Bartosik's Etroits Sont Les Vaisseaux

Some of the movements executed by the dancers are similar to those executed by dancers in a stepping performance and also in a tap dance presentation. This presentation falls into the group of the new trends of modern dance, in which the choreographer are taking more and more liberty with various dance combinations, and including strong messages in their work. I would definitely attend other dance performance, not only from this company, but also by other companies; and would also recommend this performance, especially to people going through a dark period in their life. This performance finished convincing me that dance is surely the most communicative of the art forms, and that a single presentation can convey more than one

The melody sounds somber and serious and the energy of the dancers suddenly changes. A spoken word takes place and all of the dancer begin to tell their stories of pain and struggle through movements. The spoken word talks about the journey of men and women who overcame social injustice. In the dancer's movements you could clearly see how they correlated together. Movements were powerful and restraint at the same time giving the audience the idea of the women were pushing through something that was bearing them down. There was a lot of expansion in the chest, back, and arms followed by contractions in the body. As soon as the spoken word was finished the mood of the piece change again and the pianist began to play a upbeat tune that brought the dancers back in to a more positive and high spirit. A lot of polyrhythms take place as the dancers jump high and move their arms back and forth moving throughout the space. This happens in unison at first and then solos, trios, and duets happen in this section of the dance. The expression on their faces add charismatic charm to this piece. Their expressions continue to move them into different emotions and feelings that are relatable to everyday

On the day of October 1, 2016, a few dance friends and I attended Nuit Blanche and our first stop was Asalto Toronto. When approaching the installation, I was open-minded because this was my first experience at Nuit Blanche. When I saw the piece, however, I was unsure of what was happening and what its significance was. I noticed that it was, in fact, pedestrians in the projection, and I initially found their vertical crawling to be slightly off-putting and animalistic. Nontheless, the more I observed and questioned the piece, the deeper my understanding became. I chose Asalto Toronto due to its relation to the community and society, the overall message of overcoming, and the opportunity to view this installation as a form of ethnic dance.

There was a repetition of the lyric, “I been caught in fire” which is meaningful to the dance because the word fire in this dance can mean death, hell, or sadness. Based on the choreography and costumes the lyrics helped understood the story line for the dance. The style of music chosen complimented the choreographic intent of a melancholy type of movement upon the performance. The music affected the dynamics of the dancer’s movements because it allowed a more realistic connection within the dancer. The music choice benefited the dance because the mini pauses throughout the song allowed the dancer to structure the performance in a more impacting way.

In particular the difference in style between the first piece and the second piece stood out in the way the performers moved. In the first piece, Attachment Behavior, the movements were very sharp and stiff. On the other hand, the second piece, Here is Not There, consisted of more fluid, carefree movements such as one dancer dragging another across the stage and sitting on a bench. Furthermore, the second piece also used the voices of both the dancers and the choreographer who sat in the audience. This back and forth interaction showed another contrast in style and provided a less serious tone to the performance. It was also interesting to see the use of voices, like one of the videos from class, but with a slight twist that made the audience feel like they were involved in the performance.

The interests of the theatrical criticism should involve telling the arts done by dancers, communicating their message, and appraising their arts. The fundamental components of the art of dance are based on the operations that the critic can perform. Some of them include the description of the dance, the feeling, interpretation of the message, as well as the contextual explanation of the dance. The transit space is one of the arts through dance that explores various themes that captures modes of culture in powerful ways. Tuesday, January 27, 2015 on the Eisenhower Auditorium I enjoyed watching Diavolo performance. This paper presents the dance performance critique of the transit space after the Diavolo concert. The paper also presents an analysis

The message of the piece is supposed to make the audience feel shocked and captivated at the same time. Because the dance was performed after WWI, she created this dance to sense the state of emotion the country was left in. The shock-factor helps stimulate the audience’s imagination into understanding how people were feeling during the time. She chose a

The movements of the Humphrey's choreography are slow and precise, they pierce the space, creating a graceful pattern, while due to their tempo they imprint in the memory of audience. Her expression during the dance, while not speculating on dramatics, subtly and powerfully expresses ideas of both themes. The spiral movements, while being soft are able to convey the idea of expression. At the same time, the sharp angular movements of the second part deliver strife for action and balance. After watching the performance, the viewer realizes the inseparability of the action and expression in everyday life and appreciates the design of the dance (Doris Humphrey Technique: The Creative Potential “Two Ecstatic

The video consists mainly of action. Perhaps the only stillness that may be considered are moments in the slower, more exaggerated moves. The stillness and slow exaggerated moves are then coupled or followed by, most often, quick action. It conveys an urgency in the story that the dance in the video tells of. The action, as a movement concept tells a story, which is the goal of the video.

When you start to watch the choreography, you can see the pain and the struggle. It was almost as a disbelief. At 4:58, you see both dancer in white gowns, with their back against the wall, they lean inwards and outwards, slowly sliding down in pain, and suddenly they tumble. One gets up, and runs around blindly, like she's looking for something. You can really feel something painful, something thats hard to comprehend. A pain that doesn't seem to have a way out. They are in a dark space, a caffe with tables and chairs tumbled over. This performance, can touch anyone, no matter of the way you see

They watch each other as they dance and they applaud each other. The audience or viewer (of online videos) should be able to see the unity of the dancers. On stage the dancers show emotions of happiness and joy by dancing with one another. It creates a better feeling of oneness. The dance ensemble is able to represent a sense of cohesion for the audience. In most dance performances, the performers rarely interact with each other. Vado Diomande’s ensemble is very different in this way. All the performers interact with each other on stage. The interaction between the performers sometimes makes the performance more enjoyable for the audience. Diomande has created a wonderful idea of representing cohesion through

In an interview Gat also explains “one of the most interesting things to see is how an extremely simple task or definition of the environment can generate unbelievably complex situations and structures”. One way of which Gat used the environment to create choreograph, was that he asked the dancers to select another dancer to remain a certain distance from that one dancer, which could be anything from a few centimetres, all the way to 10 metres away. The simple idea of choosing a distance apart from each dancer can result in creating a huge amount of movement. Everybody is moving and therefore one person is falling which leads to another person falling and so on. Which creates a real independents and unique structure where all dancers are linked to one another. Emanuel’s work is really pure. No big effects, just men and women dancing in this very human way. “I knew it would be a challenge for my

2. Choreographer Jiri Kylian of the performance, “Sleepless” does a fantastic job in using the elements of dance in his choreography. He uses the music and curtains in the background to control the bodies on stage and how they move around from backstage to front stage. He makes sure the bodies give off a blaring effect in their movements and are responsiveness to the dramatic sound effects in the background. Each body enters the front stage with intimidation and entices the audience

The dance that I will be focusing on is entitled: thinking sensing standing feeling object of attention. The dance, to me, symbolizes the socialization of persons in Western civilization concerning gender roles. In the beginning there are gestures that are separated from emotion and full-embodiment, but as the dance progresses the gestures become more meaningful and recognizable. The lighting starts out very specific and narrow, then the light encompasses the entire stage, and eventually the dancers are silhouetted as they return to a familiar movement motif in the end. The music is mainly instrumental with occasional soft female vocals, and the lyrics suggest emotion, which is interesting because the dancers do not convey emotion until

For this solo piece, I chose to incorporate Laban’s theories into an interpretive dance. I display, not two different characters’ movements, but one character’s movements as he/she develops, learns, and grows throughout his/her lifetime. To do so, I will use shadows in the background to interact with the character in order to allow the audience to better comprehend my actions and movements throughout the song. As the actor, I conform to the story line and the character I am portraying by my movements and interactions with the shadows projected onto the backdrop of the stage.