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. On page 218 of our book it states, “Pantomime helps to carry forward the story line. We sense the emotions and character relationships in the dancers’ steps, gestures, movements, and facial expressions.” In this video, the dancer is clearly using pantomime. You can feel his emotions and what he is trying to convey without him speaking a single word. One way he does this is by overexaggerating all of his movements. He makes it seem as if with every movement he is putting all of his emotion into it which then transfers the emotions to us. The dancer also uses many facial expressions to
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The dancer holds so many emotions that go along with the choreography and also the high intensity within the music. I have ten years of experience with ballet dancing and I can say that no matter how emotional you get while watching a ballet dancer it will get nowhere near as emotional as you get when you are the one performing the dance. There is just something about performing any type of dance that fires up the emotions in you. If anyone ever gets the experience to perform some type of dance I would highly recommend it because just like any other art form it gives you a change to show your emotions and connect with
Jose Limon is vastly known in the world of dance for being someone who accomplished many first’s in his career. He has made quite a name for himself in the modern dance community for his professional dancing, teaching and choreography skills, and his vastly appreciated techniques that he cultivated with the help of his mentors and his learnings. Jose Arcadio Limon was born in 1908 in Culiacan, Mexico. He was the oldest of eleven brothers and son of Francisca Translavina and Florencio Limon. Jose Limon was born during the Mexican Revolution which of course was a struggle in its own for everyone who was a part of it.
The use of vivid imagery helps to convey the sense of wonder and magic that the juggler's performance creates, as the reader can picture the balls "wheeling" and "grazing" the juggler's fingers and the table, broom, and plate "turning," "balancing," and "whirling" on various parts of the juggler's
Throughout the performance, dancers use their hands and arms to communicate. Especially at the beginning, the dancers motion toward heaven numerous times. I interpreted this movement as their longing to leave the sorrows they’ve endured on Earth to reap eternal life in heaven. In addition, in the water scene, the dancers were extremely expressive, contorting their bodies to match the way waves in water makes your body sway. Each scene brought a different energy than the last which kept the viewer on the edge of their seat.
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.
Messages can be conveyed in many ways including through movement. A dancer knows how to use their facial expressions, combined with the dynamics of their body, to get their message across. A choreographer knows how to structure a dance to communicate a message through body in motion. Alvin Ailey choreographed his dancers and used this form of communication to create many powerful dances.
I know the neat footwork in the second movement’s waltz, and I see Nathaniel dancing to it with his bass, up in the window of the old hotel. (251) Ayers shares his love of music with Lopez, which allows their friendship to grow stronger. Lopez learns a lot from Ayers. He is able to appreciate music in a new way.
Brooks comes across as very relaxed in his performance of The Dance for this video and he seems very engaged with the words he
Harrison knew the real meaning of dance and wanted to show it to the public. He and his Empress danced in joy and grace, abandoning laws. On page 10, Vonnegut says “they reeled, whirled, swiveled, flounced, capered, gamboled, and spun. They leaped like deer on the moon.” Harrison showed that he was creative in his dance and was good with his feet that made him
“Harrison Bergeron” Discussion Questions: Question Two: What is the significance of the dance that Harrison performs with the ballerina? How does the style in which the story is written change in this passage? The significance of the dance that Harrison performs with the ballerina is to represent the way the world would be like if they were allowed to express themselves and show the world their beauty, intelligence, and any other physical attributes. According to page 4, it says “Harrison and his Empress merely listened to the music for a while-listened gravely, as though synchronizing their heartbeats with it…
5. How has Australian Dance Theatre changed as a company since its foundation in 1965? Australian Dance Theatre, established in 1965 by Elizabeth Cameron Dalman, is the longest standing contemporary dance company in Australia, recently celebrating 50 years. Whilst the company has created a remarkable 50 years of innovative and original work, many state that the concepts and ideas have vastly changed from the company Dalman established. Over the last five decades, Australian Dance Theatre has continued to develop, with the evolution of six individual artistic directors, who produced work in their distinct style, developing unique aesthetics.
“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.
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.
Without the dramatic gestures and vitality of the dancers, the overall story of the piece would not have been portrayed as well. Fokine masters the production’s storyline by developing emotion into inanimate objects. The puppets’ ability to convey such an intense amount of feelings such as happiness, love, and jealousy motivates their actions in their dancing. Petrushka’s failed pursuit of the Ballerina clearly agonizes him and his ability to ever be with her. Thus, his way of dancing showcases his jealousy and defeat.