Part Grigorovich's Golden Age Analysis

The music performance I went to see was the University Symphony Halloween concert held in Comstock Concert Hall. This was the first time I had been to a symphony production and was eager to see what was in store. The show started off with each part of the orchestra introducing themselves in different costumes and skits. For example, the cellos were dressed in camouflage and the tubas were dressed as sheep. After a long introduction the lights dimmed and the show started. Attending this performance opened my eyes to how many elements there really were to music. It also showed me how each specific element has its own specific roll and impact on each performance.

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

The classical version is set on a single level stage where the orchestra in not in view. The prima ballerina features the traditional tutu with the stiff material protruding from the waist. She is assisted with a male partner (pas de deux) as she eloquently floats on her toes (pointe) and easily raises her leg while twirling on the other (Pirouette). She is truly the star of the show as the other ballerinas in similar dress, support the story line from the background by performing low splits on the stage creating the sense of dawn into morning. As the ballet continues into twilight, the supporting ballerinas are then paired with male partners assisting them with their pointes and pirouette’s. The lighting of the stage does not seem to change much with a constant blue dimmed light in the background, particular members of the audience can be heard clapping while the majority of the audience does not.

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

This weekend Christina Wehner is hosting the En Pointe Blogathon, a three-day event celebrating films that spotlight that beautiful and centuries old form of dance known as ballet. One of the most overlooked Metro-Goldwyn-Mayer films of the 1940s - The Unfinished Dance - just so happens to revolve around ballet, and so I have chosen to call attention to this rarity as well as to Ballerina ( 1937 ) which was based on the same story.

     The play included all types of dancing, including Jazz, Ballet, Modern, Tap, and Lyrical. Most of the dancing, however, was a form of Jazz. At one point in the play a group of bugs perform a tap dance. This scene was comical, but the tapping was outstanding. Most of the actors are accomplished singers, actors, and dancers with a lot of previous experience. Many of them have attended performing art schools and not only rehearse their main role, but also understudy 2 to 3 other characters. The actors are all well practiced, which is evident in the quality of the show.

In “Strictly Ballroom” the beginning scenes of the film Baz established the conventional, elegant atmosphere of the ballroom dancing world. Using a combination of techniques such as graceful music, the

The first piece was called Ballad unto. The concert had 3 acts and this piece was the first act. I really love how they started off the concert very classical. Dwight used Bach music which already put me in the mind set of classical ballet. Even though the music had my mind, the movement otherwise was something different. The women were on point but keep to that contemporary taste that Dwight Rhoden likes.

Watching Silja Schandorff’s fully realized performance in Swan Lake teaches much about what it takes to make a swan, and what it takes to dance Peter Martins’ choreography.

The spring show Broadway and Connections was on April 20th and 21st. My ballet class was in the first act, Broadway. We did our variation to the song “Music of the Night” from the musical Phantom of the Opera. We were the corps de ballet for the pas de deux. This paper is my critiques on my performance in this show after performing and seeing it on video. First, the focus is on my performance as a whole.

How I wish I could have seen the recent NYCB performances of Dances at a Gathering at Saratoga, particularly in light of Rebecca Krohn’s impending retirement!

The music was reminiscent of an avant-garde style with its atypical melody. It appears that it utilizes multiple instruments to blending together elements of classic ballet pieces with those of traditional concertos. I found the transition from the intense movement of the dancers and notes to the virtually motionless and soloist inspired ending intriguing.

There are certain dances that took the public by surprise during the period of the Ballets Russes, one specifically being The Rite of Spring, its choreography going against the specific expectations of classical ballet at the time. The performance itself even managed to incite riots within the public, not for being graphic or of a lude quality, but instead for the fact that it challenged the traditional choreography. It’s interesting to note the strong negative reaction that The Rite of Spring received when all it did was broach classical ballet stylistically. Especially when comparing it to two of the more surprising and innovative, in choreography, performances that directly explored male and female sexual awakening, those two being Afternoon

The progression of the choreography in these ballets shows the regression of humankind. The primitive, primal instincts are finally reached in The Rite of Spring, where in the first two ballets, The Firebird and Petrushka, we see only glimpses of this primitive civilization’s behavior. As the choreography progresses, the humanlike qualities seen actually regresses. The classic, pretty and light

Act II of Peter Martins’ abstract, expressionistic Swan Lake retains enough of the customary otherworldly beauty associated with this portion of the iconic ballet as to make watching it worthwhile. In Act IV, the stage is bathed in fetching green and blue hues, mixed soundly with white, black and red from the costumes. Lighting, moreover, is used effectively during the closing minutes of the ballet. The choreography—for both the female corps and the principals—is exciting throughout the finale and meshes so seamlessly with Tchaikovsky’s extraordinary music as to make the scene powerful and moving.