet world is‚ and always has been‚ dominated by white dancers. Only very recently has this world been penetrated‚ and the effects have reached far further than just the ballet community. Despite a rocky home life and extremely slim odds‚ Misty Copeland’s fiery determination and love for ballet prevailed‚ allowing her not only to become the first African American principal dancer

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    Antipolo by Amorsolo

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    are Sylvia Amorsolo Lazo and Luz Amorsolo. Five of Amorsolo’s children became painters themselves. This oil painting on canvas depicts a rural scene where a group of people are shown celebrating a fiesta in Antipolo. The main focus is on a pair of dancers in the field surrounded by revelers both young and old.  Abundant food is presented in basketfuls of assorted fruits on the benches and on the ground‚ as well as the traditional

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    Collection which was performed in the University Theater at UTD. The dance shows through its use of lighting‚ costumes‚ specific choreography and emotion‚ a couple’s journey in overcoming the issues within their relationship. This piece featured two dancers and through certain gestures such as kissing and intimate touching‚ it was strongly suggested that the two were a couple. The costume choice really

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    White Deerskin Dance

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    front of the line of dancers and burns angelica root to the accompaniment of incantations; (2) the singer‚ kdta"an‚ who leads the song from the center of the line of dancers; (3) two side singers‚ who accompany the leader in the chorus; (4) the four or more side dancers‚ ya’d‚’lyeortakttdjidi’lyE‚ who carry the beat by rhythmic stamping; and (5) the four flint carriers‚ hodje’wana’wai‚ who do a special dance in front of the line” (Goldschmidt et al.‚ 108). The selected dancers who are outfitted by

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    fighting is exciting; life would be boring without it." It was her early window to life. Bausch provides her audience with insight to the world in Café Muller by utilizing one of her signature techniques: repetition. She is known for making her dancers repeat routines to the point of physical and mental exhaustion. To offer

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    also inspires you. Dancers all over the world look up people like Misty Copeland. Misty Copeland has an amazing story‚ from starting ballet to making a name for herself. Growing up for Misty wasn’t the easiest‚ her life has never been in one place‚ it was all over. When she was thirteen and started ballet‚ she quickly surpassed all of the other ballerinas‚ who have been dancing for years. She made it big when she got into the American Ballet Theater and became a principal dancer. Misty’s dedication

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