Kammermusic No. 2 Dance Analysis

Frequently in life, human beings go through obstacles that shape and reform who they are. Achieving satisfaction in life is the way individuals evaluate their personal lives, directions and the decisions they make in the future. Through the decisions that are made, individuals are altered and reformed. While our decisions and situations take an effect - they are rather led by a purpose. Oftentimes, limitations and existence of self-sacrifice are built on the ideas of self-control and altruism. Self-sacrifice is known as “the giving up of one's own interests or wishes in order to help others or to advance a cause,” - which is shown excessively through the poem; Dancer, by Alden Nowlan. The poem showcases to the readers that sometimes, limitations should be placed on altruistic movements for the well-being of an individual. Although, the question still remains; to what extent is an individual willing to go when facing these situations?

While observing this dance ballet, there were many things that caught my attention. First, the theater itself was extremely large, and the stage itself was big, and the dancers had plenty of room to move across the stage and perform their routines. There were many dancers, and they all played various roles that ranged from Clara, Fritz, Herr Drosselmeyer, the Rat King, the Nutcracker, the Sugar Plum Fairy and her Cavalier, and many more. All of the performers wore vivid costumes

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.

In the third section Ms. Donna Wood looks like an African goddess and her body has an unexpected gracefulness. Even stage color was bright reddish, warm atmosphere around the dancer, like a sunrise in the morning. Stage would fill with colors. Music and performer are singing together. A sound of music tempo gets faster. She has the happiest face ever, no pain and no slavery. She jumps, she swings her leg and arms, and even she pulls her dress up and shows her leg an entire dance. Sound and lightening create the environment and good mood. She uses high level of dance than in previous two sections. She moves in between melody. I liked how she uses

In “Stripping the Emperor: The Africanist Presence in American Concert Dance”, Gottschild begins by introducing unique aspects of the Africanist aesthetic including how it embraces differences and instead of the traditional European idea of resolving conflict, Africanist aesthetic presents a question and demonstrates the beauty in accepting conflict. One way in which the Africanist aesthetic differs from European ballet is how they utilize polycentrism, having multiple centers of movement, and polyrhythm, when different body parts keep multiple rhythms. Other ways include the high-affect juxtaposition, changes in mood, movement, or tempo, to the drastically contrasting sharpness and intensity in the movements. Gottschild’s main point in her article is to describe how the Africanist aesthetic is much less strict

The premiere of Witnesse, choreograph by Rebecca Lemme bring the audience to a gloomy opening and extraordinary set of stage. From the dimmed light to the dark green costumes wore by dancers, there is a particular set of spotlights that were slowly drawn on top of each dancer as they were laying on the floor. From the moment that the spotlight was hitting on each of performers’ faces, I came into the thought of life. Moreover, spotlights are the representation of the sun and the color of green associated with

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

Six dancers had a “partner” but one person was left out adding to the dynamic of the dance. This dynamic was creating a story for the audience to follow if they only follow the wave of movement. One group of dancers would float over to the single dancer using ballet and animal-like movements, yet the single dance moved as if in trouble. This single dancer received help from that group, yet everyone on stage would become this single dancer at some point. It created a story of helping others in their time of need, and it was a lovely story to watch unfold.

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

The female dancer re-enters the stage sans the blue shirt/shorts and repeats the gestures with a bit more feeling, and the male does the same thing after the female exits. The next time the female enters the stage, she is only in the colorful bra and black briefs. The male enters the stage in a black bra and colorful underwear. The color in the costumes sends a message of the differences between males and females, but the black undergarments lean towards blurring the lines of gender. The lights get brighter as clothing is shed. The two performers fully embody the gestures now, and seem to have more of an intimate connection with one another. The music constantly seems to be an underscore of the dance, but does not add much to it. The dancers share weigh and partner with more sensuality, and eventually are silhouetted with blue light as they return to gesture and awkward ballroom partnering. The lights fade as they continue to move.

The opening of Todd Rosenlieb Dance Company’s season is a performance fortified with modern dance works even including Erick Hawkin’s New Moon. Performances were held November 13-14th at 7:00pm at the Tidewater Community College Roper Theatre. The purpose of this performance was to celebrate the ten years of pure accomplishment by the company. The music selection for the various excerpts of the companies works were composed by: Meredith Monk, Johann Strauss, Tom Waites, Agustin Baríos, Nina Simone, Lou Harrison, and Frank Sinatra. Also with costumes by Ricardo Mendelez and Erick Hawkins including set designs by Ralph Dorazio.

Another act as a suppressor in charge gives a pressure of high or low tone. There is also acting as a compromise to solo, and also acts as a puppeteer ushers in the storyline.

The piece setting illustrated a nuptial, made clear to the audience with a bride dressed in white, vail included. Barragán, the choreographer, wanted to maintain the elegance of a conventional wedding, by creating a traditional setting and formations, but also included many quirky elements. The elegance spurred from the classical dance form, ballet. Lines created by developpés, fan kicks, and battlements, effortlessly presented the technique and intricacy of this dance form. Double coupe turns also demonstrated the strength maintained by the dancers while allowing their ease to flow through their most difficult

This summer I attended MadBoots Dance Company’s five day intensive at the Peridance Capezio Center in New York City. After taking several master classes with them last semester at DeSales, I became interested in their risk-taking choreography and their willingness to recklessly abandon what is seen as traditional in dance. The intensive was three hours long each day and consisted of athletic, contemporary movement with a gaga influence. The company directors, Jonathan Campbell and Austin Diaz, taught excerpts from new pieces such as “Beau” and “Sad Boys”, among other pieces in the company’s repertoire. The company recently performed these pieces at the 2015 Jacob’s Pillow Dance Festival.

Principal among them being that it begun with The Four Seasons, a traditional ballet with a colorful splendor which makes its 37-minute duration--depicting a year, partly through shades of white, green, yellow and red--seem brief. How fascinating that music from Verdi's operas was culled for this work! Central roles for three women are among the highlights of Robbins' choreography. To what extent Lauren Lovette, Emilie Gerrity and Unity Phelan will be able to match in these roles the excellence of the six ballerinas in the first two casts of The Four Seasons is the main point of interest in this coming weekend's NYCB performances.