The Elements of Dance Shown Through Sergei Polunin “Great dancers are not great because of their technique, they are great because of their compassion,” this quote by Martha Graham describes Sergei Polunin, who was the dancer in our assigned video. While this dancer is dancing to “Take Me to Church” by Hozier, he is using many different elements to create the form of art called dance. Three of these elements are mine and pantomime, the music, and mise-en-scene. Through each and every one of these elements the dancer is able to tell his audience exactly how intense his feelings are and he can also send emotions to us and make us feel what he is feeling.
In Roethke’s “My Papa’s Waltz”, the speaker seems to be an adult reminiscing his childhood through a metaphor of a dance. The poem suggests that the boy was abused and the mother stood by without doing much about it. Three topics that
Each dancer has an eight count or two to showcase their given choreography. The mood is extremely dream sequence-like. Everything is moving really fluidly. The dancers movement quality is delicate and for the most part at a slower tempo. The movement is not the normal “Fosse style”.
When looking at the periods of dance it can be separated into Renaissance, Baroque, Classical, Pre-Romantic, Romantic, Russian Classic, and Ballet Russes before we reach the Twentieth Century. Ballet began during what is known as the Italian Renaissance, and permeated French culture by Catherine de Medici’s marriage to the King of France. The very first endorsed “ballet”, Le Ballet Comique de la Reine performed on October 15, 1581, marked the beginning of theatrical and technical dance performances. During this time our first prominent ballet masters came about, including; Balthasar Beaujoyeaux, Pierre Beauchamp, Domenico of Ferrara, and Guglielmo Ebreo, to name a few. These early ballet masters created and built upon social dance and turned it into a technical spectacle.
“Artworks have ‘aboutness’ and demand interpretation” (Barrett 71). This statement creates a foundation for writing, specifically about dance, as each dance piece is always about something, no matter how simple it appears to be. As I began to write about dance I knew not only to provide a description of the piece, but utilize the description as evidence as I develop a possible meaning. Additionally he explains, “There can be different, competing, and contradictory interpretations of the same artwork” (Barrett 73). When I would begin to develop an explanation from the description I provided, I had to remind myself that my interpretation was only one view of the dance and I should not try to provide one comprehensive interpretation for the
The stage lighting is subtle and just enough to spotlight the dancer who stands tall with her arms extended to the sky and hands clasped together. A long, white sheet-like scarf drapes the dancer’s hands. As the music begins the solo dancer starts to sway then slowly she starts walking back and forth across the stage only ever taking one or two steps in each direction. With each step crossing one foot in front of the other. Her arms are still outstretched but now they are open; the audience can see the dancer’s face.
It is a performance or happening, intertwined with dance, improvisation and conceptual art. The attitude towards the text changed greatly as today the core of the performance is body and autobiographical stories instead of sceneries from great classical writers. The subject of this essay is to define postmodern time and the relationship between art
Though ballet wasn’t originally intended for women, it was inevitable that the female race would rise above and eventually dominate this powerful yet delicate art. Femininity in ballet developed considerably after the reign of men in this art form during the 15th and 16th centuries, when men in mask and costume portrayed women in productions, and King Louis XIV’s elaborate productions starring himself in the 17th century. The Romantic Era ushered in a real exploration into the roles of gender, and ballets became a woman’s forte, full of love, sexuality, and femininity. During the early days of dance in ancient times of primitive civilizations such as the Aztecs and Maya, gender roles were not important to society.
He chose to make a ballet blanc, which he composed for a refined instrumental force, manifested as a string orchestra of 34 instrumentalists: 8 first violins, 8 second violins, 6 violas, 4 first cellos, 4 second cellos and 4 double basses • Stravinsky had centered Apollo music in Greek mythology. • The prologue begins with dotted rhythms in the style of a French overture. • 1st Celliopes is a dramatic piece( muse of poetry – tablet) • 2nd polhymnia is a playful piece ( muse of acting and mime – mask) • 3rd
“The Rite of Spring” was certainly the most controversial piece of orchestral music of its time. The piece, composed by the Russian Composer Igor Stravinsky, included a great deal of uncommon musical elements. But was it really that uncommon? The world-changing ballet, “The Rite of Spring” was so controversial when it debuted in 1913, because it completely contradicted the common rhythmic and harmonic languages of the music at the time. The choreography and costumes were a main part of the reason why the audience reacted with negativity and riots.
Roethke employs a metaphorical figure of speech to achieve a deeper meaning. For instance, the speaker influences the reader by putting the name of the dance in his title. Furthermore, this incorporation of vocabulary makes the reader think of it as a dance.
Krosoczka tailored an emotional and comical approach into his peeck to hook listeners and to help them see the importance of his passion. Krosoczka guided the audience to see how his work made the lunch ladies feel he “validated what [they] did” (Krosoczka 1). The audience was sucked in by this comical-emotional combo and clung to every word. The audience sympathized for all the lunch ladies and viewed them in a different light than
The dancers were observed to be full of energy which showed through their movements and dancing. Every movement was sharp and clean. Furthermore, the action portion of the basic dance elements was seen through the dancer’s basic movements that turned into dancing. For example, in one scene, the actor jumped off the table and broke into a little skip-glide dancing movement.
The word “ballet” brings to mind words such as “grace” or “beauty” when heard by many people. The definition itself states that it is a form of dance that uses precise steps and light, graceful motions. This definition was in the minds of those who attended the Théâtre des Champs-Élysèes in May 1913, but rather they were greeted with the complete opposite. When Igor Stravinsky’s ballet Rite of Spring opened, the audience was greeted with swift, chaotic music that quickly became a whirlwind of sound. The music softened and the curtains opened to a primitive dance, causing mass hysteria throughout the theatre.
The Spring Concert set stage in Barnett Theater. It showcased 12 distinctive pieces from Ohio State dancers. None of the pieces were coherent with each other, but were each uniquely intriguing on their own. Among all the dances, specifically three stood out to me. Those dances were: Worn To Shards Of My Own Accord by Josh Anderson, I am, and I’m by Anna Vomacka, and Wind and Water by Madeline Mazzola.