Critical Review On Be Your Self

All six dances in the ‘black and white’ ballets are based on sexuality. The male

‘For me, it is important that the work I make finds connection … but at the same time… calls into question our conversations of what dance is’ (Garry Stewart, 2010). Garry Stewart, the Artistic Director of Australian Dance Theatre (ADT) since 1999, began his dance training at the age of twenty, after leaving university studying social work. Through his explosive, energetic and electrifying style, his unique dance pushes drives boundaries empowering his works, which are technically demanding, frightful and exhausting, creating an intriguing performance. In his pieces ‘Birdbrain’ and ‘G’ a combination of classical ballet, contemporary dance and gymnastics is utilized throughout to create a fascinating performance. Stewart’s productions have toured

The male dancer only wore pants and bared his upper body. This simple costume design not only made the people who watch the dance to have a clear vision of the dancer, but also better presented a predicament that the character was experiencing at that time. At the first half of the dance, the dancer would leave at least one part of his body on the bench, and tried hard to reach other parts of his body away. This muscular interplay between the dancer and the bench resonated with the audience to experiencing the same struggle feelings as the character. As the performance developed, the dancer started to leave the bench to fully use the space. The dancer had many different movements comparing with sitting on the bench previously. He started to lie down, roll over, stand on the bench and make a turn use only one foot. The level of the dance was no longer limited in the middle but changing from low to high as well. Having such a change, the dancer is converting a more delight and energetic feeling to the audience, in order to demonstrated that the character was recovered through the

Mrs. Farrell’s book is quite technical when it comes to the lengthy descriptions of the dances she rehearses and performs; from a dancer’s view these varied conclusions of the types of movements she was dancing is quite astonishing. In fact, it adds a whole new level to the imagination that can come alive in a person’s thoughts when they read an expressive book. Although the technical explanations will excited, astound, and reveal how much passion and deep meaning ballet had in Suzanne Farrell’s life, but a reader, who may not be involved in the arts will be unfamiliar with the ballet and musical terms in

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.

On Wednesday, November 18th, I had the pleasure to attend and watch the Dance Plus’s Fall show. The Dance Plus was performed at the Douglass Theatre, Victoria Mastrobuno Theater. When I entered the show the theatre seemed a little small for such big crowed. I immediately thought there would not be enough seats for all the audience, but somehow it fitted everyone. As everyone got settled down, the dance performance had started. I chose to write about the first performance that was choreographed by the amazing director, Jessica Lange her work was simply wonderful! I loved every little piece of the play. It put a smile on my face watching this amazing work of art. So with that said, I would now like to talk about the dance performance. There were

4. Kealiinohomoku. “An Anthropologist Looks at Ballet as a Form of Ethnic Dance” Pg 533

The choreography of Danielsen’s life goes far beyond the corners of dance. Ever since the day she stepped foot into a dance studio, she has had big dreams and lets nothing stand in her way of accomplishing them. “I saw myself as a prima ballerina, but when I actually started to dance, my dream turned into being able to execute well and being able to perform in any

This book is about how one dance comes together, from beginning to end, from choreography to opening night. The author offers paintings and thoughtful placement of words regarding his observations of dancers as they perfect their moves. The book ends with the curtain going up during a performance. This book is ideal for anyone who wants a preview of what goes on behind the scenes of dancing.

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

Sarah Calver is a notable dance educator and choreographer, widely known for her contribution to not only dance, but also to the arts industry in the Northern Territory from 1984. Awarded with the 2012 ‘Services to Dance’ award by Ausdance, Calver has been vital in integrating dance into the everyday lives of those living in Australia’s far north. Taking inspiration from figures such as Maggi Phillips and Evelyn Hodgkinson, whose discipline and passion drove her practice in an isolated region1, Calver continues to educate and inspire Australia’s young dancers. She is adept at creating, producing, and remounting dance theatre works as part of SLiDE Youth Dance Theatre ( a collaborative effort run with Joanna Noonan and Katie Cawthorne(now Canberra

Their techniques was amazing, they have proper timing and the have the best showmanship. Their emotions were well shown to the audience and its very relatable, but theres something that I think that needs improvement and that is stage spacing. In some dances, most of the dancers stays at center stage and some dancers stays at downstage, I think they could use some movements that can move dancers to different positions. There’s a few things that I would change if i was the director, I would add more dance styles in the dances and I would also wanna change the costumes into more modern

The movements were very specific and showed the story of the dance. The partners used many movements that contained many body

The Robert Moses Kin company reinforced the idea that it is alright to learn from your mistakes and to make movement have its own originality. The dancers in the performance did two different pieces from their earlier works called “Speaking Ill of the Dead” and “Never an End for Peace.” These pieces displayed technique visuals that were being discussed in class and brought to the performance with the company. Overall, the way that they described their movements can give me a further understanding with how I can further my dance technique.

As I settled into my seat in the small white box theater set up by Gibney Dance Company in their largest studio at 280 Broadway, I thought perhaps this performance would provide insight into the type of contemporary dance is funded and valued in New York City. The lights went out and the music started, a meditative low drone sound composed by Icelandic cellist Hildur Guonadottir, according to the program notes. I could feel the vibrations of the music from my seat and it felt comforting and relaxing. If I was not planning on seeing a dance show, I could have fallen asleep. The performance was 50 minutes of predictable contemporary dance movement, or in other words, ballet movement pushed off the center axis, overlaid with an emo emotionality for no apparent reason other than to compliment the feeling of the music. This performance called “Folding In” choreographed by artistic director of Gibney Dance, Gina Gibney, was so repetitive, so plain, so uninspired, that it made me rethink why I am even interested in dance at all. The problem