Analogy Tramontane

always been known for the risky and powerful movements which are often why dancers retire from the company. The dancer’s movements were often very intense and emotive, such as the “throws” across the stage in which the dancers would, almost violently, launch themselves across the stage in different forms (leaps, falls and flips to name a few). Another section where the movements were emotive is where the dancers were thrusting their hips in different positions to perhaps show sexuality in “self”.

In terms of actions and dynamics for this piece, Bruce has used a few elegant balletic movements, such as arabesque and attitude, to show control and strength of what dominance

In the second section it represents the women fighting for their freedom. The movements are a lot more circular in this section. It uses more contractions, releasing & vibratory movements. In the first two sections, the dancer shows the struggle being not only physical but emotional also. She does this by the powerful expressions she uses on her face. She even imitates a couple of screams that play in the song ‘Been On A Train’. This gives the audience a clear understanding of the how she is feeling.

Stewart’s choreographic revolution began when he combined movement with rapid and fast rapid techno music which modern audiences relate to. ‘Birdbrian’ has been described by Katy Evans an author as a “heart stopping, eye popping, tempo changing, absorbing one hour and fifteen minutes of pure genius amazement, a truly theatrical and demanding performance that’s funky, fast and furious”. The use of chorographic techniques used, Stewart persuades the audience to not look away. The slow motion, stillness, turns and jumps, cannons, duet works, contractions, high releases, dynamics and zombie like movement all give into gravity and this was shown throw the something floor work. This piece was the first of Stewart’s as Artistic Director to tour internationally. The intensely physical and powerful work represents his trademark modern style, which involves jerking, glitching, abrupt and fast powerful movement making the performance intriguing to watch, the dancers appear to have a sense of power as they come across to be strong. The dull lighting creates suspense and excitement that combined with images projecting over the dancers. The shell of the choreography reveals balletic and classical duet work. The costuming of ‘Birdbrain’ are black legging and simple white T-shirts. In the section where a lady is walking across the stage with point shoes. Is symbolistic of it being a reconstruction of a classical ballet

While observing this dance ballet, there were many things that caught my attention. First, the theater itself was extremely large, and the stage itself was big, and the dancers had plenty of room to move across the stage and perform their routines. There were many dancers, and they all played various roles that ranged from Clara, Fritz, Herr Drosselmeyer, the Rat King, the Nutcracker, the Sugar Plum Fairy and her Cavalier, and many more. All of the performers wore vivid costumes

By swaying in the delicate phrases and jerking with the harsh ones, the performers became the dancers in the ballet. They expressed different levels of emotion when required which reflected their playing.

In the third section Ms. Donna Wood looks like an African goddess and her body has an unexpected gracefulness. Even stage color was bright reddish, warm atmosphere around the dancer, like a sunrise in the morning. Stage would fill with colors. Music and performer are singing together. A sound of music tempo gets faster. She has the happiest face ever, no pain and no slavery. She jumps, she swings her leg and arms, and even she pulls her dress up and shows her leg an entire dance. Sound and lightening create the environment and good mood. She uses high level of dance than in previous two sections. She moves in between melody. I liked how she uses

A distinctly visual aspect of demonstrating the experience of the characters kindles curiosity in the audience to involve and instill emotional understanding of the context. Through the use of distinct and unique techniques, composers create an emotional response that can have a significant effect on the responders’ attitude on the world. The play ‘The shoe-horn sonata’ explores the crisis of circumstances as John Misto depicts the forgotten history of the women captured and imprisoned during WW2. Misto explores the experiences of the Australian nurses and the government’s response to their pleads of salvation, to emotionally bind the audience and the characters. Likewise, David Douglas Duncan involves the audience by evoking a feeling of pity and empathy in his Korean War photograph. He creates sentiment for the loss of innocence and employs distinctly visual elements to convey the horrifying nature of war. He profoundly highlights power in the photograph to explore the despair felt by the weak fleeing Korean citizens. Hence, both authors elevate the context with a visual representation of the individuals’ struggles to create curiosity and emotional rapport with the audience to improve the understanding of the characters experiences.

“The Shoe- Horn Sonata” is a play by John Misto that gives an insight into two lives of two female POWs in WW II and is a vector of Misto’s thoughts. It explores the little known and often terrible events associated with female prisoners of war. The play follows a friendship of two women through the war to a point of tension that’s beyond what any normal friendship would have to deal with. Misto engages his audience by using a multitude of mediums to portray his story creating a truly multimedia performance. The playwright challenges the audience to look beyond this to the underlying ideas of survival, loyalty and truth.

Distinctively visual texts use a variety of techniques to convey the experiences during the war. In John Misto’s 1996 play ‘The Shoe-Horn Sonata’ which is about women nurses enduring Japanese POW camps, such distinctive experiences as power and survival are shown through techniques like lighting, projecting image, sound, symbols, dialogue and body language.

The Shoe Horn Sonata provides an insight into the lives of two women who were made prisoners of war by the Japanese and explores the little known and horrific conditions and events the women endured. With the use of distinctively visual techniques, John Misto brings Bridie and Sheila’s experience vividly to life. Through the use of projected images, sound, music and symbolism; the horrors of war, survival and resilience are portrayed throughout the drama.

The idioms of everyday American speech in a middle-class domestic situation are used in showing the events and relationships of the Berlin family. In contrast to the conversations of Becca and Stan, usually presented as straight dialogue, the discussions among the three sisters are conventionally presented, often with “she said” and other interpolations to give explicitly the emotional level of the sister’s disagreements. Madga, the Polish student who acts as Becca’s guide to the death camp site speaks fluent English but at times awkward English “Oh, they are much in appreciation” she says when given a pair of jeans. Contrast between the formal, traditional language of the fairy tale and childish, informal chatter is shown when the children comment or question as Gemma proceeds with her Briar Rose fairy tale story telling. Her contrast revisiting of just this one fairy tale shows the reader that while her conscious memory has buries the details of her past horrors, she cannot help returning to the fairy tale allegory. Contrast is also shown between the warm, happy imagery of life in the Berlin house and the bleak, harsh details of the holocaust.

The female dancer re-enters the stage sans the blue shirt/shorts and repeats the gestures with a bit more feeling, and the male does the same thing after the female exits. The next time the female enters the stage, she is only in the colorful bra and black briefs. The male enters the stage in a black bra and colorful underwear. The color in the costumes sends a message of the differences between males and females, but the black undergarments lean towards blurring the lines of gender. The lights get brighter as clothing is shed. The two performers fully embody the gestures now, and seem to have more of an intimate connection with one another. The music constantly seems to be an underscore of the dance, but does not add much to it. The dancers share weigh and partner with more sensuality, and eventually are silhouetted with blue light as they return to gesture and awkward ballroom partnering. The lights fade as they continue to move.

In “The Shawl”, Cynthia Ozick uses vivid details throughout the story to engage the reader. The story portrays the hard times Jews had during the Holocaust in a concentration camp consisting of three main characters: Rosa, Stella, and Magda who are trying to survive the horror of Nazism through a magical shawl. Rosa is the mother of Magda, a fifteen month baby and the aunt of Stella, a fourteen year old girl. The shawl is the only thing keeping them alive throughout the story and at the end it leads them to their death. The author’s use of symbolism is very significant to the story. Cynthia Ozick use of symbolism helps the reader visualize the setting by using symbols to convey different meanings and understand how these symbols characterize the experience of the holocaust survivors.

Dance was not a new element in the theatre realm. It had been used for years as a way of interpretation of feelings of a character that the writer or director wanted the audience to feel visually. Through movement, expression of those feelings was portrayed and helped the audience to somewhat