Damasio's Roses Thema

The use of theatrical elements in Jiri Kylian’s dances is a defining characteristic of his style as a choreographer. He chooses to use plain, often nude coloured costumes in all his dances, for example in ‘Sarabanade’ and ‘Petite mort’, the dancers look naked. This is a personal choice and was done to reinforce his views that dance should be about ‘dancing not the costumes’. Also this nude costuming matches the

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

Marigolds have always been her favorite flower. They reminded her of the stages she onced performed on. Staff members would decorate the stage with summer-bloomed dahlias and bright sun-colored marigolds, and tie silk ribbons to the bark of trees during celebrations. Crowds were surrounding her, cheering and watching her gracefully move her body across the stage. The light hue of her pink hair shined as the sunlight struck her like a spotlight center stage. She wore a pure white, flowing dancer’s garment which allowed her to move the way she wanted to. Her arms would stretch out as if she was reaching for someone’s palm, and her legs move as if they were made of the wind. Sometimes, there was a special someone; a pair of eyes that could see through the heart of her dance,

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

On stage you will see 14 dancers experimenting with plastique, light and music. They will be donning various images, turning every ritual into farce. They are incarnating myriads of lives never repeating, they are utterly candid. The objective of their everlasting experiment is to cognize themselves so deeply as to dispense with their masks. Yet, the spectators will be the main participant of their

The chosen elements of music, positive space in bodily contact, and stylistic dance were the aspects of this performance which contributed the most towards his narrative. After shared experiences with students who saw this performance, it seems pertinent to explore the interaction between dance narratives and innate physical somatic reactions towards them that occurred in people’s body. This sensation, will be classified as an “Autonomous sensory meridian response” (or ASMR)2 refers to the onset of tingles that travel up the spine from the back of the head due to various primary sensory triggers. Not everybody has this phenomena occur in their body, and individuals who do have

Their dancers connect with the dance tradition embodying feelings of existential human anguish and references to specific geographic places, dancing focused on surreal situations, body use and the relationships between stage and

The Paramount Theatre Houston, Texas. A beautiful theatre with elegant architecture, and well-crafted sculptures, that provides a warm and inviting atmosphere. It has a convenient location with easy navigation in addition to spacious parking. Arriving at this appealing theatre helped set a positive tone about how the evening would go, which was nothing less than I had expected. I watched two performances in which I will be evaluating in this paper. The first one I will discuss is Lord of the Dance: Dangerous Games. It is an Irish step dance that was choreographed by Michael Flatley and performed by the Riverdance Irish Dance Company. The second performance is an African dance choreographed by Etiene Cakpo, Kokou Gbakenou, and Jimu Makurumbandi called the African Journey. This dance was performed by Gan Sango Music and Dance.

As I watched a tall woman, stumble blindly across a crowded stage in silence, the last thing that crossed my mind was what kind of music could accompany such mundane yet ethereal movement. If I were to have guessed what musical score would be used for Pina Bausch’s abstract choreography, I surely never would have imagined Henry Purcell’s arias from Dido and Aeneas. On a basic level, Pina’s choreography seemed to have no correlation to the music. The sporadic rhythm of her choreography never seemed to follow the trembling voice of the soprano or dramatic cry of the violins. In fact, as furniture and dancers unpredictably crash around the stage, her choreography almost serves as a second, contrasting musical score. At first, the choice of seemed as random as which chair the sleep walking women ran into — yet her musical choice still seemed to fit perfectly.

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

Overall, the production’s performances flowed ambitiously; there was never a moment of complete stillness. None of the pieces performed were exactly, traditional modern. The movement in each dance was very technical, but in a very unique way. Staging varied throughout the production. At times the lighting was dark, and gloomy, it created the fearful, isolated awareness. At other times the lighting glowed dimly, creating the feel of freedom and happiness. The production presented itself effectively, each dance connected to humanity in some relatable way.

Eliasson’s use of lights panning over the audience cause its spectral image to appear on the stages reflective, coloured scrims, which in turn integrates the viewers with the happenings on stage. The artist’s use of several mirrors and reflective scrims make the audience question reality. Sometimes they will see the dancers in front of the mirror, but they soon realise that the ballet is in fact playing out in the mirror. In a sense, the dancers are simply helping the play – from the perspective of the mirror – to unfold. As with many of Eliasson’s past works, the idea of this set is to bring the audience to work. They’re not just looking, they’re also made to think and wonder, “Am I seeing the dancer, or the reflection of the dancer.” One would argue that this notion in itself is a very interesting exercise because the audience is not really invited to this ballet to consume, passively. They are put to work in way finding through, what is essentially an optical illusion. The advantage of this interactive engagement is that perhaps the audience will physically sit in a state of intrigue and curiosity. When one is emotionally engaged with a subject, the body is physically drawn slightly

The drapery covering the body of the dancer is also wrapped around the figure’s head and face, hence “masked”, with only eyes peeking through. There are no characteristic or unique features of the dancer that would make her identifiable; the perpetual figure is an important concept of this piece. The figure remains anonymous, drawing the attention to her athletic body. There is a certain sentiment of mystery and intrigue created by the namelessness nature of the figure. Consequently, the dancer is not an important member of society, as those who are important have their most recognizable features exaggerated. Instead, the importance lies in the dynamism expressed, in lieu of personal

Observer 1 and 2 also fully agreed on the effort qualities that were demonstrated, stating that the performance was free, sudden and light, agreeing with the dancer. The dancer expressed that the sound score provoked a “happy/upbeat” emotional response, effecting the performance by encouraging more “bounce, swing” and lightness to the movement (Appendix G, Dancer 3, p43). The observers stated that Dancer 3 “responded to the energy” and atmosphere of the piece (Appendix G, Observer 1, p44), contrasting with the feedback the observers gave Dancer 1, with Observer 1 stating that the music was “light and bouncy” and the movement didn’t reflect this (Appendix E, Observer 1, p36). Dancer 1’s results could be because of the difficulty with comprehending the score, supporting the suggestion that dancers could benefit from music training, as the apparent lack of understanding seems to negatively affect a dancer’s ability to respond to music, and perhaps their potential for

This afternoon, I went to the music concert hall where is located in the music building for the listening hour, a small noon-time concert which is performed by the staff and students from the music majors. Since it is a free noon-time concert, most of the audiences just wear the t-shirts and jeans to the concert. Dresses are not required for the concert. The performance today is given by the Ananda Jazz Ensemble. They have played “Running Away”, composed by Bob Marley; “Madalena”, composed by Ivan Linz; “Conejitos y Ananda”, composed by Abi Romero; “La Bikina”, composed by Ruben Fuentes; and “Chukaro”, also composed by Abi Romero. Because this is a Latin Americdan Journey, all of the music performed is jazz music. All pieces played in the concert are an ensemble of piano, bass, and drums. During the concert, I was trying to be a perceptive listener; I enjoyed the music with concentration and paid attention to the music’s unity and variety, such as the dynamics and tempos. I also tried to associate the music with a picture when I listened to it and understand the emotion in the music.