On Saturday, October 10, 2015 Bill T. Jones featuring the Bill T. Jones / Arnie Zane Dance Company performed at the Richard and Karen Carpenter Performing Arts Center in Long Beach, California. The title of the piece was “Story / Time” and portrayed Mr. Jones sitting at a desk center stage throughout the show narrating personal stories as the nine dancers danced on the stage around him. The Bill T. Jones / Arnie Zane Dance Company was founded in 1983 by Bill T. Jones and Arnie Zane in New York City. The company is well known, and has performed at various venues across the world. While their performances have ranged over a wide array of subject matters, the company’s ultimate mission is to encourage the collaboration of artists and …show more content…
The theatrical decision to remind the audience that the person next to them is measuring time differently than they are, was a very smart decision because it added an extra level of interpretation of the piece. At the end of this experiment, Mr. Jones then reminded the audience that there was a total of 70 minutes of performance. When the show actually began, it started with a digital green timer on the wall counting by the second, accompanied by Mr. Jones sitting at a desk with a desk lamp. He began to read a story as a single dancer in a pink long sleeved top danced beside him. This dancer was definitely the most memorable mover of the company due to her exquisite fluidity within her movement, as well as the desirable synchronization between her movements and the words of Mr. Jones’s voice throughout the piece. As the performance carried on, the other dancers performed various solos, duets, and quartets, of modern movement while Mr. Jones’s stories carried on.
There were moments where it was easy to interpret Mr. Jones’s stories and see the correlation between the story and the movement, but there were also moments when it was easy to get lost in the movement and forget the story was even taking place. Although it could be frustrating at times to suddenly realize the story had not registered due to the captivation of the dancers, it was still nice to watch the dancers perform to spoken word. There is a lot of power in words, not only in what
Jones rose from being the 10th of 12 children of migrant farm workers to one of the most notable, recognized modern-dance choreographers and directors of our time. Through HIV and AIDS, which
My name is Hamzah Sait, the date of the performance was the 23rd of April, and it was located at the Stevie Eller Dance Theatre. The concert was titled Jump Start which means it is the end of the old era and time for the young choreographers and dancers at the university of Arizona to shine and go around the world. The dances were basically performed by UA students that have been practicing throughout the semester, and they call it, spring collection. The names of the performances that I am going to talk about are as the following: The process, from our insides out, and Breakfast Burritos. And the choreographers for the pieces that I am going to discuss are: Tanner Boyer, Kira
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
This week's reading's, lectures, along with the live dance session has helped further the little prior knowledge I had on the details and components that are necessary to create a dance performance. In particular, DeFrantz does a great job listing the aspects behind Alvin Ailey's dance performances. The foundation of these performances was predetermined in Ailey's notebook of thematic sketches, descriptions of each individual character, sketches of desired settings and costumes, along with an outline of the counts to the music (DeFrantz 2). Together all of these details help make a dance that reflects a story or message or that allows the audience to formulate their own interpretation based on what they saw. Besides the actual choreography/
My overall response to the dance concert is spectacular because each dance piece was moving, remarkable, and motivational. Each dance had an astounding affect on me and allowed to me repelled into the performance. These impressions came from me analyzing the dance pieces, “A Brief Study of Recent History and “One Heart, Two Worlds”, for the Spring 2016 Studio 115 Dance Concert Series at USM’s Dance and Theatre Building on May 4th. The first performance, “A Brief Study of Recent History” was choreographed by Elizabeth Lentz-Hill and introduced by the dancers Jennifer Alafat, Megan Bradberry, Shaquille Hayes, etc. While the second piece, “One Heart, Two Worlds”, was choreographed by Dejonelle Gleeton and the performers were Brittain Allgood,
Jerome Robbins’s incredible dance history and background is what has left him ranked so highly in the musical theater industry today. From working to dazzle his audiences, Robbins can be held responsible for the industry’s serge in popularity over a short amount of time. It can be said by many that Robbins took a fresh approach to choreography to introduce to the world with a more energetic and dynamic performance to display. Robbins creative work elevated the role of dance in musical theatre, which was claimed to be the industry’s ‘Golden Era’.
For Understanding Dance, we were assigned to go to The University of Oklahoma University Theater School of Dance’s Contemporary Dance Oklahoma. The show contained six different performances with a fifteen-minute intermission after the first three. Each performance featured different choreographers, including our professor Ilya Kozadayev for his part in the performance Lucid. While I did prefer some of the dances better than others, I was able to find things I appreciated in all six dances.
This video documents an international cultural festival that took place in Los Angeles. Again, while many of the groups presented here are not American, you will hear peoples from around the Pacific beautifully expressing how dance is an integral part of their culture. While the American public might not be as conscious of the powerful connection between movement and identity, it is the claim of this course that the former can be an important lens on the latter, even in America. Listen closely to how the participants at this festival talk about dance and culture. Compare this with how you relate
This book is about how one dance comes together, from beginning to end, from choreography to opening night. The author offers paintings and thoughtful placement of words regarding his observations of dancers as they perfect their moves. The book ends with the curtain going up during a performance. This book is ideal for anyone who wants a preview of what goes on behind the scenes of dancing.
Overall, the production’s performances flowed ambitiously; there was never a moment of complete stillness. None of the pieces performed were exactly, traditional modern. The movement in each dance was very technical, but in a very unique way. Staging varied throughout the production. At times the lighting was dark, and gloomy, it created the fearful, isolated awareness. At other times the lighting glowed dimly, creating the feel of freedom and happiness. The production presented itself effectively, each dance connected to humanity in some relatable way.
Not only did the correlation of dance to the fluctuations of the story fascinate me, but I was also impressed by the costume and set designs, the lighting and staging,
The show, ChoreoProject, was presented by sjDanceco and presented various types of dance performances from classical to contemporary works. The piece that I enjoyed from this show was Cognitive Dissonance. In this dance piece, Erwin Columbus both choreographed and was the dancer. Erwin Columbus used music from Kerry Muzzey for his piece. In Cognitive Dissonance, he told a story of himself having negative, inconsistent thoughts and his journey of fighting off those thoughts from his mind. With fast and dramatic movements along with intense music, Columbus was able to grasp my attention and teach me how it feels to have negative, inconsistent thoughts that can negatively control one's body.
The long-waited production of “Shoes On, Shoes Off: Sixteen Dance Scenes About Shoes, People & Other Important Things,” a dance play directed and choreographed by Susan Dibble, who is part of the faculty in the Theater Arts Department, kicked off just right on April 15th at the Spingold Theater Center.
2. In the past, Bill T. Jones has worked and cofounded the American Dance Asylum. He was educated at the State University of New York, Binghamton, where he focused on studying both classical ballet and modern dance. At SUNY, Binghamton, he met and studied with Arnie Zane, who would later be both his life partner and cofounder of the Bill T. Jones/ Arnie Zane Dance Company.