Dance Theater By Pina Bausch

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”.

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

‘Swan Lake' was re-choreographed by Marius Petipa and Lev Ivanov in1895, after initially being choreographed by Julius Reisinger in 1877. The musical score was composed by Pytor Tchaikovsky. ‘Swan Lake' was created towards the end of the romantic period, so the culture and style of romanticism was prominent, with glimpses of the beginning of the classical era. Because of this, it contains elements of both eras. Some of the romantic characteristics include the pursuit of the unattainable, romance, fantasy, focus on the female role, gas lighting and simple sets, pointe work, soft and feminine technique for females and the bell tutu. Some of the classical features include the length of the ballet, the classical tutu and more

The Faculty Dance Concert was an entertaining event filled with a variety of dance styles. The show took place on Friday, November 6, 2015, at 7:30 in the evening, and was held in the Fullerton College Campus Theatre. The founding artistic director is Melanie Kay Rosa and the assistant artistic director is Lisa M. Anderson. The dance faculty choreographers are Lisa M. Anderson, Sarah Cashmore, Teresa Jankovic, and Melanie Kay Rosa. The four guest choreographers are Helen Gardea, Robert Laos, Devon Smith and Shawnee Amara Williams. The two student choreographers are Ashely Garcia and Madeline Young.

By swaying in the delicate phrases and jerking with the harsh ones, the performers became the dancers in the ballet. They expressed different levels of emotion when required which reflected their playing.

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 melody sounds somber and serious and the energy of the dancers suddenly changes. A spoken word takes place and all of the dancer begin to tell their stories of pain and struggle through movements. The spoken word talks about the journey of men and women who overcame social injustice. In the dancer's movements you could clearly see how they correlated together. Movements were powerful and restraint at the same time giving the audience the idea of the women were pushing through something that was bearing them down. There was a lot of expansion in the chest, back, and arms followed by contractions in the body. As soon as the spoken word was finished the mood of the piece change again and the pianist began to play a upbeat tune that brought the dancers back in to a more positive and high spirit. A lot of polyrhythms take place as the dancers jump high and move their arms back and forth moving throughout the space. This happens in unison at first and then solos, trios, and duets happen in this section of the dance. The expression on their faces add charismatic charm to this piece. Their expressions continue to move them into different emotions and feelings that are relatable to everyday

As I watched the dance concert I began connecting what I was seeing to what we had already seen and discussed in class. One important connection I noticed heavily in the first half was the resemblance to Doris Humphrey’s technique which focused on the breath while dancing. I noticed this in almost all of the dances in the first half, but especially “Etched Breath” by Kelly Francis. “Separating the Strand” was slightly dissimilar to Martha Graham’s technique because it didn’t seem to utilize the contract and release method and did not include as much of the percussive, sharp movement quality. Because of all I have learned about modern dance this semester, I believe I was better able to appreciate these works of art. I particularly enjoyed “Separating the Strand” because of the beautiful movement quality and energy level as well as the interesting moments of

Furthermore, “Gemini”, the second piece from Innovative works, choreographed by Sarah Harkins and music by Frédéric Chopin, was a male duet based on improving and sharing weight. Within the duet, the two males initiated an interaction with the audience in another language saying, “Konnichiwa”, which automatically provides the idea of the company being diverse. However, during the interaction to keep the audience engaged, one of the dancer’s remained in the stage space.

For this part of the research, I went and saw the musical ‘Wicked’ at the Apollo Victoria Theatre in London, where it shows several times a week. This means that the costume I design and make needs to be very durable so that it can be used for every performance.

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

The choreography in this film is very well known and it still precedes itself today through its dance numbers, tiresome tap dancing and a range of vocals. There are many different conventions and dance segments to see during this fantastic film. One of the more romantic dance sequence, ‘You Were Meant For Me’, shows the shyness in

The Dance by Augustus Baldwin Longstreet is about the Author going to a country dance that is much like the dances he went to thirty years ago in his youth. While there he recalls all the people from his youth and personifies them in the people he sees currently. His old girlfriend Polly Jackson he sees in Polly Gibson, who as it turns out is Polly Jackson’s daughter. When he finally sees Polly Jackson, she doesn’t recognize him, although he reminds her of all of their friends from long ago. Even after he leaves, she never remembers him, and that is how the story ends. I still don’t really understand the story well, although I draw more from it each time I read it. But I can see some important points from this story.

In the dance piece called “Stinging Embraces” choreographed by Jeremy Dickerson, a female character was having a violent relationship with a male character. It was hard for the female character to interact around others mainly because she was afraid of her partner because he was way too violent. There was a part where the female character tried to slide between couples but they were harmless to her. At the moment when she tried to slide between her partner with another female character, the male dancer started attacking her and suddenly all female characters started moving in together to protect her from the violent male character. At the end of the piece all of the performers bend down and raised their shaking hands up trying to reach for

The setting of this scene is on stage with a dark atmosphere, a monumental rock in the middle, and a pool of water on the floor. In the piece, “Vollmond,” by Pina Bausch, the choreographer expresses the message through the symbol of water, where the dancers are dancing freely in the water to show that water can be fun, but it can also be dangerous.