Kirsten Child’s Black Bubbly Girl Sheds her Chameleon Skin is a musical play describes the life of black woman Viveca who was brought up in a white centered culture. She developed a different feeling towards her white peers since in the kindergarten at Los Angeles suburban to Broadway. Since she was a young girl, dancing was her life ambition. She arrives at Broadway where she lives her dream despite the ever-changing politic of race and class discrimination. Using the style of performance by the author, the paper will focus on how the black woman Viveca despite the racial and class status discrimination, she manages to become an active and great dancer in Kirsten’s choir and how she gained her freedom. She is a freedom agent.
Initially looking at this image of the New York City Ballet’s company class, you see quite a few dancers, doing their everyday class work; a simple tendué combination away from the barre. However, when you look through the initial layer of the image you see there is much more to the snippet of class, frozen in time. Determination, criticism, and exhaustion arise to the surface. The everyday mundane of a ballet class is overshadowed by the ongoing, never-ending processing of the dancer’s brain.
Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the
Damien Chazelle’s critically acclaimed American drama film Whiplash (2014), presents a thought-provoking and confronting depiction of volatile and manipulative relationships, in which Andrew Niemen, a young ambitious jazz drummer is pushed to the brink of his ability and sanity by his ruthless teacher, Terence Fletcher. Nieman’s passion to achieve perfection quickly spirals into an obsession. Whiplash proving highly popular with audiences utilizes cinematography to explore the central themes, the battle between being a good person and being remembered and the effects of a volatile and manipulative student-teacher relationship. Whiplash utilizes conventions and ideas from the drama genre to communicate these central themes and film
In some aspects great musicals and orchestral scores can add to the experience of a theatrical play, but films have adapted these aspects as well and have proven to be a more successful form of entertainment. Theatre productions have become secondhand in comparison, though still viewed as a high class of an entertainment, it is not nearly as successful to reaching a widespread audience as the film industry has accomplished. The resulting film adaptations that have theatre-like qualities often fail completely due to their inability to capture the attention of contemporary audience members, essentially creating a stagnant film. In this paper, I am specifically narrowing my focus and discussing tragedy film adaptations in comparison to themselves and theatre. But first, I will give an overall briefing of the history of film and theatre. Then I will discuss their relationship and what elements create successful entertainment within films and how theatre-like adaptations have a crippling effect to a film’s success rate. Finally I will have an in-depth discussion on these elements within the films: Waiting for Godot, Hamlet, and Moulin Rouge!, and the success rate of each.
Andy Fickman directs a hilarious rendition of 12th Night, one of my many comedies, in his film, “She’s the Man”. The teen flick lacks darkness, wisdom, and a prank, however, its attention to detail, similar plot structure, and similar characters resemble essences of 12th Night. The three main differences do not detract from the film, for my play loosely inspired “She’s the Man”. There are many nods to my life and 12th Night, nevertheless, some are more difficult to find than others. Noticing the connections between the two pieces excites me. It is rewarding to see interpretations of your work, especially popular ones like “She’s the Man”, for imitation is the sincerest form of flattery. Thus, I appreciate that my story affected Fickman and inspire him to rejuvenate my story by adding modern twists. “She’s the Man” remakes 12th Night fantastically because of differences in the main characters, Viola and Duke, characterization of supporting roles,
As I sat enveloped in her story of overcoming conclusions, she taught my heart to embrace each quirky part of myself. I identified with Elle Woods’ need to prove herself. This idea of accepting individuality provided me with the courage to audition for my first show, the Arvada Center’s production of Footloose. Since that first nerve-racking, nail-biting experience, I have come to find myself through each move I dance onstage. Getting my first big role, the Dragon in a production of Shrek, I poured my heart out, knowing the people ready to judge and mock were watching. After the show, the peers who judged my intelligence approached me, saying things like, “I never knew you could sing like that.” Through performing I found myself again. I shifted back to the girl I was, the girl who cared about her morals. I want to perform, hoping to provide audience members with the ability to connect with characters who can offer them a point of realization, as Elle Woods did for me.
Matthew Bourne’s Swan Lake was first performed at the Sadler Wells Theatre in London in 1995. Bourne's version of Swan Lake is the longest running ballet in London’s West End and on Broadway. It has been performed in a number different countries such as United Kingdom, Europe, Australia, South Korea, Japan, Israel and Singapore. Mathew Bourne’s rendering is best known for having traditionally female parts of the swans danced by men. Graeme Murphy version of Swan Lake is not so much a battle between Odette (Good) and Odile (evil), which is presented through the original Swan Lake. But it examines love and betrayal, and other elements of the original story. Through comparing and contrasting Acts 2 and Act 4 of Graeme Murphy’s rendering of Swan Lake and Mathew Bourne's Act 2 and Act 4, this essay will interpret and evaluate how each choreographer portrays movement and non-movement components throughout their piece.
This year’s edition of The George Washington University’s “Danceworks” directed by Anthony Gongora was a modern variety act that combined components of dance and theatre throughout several individual performances. Among these individual performance, there were acts that were narrated while others told a story just through dance; there were acts that related to particular circumstance of GW students such as “9:35, 11:10, 12:45, 2:20, 4:10”, others that narrated the life stories of a particular character such as “Belinha,” and others that looked into the deeper meaning of human existence such as “Exuviate.” Even though the individual performances generated some interest among the members of the audience, there was chronological sequence among
This past week, I had the opportunity to experience a magnificent play called Born Yesterday by Garson Kanin. This performance was the third of three plays I saw at the Arizona Repertory Theatre. The other two plays were Epic Proportions by Larry Coen and David Crane and Hands on a Hardbody by Doug Wright. These were the first plays I have been to, not only while attending the University of Arizona, but in my generation as a teenager. All together, these performances were amazing and have brought a newly improved insight to my perception of theatre. The hard work and dedication by the actors, directors, producers, cast members, and sound developers were absolutely incredible and I have tremendous respect for their efforts during the overall sequence of producing the plays. The most recent performance I saw, Born Yesterday, can be described and reflected on through various topics such as lighting, sound, directing and producing.
I’ve grown up in a ballet studio. Not literally, of course, but it is where I’ve spent the majority of my childhood. Throughout the years, the arts have followed me despite the different places life has taken me. Whether it be dance, acting, or music, performing has always played a role in my life. My experiences both on and off the stage have been rocky and unpredictable, but I wouldn’t trade this thrilling adventure for the world.
Through the different pieces presented one could visualize the joy and meaning dance brought to Africans Americans in both The First Negro Dance Recital in America and Parallels. One of the opening pieces, really captivated my attention. A group of women performed the piece. These tap dancers found a way to connect to the music as both musicians and dancers. Another piece titled “Black is the new black” by Oluwaseun Samuel Olayiwola explored blackness. The white backgrounds and black costumes used for this piece really helped highlight the difference between the two colors. Close to intermission, the cast wore black clothing and masks over their mouths. The music used and noises made by the dancers brought tension to the performance and helped build the atmosphere needed. At another point in the dance, the choreographer “deconstructed the landmark of modern dance choreography” and the dancers performed different iconic dances done by African
Each of these movies either invert or corrupt the image of Hollywood and “the Industry” creating a unique audiovisual experience, in an environment familiar to those who work in the industry, and the audience that watches and follows.
Whiplash, a cinematic masterpiece, is a story of Andrew Neiman attending musically prestigious Schaffer Observatory in New York. Neiman’s objective is to become the greatest jazz drummer of all time. But measly, little freshman Andrew must first get into the most astute jazz ensemble in the university. The conductor of the most esteemed band on campus happens to be crazy guy Fletcher. The potential success of Neiman’s aspirations rest upon Fletcher’s recognition and acceptance of Neiman. But Fletcher is not an individual that simply gives opportunity to anyone he encounters. Constant warfare between the two occur throughout the whole film. Whiplash challenges the viewer to determine the fragile line of motivating a student to capably achieve and tackles the issue of abusiveness relationships. Searching for approval and acceptance creates vulnerability, and a person in power can either exploit that vulnerability or use it positively. The relationship of Terrence Fletcher and his aspiring student, Andrew Neiman, is one of constant affliction. How far are they both willing to go to achieve their definition of success?
Damien Chazelle’s Whiplash (2014) follows Andrew Neiman, a fame-driven drummer joins the studio band at a prestigious music school, Shaffer Conservatory where he is acquainted with the manipulative and vigorous Terence Fletcher who pushes him to his limits. The salient themes of volatile and manipulative student-teacher relationship, overcoming adversity and relentless pursuit of perfection are accentuated through cinematic techniques such as mise-en-scène, cinematography, and sound design and editing. The scene which exemplifies these themes are when Andrew Neiman is competing against two drummers, Ryan Connolly and Carl Tanner, to “earn the part” of becoming the main drummer of a jazz composition called Caravan (1936) composed by Duke Ellington.