Damasio's Roses Thema

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

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 bronze material of the Dancer creates drama through shadow and light; areas where the fabric is pulled taught emerge into the foreground, while softer shadows send the pleated fabric into recess. Each fold and pleat evolves out of the movement of her body, no line or curve runs separately from the others. Tracing the folds of her clothing draws the eye to all areas of her figure: her foot extends from her hip, which is molded out by the veil, and the veil reveals her eyes which gazes back down towards her foot. Both her foot and head are titled outside of her center, but this is offset by the opposing motion of her arms held up on the other side of her body. Likewise, the dress and veil are gathered up in one hand to reveal her pointed foot, but flare out in an oval on her opposite side.

Even though the lack of an elaborate set design focused the audience’s attention solely on the performers, it also detracted from the performance as it created no connection of the audience with the setting or, at least, with the important themes. The set designers could have created some sort of background that resembled the emotions expressed throughout the various individual acts or could have even contributed with better props that enhanced the audience’s connection to the performances. Despite the dynamic colorful projections, there was little relationship between the lighting design with the entire performance. It attempted to evoke complementing emotions to the dancer’s movements and the music by using a variety of colors and shapes and it was also used to mark the beginning and ending of each act. Nonetheless, the message remained very abstract and hard to grasp, which did not help to enhance the vicarious experience. Given that this was more of a dance performance rather than a theatrical one, there was not a lot of room for character transitions on and off the stage, yet the lighting would have contributed effectively to the performance if it had been more integrated with the characters’ movements and not just projected on a screen as a separate act. Finally, the costume design attempted to create the same effect as the lighting and stage design by using colors and patterns that reflected the emotions of the performance on-stage. The costumes of some performances showed more elaboration, such as in the ones in “Belinha,” while others were less sophisticated and around plain clothes. Nonetheless, as was the case in “9:35, 11:10, 12:45, 2:20, 4:10,” using plain clothes did not necessarily detract from the performance as it created a connection with the setting and important

According to the Art History Archive, Barbara Kruger is an American conceptual artist born in Newark, New Jersey in 1945. She attended Syracuse University in 1964 where her interests in graphic design, poetry, and writing developed. A year later, Kruger moved to New York and attended Parsons School of Design where she was exposed to the creative spheres of photography, fashion, and editorial design. In 1966, she left Parsons to work for Condé Nast Publications and soon after began to work at Mademoiselle magazine where she was promoted to head designer. Throughout her professional career, Kruger worked as a graphic designer, art director, and picture editor for various publications including House and Garden and Aperture. Kruger’s

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

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 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.

“Her dances articulate linkages between individual and universal patterns, but seldom can they interject layers of social, political, or moral commentary” (111). Foster blames the fact that “resemblance is no longer a dominant mode of interpretation in our society” (111). Unfortunately, this may be true to the majority of dance viewers. Even if the message is not as obvious as allegorical meaning found in Renaissance pieces, Hay still challenges the audience to interpret it for themselves. Her movement is more innovative and complex than the movement of her predecessors. Maybe her exact intentions for the “bird dance” may not clearly resonate with every viewer, but it is up to dancers and choreographer to engage the community in discussions to help people better view and critique performances. There is also value in the ambiguity of allegorical references in contemporary pieces because it leaves the viewer room to question, reflect, and

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

This narrative essay I am going to tell you about is about Mrs.Maloney. I am her lawyer and I am going to tell you why she is not guilty. I am also going to support those claims. My goal is for me to convince the judge that she didn’t do it. The thing is I know she didn’t do the bad deed,but I am going to be giving reasoning from the text.

The use of technology can be a great tool for dancers but it is essential that it serve the creative process and the aesthetics of the product. Highlight – Thesis statement? It is important for the technology to be related to the content of the dance to serve the core idea of the work. Dawn Stoppiello of Troika Ranch feels that there must be a link between the media being used and the context of the work. She says, “I choose the kind of sensing system based on the kind of metaphoric meaning I want to

In this essay I am going to be analysing the works of Vincent Dance Theatre and how they have used and practised different theories in their work. I am also going to be exploring different cultural concepts from the work and how they relate to society. The director of Vincent Dance Theatre is Charlotte Vincent, the founded the company in 1994 and has continued to create such interesting and powerful work which involves a very wide range of different concepts and cultural meanings.

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.