Tradition In The Movie Tevye

In the second section it represents the women fighting for their freedom. The movements are a lot more circular in this section. It uses more contractions, releasing & vibratory movements. In the first two sections, the dancer shows the struggle being not only physical but emotional also. She does this by the powerful expressions she uses on her face. She even imitates a couple of screams that play in the song ‘Been On A Train’. This gives the audience a clear understanding of the how she is feeling.

In the essay, “Blue Winds Dancing,” by Tom Whitecloud, the theme is motivated by the conflict the narrator faces while missing what he considers home. Satisfaction for ones culture is a fine line between appreciation of your own and disapproval for those that are different. This conflict is brought to light by the narrator’s different views of the two cultures to which he lives. These differences are felt internally and externally as the writer searches for his individuality and deals with society, respectively.

After giving a brief introduction to her subject, Desmond quickly begins her analysis on the piece Radha choreographed by Ruth St. Denis. She states that St. Denis was one of the mothers of modern dance in America despite how her works are not as well remembered as others including Martha Graham’s. She depicts Radha by describing the dancing quality, patterns in choreography, lighting, set, and costume in detail. Desmond also recounts the social issues that are reflected in the piece including gender roles and race. The author’s main point in writing “Dancing Out the Difference: Cultural Imperialism and Ruth St. Denis’s Radha of 1906” was to introduce St. Denis and share her detailed analysis of St. Denis’ Radha.

The interior world
is represented by the two female performers wearing petticoats and dancing with their eyes closed, but also by the only man who dances without seeing. The exterior world, on the other hand, is represented by the red-haired woman in fur-coat who moves around the set tic-tocking with her high-heels. While her gestures and dance moves are aimed outwards and can be easily associated with bustling urban environments and popular forms of entertainment, the gestures of the two women in petticoats are aimed inwards, often towards the interior of their chests. The external world is also populated by the man who clears the furniture out of the way (he was originally played by Rolf Borzik, Pina’s close collaborator, stage-designer and first husband) and by the last man who tries, unsuccessfully, to shape the ways in which one of the interior women is embraced by the interior man.

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 act of people conforming is seen every where. Any activity performed by someone that is “in the ordinary” is them conforming to the norm. In the crucible, all the girls conform to the norm, set by Abigail Williams. When Abigail faints, the girls faint, when Abigail screams, the girls scream. They mirror her in her every action due to their fear of what would occur if they did not. Same concept is seen today, for example, when you shower regularly you are conforming to the norm. You shower in fear of judgement if you were not to shower, and you shower in following the actions of others. This common action of following in others footsteps affects us by causing people to become identical and influencing people to ignore their personal morals and follow the mob of society blindly. People force physical change upon themselves due to fear of being that one

The ever so sharp, showbiz man himself, Bob Fosse, strategically choreographed his personal movement styles on his dancers in order to achieve his meticulous vision. This flashy man was not looking to put something on the stage that is easy; he wanted the audience to experience the realistic, graphic, and relatable scenarios that life throws at you, on a stage and in 3D. Fosse misrepresented cultural styles, which he included into his pieces and even altered most of the styles he was trained in. The basis of his work was shown through comedy, and in his translation, he tweaked the movement of his technical training in order to attain the comedic center of his work. He never truly meant to make fun of distinctive cultures by utilizing their forms, but because of the circumstance that he never formally trained in these various cultural practices or studied their form and meaning, he used them in his choreography, which almost always used either sexual content or comedy, his choreography is a misrepresentation because it does not properly embody the cultures.

The story goes on to relay the thoughts of the narrator in those few moments when he was looking at the perfect girl. He wished he could talk to her, but he didn’t know how to approach her. He wished he could ask her out, but he was rendered speechless. “…explain to her the complexities of fate that have led to our passing each other on a side street…” (15). It was fate that they should meet and realize that they are perfect for each other. But how should he start up a conversation with her? The narrator thinks of various ways to approach her, but none seem like the perfect way to convey what he is feeling, so he rejects each thought. Then he considers just telling her the truth that she is the perfect girl for him, but he is unable to gather the courage for fear of rejection. “No, she wouldn’t believe it. Or even if she did, she might not want to talk to

The music accompaniment to this piece comes from one or two pianos which works well with the dance so that neither one overshadows the other. There are no other instruments used, the melody of the piano changes from scene to scene in order to project Jooss’ emotional responses. During the scenes with the politicians, the air of the piano is light-hearted and almost comedic. The story begins with the politicians in masks that are arguing in a non-naturalistic way using their postures and gestures for example: standing up with masks facing the audience wearing white gloves reaching their hands out with open palms portraying careless emotion. The show ends the same way which gives an impression of Jooss trying to say that there will always be arguments between higher statuses that don’t help the general public but they use their powers for their own entertainment. The purpose of this was to show the detachment of these men from the war. They are in a safe situation, unexposed to war and death. When the scene changes and we see what’s happening in the lives of citizens, this tune is transformed into a thunderous and eerie song that haunts the audience. The reason for this change is to reveal Jooss’ feelings about the unnecessary brutality and death that always comes with a war, and how politicians don’t understand the horror

The New York City Ballet conducted a dance performance titled “New Beginnings” on the 57th floor of the Four World Trade Center in New York. The performance took place September 12th, 2013 and was intended to commemorate September 11th, 2001. A tragic event, such as September 11th, tends to leave a bitter taste in one 's mouth. The public is generally heartbroken, angry, and distressed. This performance seeks to influence the general US audience by using dance as a means of changing the perception of the aftermath of disaster. By following a narrative structure, the dance performance begins by setting the scene of New York City. The performance is then followed with analogies through dance designed to provide moments of action, climax, and resolution. The New York City Ballet uses pathos and an instance of logos through movements to enforce their attempt to alter one’s perspective. There is plenty of pathos used throughout the dance performance in order to motivate a change in thinking from the audience. I believe this strategy was extremely effective because by influencing how the audience emotionally reacts to the performance there is more likely to be a change in audience perception. The ballet incorporates inductive reasoning by taking the specific situation of September 11th and implying that, after tragedy, we will ultimately have a “new beginning”. I believe the logical appeal of this implication is effective because the audience is naturally inclined to believe if

While the speaker has succeeded in providing an enhanced image of the performer, the act of assigning meaning to the performance and the representation used holds the capacity to limit the experience. As the speaker continues to reconfigure her strip tease into a “[graceful] and calm” artistic dance, he makes a simultaneous attempt to distance himself from the crowd, making no mention of his gender or race directly (5). However, the speaker’s attempt to portray the dancer from objective eyes falters as his

The male dancer only wore pants and bared his upper body. This simple costume design not only made the people who watch the dance to have a clear vision of the dancer, but also better presented a predicament that the character was experiencing at that time. At the first half of the dance, the dancer would leave at least one part of his body on the bench, and tried hard to reach other parts of his body away. This muscular interplay between the dancer and the bench resonated with the audience to experiencing the same struggle feelings as the character. As the performance developed, the dancer started to leave the bench to fully use the space. The dancer had many different movements comparing with sitting on the bench previously. He started to lie down, roll over, stand on the bench and make a turn use only one foot. The level of the dance was no longer limited in the middle but changing from low to high as well. Having such a change, the dancer is converting a more delight and energetic feeling to the audience, in order to demonstrated that the character was recovered through the

This section ends with the female in and arabesque on the male dancers knee without stretched hands as thought reaching out for help. A recurring motif through the whole dance.

The dance that I will be focusing on is entitled: thinking sensing standing feeling object of attention. The dance, to me, symbolizes the socialization of persons in Western civilization concerning gender roles. In the beginning there are gestures that are separated from emotion and full-embodiment, but as the dance progresses the gestures become more meaningful and recognizable. The lighting starts out very specific and narrow, then the light encompasses the entire stage, and eventually the dancers are silhouetted as they return to a familiar movement motif in the end. The music is mainly instrumental with occasional soft female vocals, and the lyrics suggest emotion, which is interesting because the dancers do not convey emotion until

the story’s theme: that people blindly follow tradition even if it leads to their own