Critical Analysis Of Aaksh Odedra Rising

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”.

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

The elements of production can influence the performance of a play along with the audience’s perception, as they convey information about the atmosphere, themes and characters of the play. The elements serve an important function in the performance of a play, as they can be used to emphasize particular themes present within the piece and can be altered to suit a particular production and target a specific audience. The effective use of the elements of production could help form a powerful theatrical performance, which can be used to connect the ideas explored within Shakespeare’s Macbeth with that of the contemporary society, the elements could also be modified to reflect a particular time period and the context of the audience. The technical

Theatre is a collaboration of various forms of fine art which utilizes live performances presenting before the audience on a stage at a specific place within a scheduled time (Dugdale 10). The message is communicated through a combination of various channels like songs, speech gestures or dances. Stagecraft skills are combined with elements of art to make the performance more physical and near to real life experience. Theatre is categorized broadly into drama, musical theatre, comedy, tragedy and improvisation. Any form of these accepts integration of various production modes and collective reception to influence the artwork being presented. As a result of this cooperation of items in the theatre

The two live dance works viewed this year were “Emergence”, performed by Sydney Dance Company, choreographed by Rafael Bonachela, performed at the Princess Theatre and a recorded dance performance titled “Image”, choreographed by Jason Northam and Liesel Link. The two dance performances substantiated were exceedingly diverse and dissimilar. The two performances juxtaposed their intentions and interpreted opposing elements through diversity in movement vocabulary, structural devices and form, performance skills and technical elements.

The audience then became lost and frightened as there were no signs leading them to their next destination, once again forcing them to partake in the performance. This physicalisation not only successfully involved the contemporary audience, but demonstrated the necessity of physical composition to give audiences that real experience. This use of physical composition provided immediate reaction and emotional expression through action and contrast. These elements ultimately enhanced the mood and symbolism of the performance, allowing audiences to not only partake in the production on an intimate level but also on an emotional level. Another way in which mood and symbol can be created is through the use of complicité.

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 Repertory Dance Company Fall Dance Concert was held at the Mannoni Performing Arts Center. The dancers involved in this dance concert are part of the University of Southern Mississippi Dance Department meaning they are either pursuing a degree in dance or teach dance at a university level. Both students and faculty had the opportunity to present work during adjudication to be chosen to be presented at this concert. I particularly enjoyed this concert because, while all of the dances presented were a part of the broad genre of modern dance, each dance had such a unique aesthetic so the concert still provided a great amount of variety to keep the audience captivated. The two pieces I have chosen to review represent this variety very

The piece was trying to convey the idea of freedom. Liberating the soul by expressing what it feels in a form of dance, which is something that can be seen. The movements were free, the performers moved around the stage depicting natural dance movements.

The piece was about the Holocaust. There was live music. There were two musicians: one woman played the piano, and one man played the accordion, drums, and sang. The dancers talked on stage, and narrated the dance. During most of the dance two dancers had microphones and were being narrators. The narrators changed throughout the dance. The costuming changed throughout the piece. In the beginning they were just in

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

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

I attended the Repertory Dance Theater concert on March 5, 2016 at 7:30 PM in the Snow College Theater - Eccles Center for Performing Arts. The concert was held because the Repertory Dance Theater was celebrating their 50th Anniversary. Dancers were touring around Utah and performing in almost every city. Concert consisted of five choreographed dance performances that lasted for about 2 hours. They were performed in this order: Suite from Mazurkas, Jack, Crippled up blues and other tales of Deseret, Begging the question and Pigs and Fishes. Today I am going to be analyzing all of these five dances.

Its arrangement demands the significance of testing our previously established inclinations of what move can, and ought to address. “DV8 Physical Theatre's work is about taking risks, aesthetically and physically, about breaking down the barriers between dance, theatre and personal politics and, above all, communicating ideas and feelings clearly and unpretentiously”( Artsadmin. 2016. DV8 Physical Theatre | Artsadmin. [ONLINE] Available at: https://www.artsadmin.co.uk/artists/dv8-physical-theatre. [Accessed 21 May 2016].)

Life of a Leaf, choreographed and directed by Professor Brigitte Rogers, was an aesthetically pleasing performance of the timeline of a leaf’s life displayed through dance. The movements were able to connect with the audience and create an exemplary visual, auditory, and proprioceptive experience. Ideas from The Phenomenology of Dance and Notes Towards a Performative Theory of Assembly can be applied to analyze and develop an argument for the choreographer’s message. Using evidence from the production and interpretations from the different texts, the meaning of the production can be found and discussed.