Should We Love Spartacus

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

The book The Spartacus War by Barry Strauss is an in depth look at one of Roman history’s most legendary events, the gladiator revolt led by Spartacus. Spartacus has become a legend, creating a storyline that has inspired many movies and television shows, such as Stanley Kubrick’s epic Spartacus in 1960, starring the legendary Kirk Douglas. Spartacus has inspired a perfect mix of men over time with various backgrounds and beliefs, from Stalin and Marx, to Voltaire, and even to Ronald Reagan. How though, did Spartacus create a massive revolt of slaves that would create a massive problem for the mighty Rome? Strauss attempts to create a chronology of the Spartacus War using his vast knowledge of the Italian landscape, ancient documents, and

This was evidently appreciated by the audience as it permitted them to understand the background of the piece better. Correspondingly, being that there wasn’t a conductor, the body language was interesting to watch, as the performers organized and timed themselves accordingly. I found that the passion in the duo was more prominent than in past concerts. You could see this reflect on the audience as after the end of every piece, the audience couldn’t help but burst into applause as the passion and exhilaration built up till the very end of the pieces. Moreover, the pieces that where performed felt more intriguing using a wider range of music styles, from jazz to classical waltz. Therefore, the pieces ranged in dynamics, tone and mood evoking many more moods and

All of the performances were beautiful and I loved how they all displayed a different story. The thing about the dances is that they all were very fluid and moved and danced with so much emotion. One performance that stuck out to me was City of Rain. The choreographer is Camille Brown. Camille Brown is a dance educator,director,dancer, and a choreographer. She began her career in Ronald k. Brown’s evidence, A dance company. Her performances and choreography has won her the Bessie nomination for Best Performance. Aside from City of Rain, Camille has created works such as Good & Grown, The Groove to Nobody’s Business, and Mr.TOL E. RAnCE. On Camille Brown’s webpage her mission statement says that her company wants to “present authentic performances that foster dialogue among audiences and local communities to instill a sense of curiosity and appreciation for the live arts experience in a social and aesthetic context”. So

My immediate response to the whole performance was astonishment. When I say astonishment I mean that the whole show was like nothing I’ve seen before. I would call the Dance Theatre of Harlem more of a modern ballet instead of classic like Cinderella or The Nutcracker. It was interesting to see how ballet is interpreted by a different company such as the Harlem Theatre of Harlem. I

first the good: Tiler Peck and Andy Veyette were fantastic in Tchai Pas de Deux. she is perfectly suited to this piece, she really outshines everyone else in the company who currently dances this. (IMO of course.) People were audibly gasping during the fish dives--Tiler got a lot of air in her jump and the partnering was perfectly timed so there was no bumpy catch, as there sometimes is when the ballerina really dives. Andy has been looking a little tired in some of his previous performances of this--not tonight. His jetes en manege covered so much ground and moreover they just seemed to embody a fresh and joyful spirit. Not easy the night after a gala.

This was the second time I've seen Apollo live (the first was last season with Adrian D-W, Tiler, Indiana Woodward, and Ashly Isaacs) and I enjoyed it much more this time -- maybe due to the cast, or maybe just my more seasoned eyes. Echoing others above, Maria K was the highlight for me too. She seemed to me to be dancing just a hair's breadth ahead of the music -- something I've read about Balanchine preferring but had never noticed in person before. I've watched the recording of Suzanne Farrell and Peter Martins doing the Apollo pdd more times than I care to admit, and Maria last night showed glimmers of a similar musicality to Suzanne's. There were moments where it took my breath away. Chase was admirable, but I was so close in the orchestra that his exertion was noticeable. However, overall I found him convincingly "godlike." Sara and Tess were like forces of nature.

For a program in which none of the splendid female principals that make NYCB performances rewarding to attend participated, Sunday afternoon's spring season finale--Concerto Barocco; Agon; The Four Temperaments--proved eminently engaging. No matter how magnificent the ballets on a program may be, having appealing dancers in the cast is essential of course in order to bring them to life. Happily, although no one should be promoted to principal (or soloist) status at the drop of a hat, NYCB currently has several such dancers in its lower ranks.

The history of ballet is rich, complex and full of powerful meanings depending on the time period. Ballet in the 15th century was seen as something that only select individuals could do, whereas, the 20th century ballet can be preformed by anyone. By thinking about how ballet performers have changed, a question may be thought is, have the people attending these ballet performances changed as well as the performers themselves? Today, children from ages two and up start taking ballet and family members come and watch their final recitals. National ballet companies are also an event and often draw attention to the higher-class individuals who have a taste for ballet. The ballet world could be seen as to having a quite array of attendees, events and functions, but that might not have always been the

In the television series Spartacus, Steven S. DeKnight creates a legendary show that remarks one man's journey in the war on slavery in early ages of Rome. By using remarkable spectacle of violence, gore and sexy naked bodies, Spartacus takes viewers back in time to a story of the early ages of Rome. Thesis Statement In exploring the conflict between authority and individual freedom, it can be discovered that Spartacus is more than a Gladiator ; it is a film about honor and what it truly means to stand up for something even if that means putting your life on the line to save others.. II.

One of the most important subjects is History. Knowledge of the past helps from repeating history. There were awful rulers, and their subjects raised up and fought for their freedoms. If the rulers of today studied history, maybe they would be better rulers and not incite rebellions. Rome enslaved many people, but Spartacus was a great gladiator that escaped, gained followers, fought for their freedom, and is a hero to the mistreated.

Spartacus was born about 109 BC. He was a gladiator. The young Thracian man joined the army. However, when he tried to leave he was forced into slavery as a gladiator. A gladiator is a person who is trained to fight animals or other gladiators with weapons for other people’s entertainment. He is best known for the slave uprising of gladiators he led. He led seventy gladiators to the armory and then escaped. They then traveled to Mount Vesuvius and got more slaves along the way. This scared Rome so they sent an army of 3,000 men under the rule of Claudius Glaber. They surrounded Mount Vesuvius planning to starve the rebels. However, Spartacus and his men snuck down the mountain and attacked the Romans from behind. They killed all

Spartacus, being the most famous gladiator, was known for much more than just his ability to fight in the arena. He also lead a rebellion against those putting on the gladiatorial games in 73 BC. Spartacus, along with about 70-80 others, escaped from the gladiator school in Capua with makeshift weapons to protect

I think that the performer’s ability was appropriate for their location and for their audience because the tone quality of the musicians sounded very rich and clean. When I listened to the performance, I was able to hear all of the different parts of the piece clearly, which has made me much more conscious of the balance and dynamics of each phrase when I play. The texture of the pieces played was very rich and full because an orchestral piece is designed to have a good balance of instruments and good range of frequencies of sound that has lots of different things happening at the same time.

I liked the dance piece because the dancers were limited physically in their bodies, but their dancing was beyond limited and astounding. At first, I was a bit doubtful and sceptical before watching the dance because I thought the dancers were going to perform with very minimal and stiff movements. But to my surprise, the dancers moved gracefully on stage. The two dancers used quite a lot of space. The dancers used all levels of space from low to high. For example, the dancers executed amazing leaps, jumps and lifts in their performance that represented as high levels of space. The dancers movements were grand; however, they were also whimsical, sharp, circular, and clean. The dancers utilized most parts of the stage. The pattern of the space that performers used was more curved than linear. There were two dancers in this piece, the male dancer that had only one leg and the female dancer that had only one arm. The genre of dance that was performed was a ballet; though, in my observations the dance seemed to be more contemporary than ballet. For instance, the tempo of the dance was slower and had less rhythm than most classical ballets I’ve observed. Also, there were a couple of pauses and rests during the performance. The dance