With Didion’s philosophy in mind, we can use writing as a tool in order to discover a meaning of a particular dance piece. Throughout the semester, reading from other writers have provided helpful hints when writing about dance as we discover that by detailed description, underlying interpretations can expose themselves. During this semester, there was a considerable amount of focus on description and interpretation that lead to a few difficulties. From previously taken dance courses, I have had experience describing dance movement through writing so that the readers could see a dance without physically viewing it. This particular course provided more insight on how much description I
The term ‘physical theatre’ is tough to define briefly, but is most commonly explained as a performance wherein the narrative is portrayed through physical means and verbal narration, if at all present, is relegated to a minimal position. ‘Physical theatre’ is not to be confused with dance, though it may have similar characteristics. It can almost be seen as a midway between dance and theatre. ‘Physical theatre’ encompasses features from both art forms. I will be discussing how ‘physical theatre’ originated from these two art forms, as well as its development over the last three decades, by referring to the philosophies, training, rehearsal and staging methods of contemporary physical theatre companies from different parts of the world.
(Goffman,1959). This guiding is trying to highlight positive ideas of self and desired impressions. The individuals in the interaction are able to choose their own stage for specific audiences. According to Goffman, in this stage, as in everyday interactions, there are two regions which are a front stage and back stage. Each of them has different effects on an individual’s performance.
The University Playhouse’s recent production of Naomi Wallace’s One Flea Spare utilized both Restoration and Modern staging conventions. The performance embraced Restoration conventions through character types, epithets, and expressions of space, place, values, social structure, and beauty by the character of Mr. Snelgrave. The performance also embraced the Modern conventions of Naturalism and Realism through satire and representational aspects such as time appropriate costumes, realistic props, and a localized set. It strayed from these conventions through presentational aspects such as the half-walled room that served as the set, the nonlinear plotline, and the small symbolic crosses painted into the cobblestones of the stage. The performance utilized Restoration conventions through the character of Mr. Snelgrave who embraced the self-gratifying attitude of the Restoration.
Last is the effort of the “rude mechanicals” to put on a play. Athens and the forest are the two settings for A Midsummer Night’s Dream because they represent the oppositions between reality and magic, order and chaos, and rationality and imagination. In Athens and the forest there is a clear distinction between reality and magic. We know that Athens is realistic because there is law and order in the community as well as leaders of Athens. An example of members of the community and the leaders of Athens having order is when Egeus goes to Theseus for guidance.
Freudians Colour Symbolism In The Night Circus “Everything is a symbol of something, it seems, until proven otherwise.” -Thomas C. Foster. Symbols express ideas and emotions through an indirect approach, any individual can view a symbol and interpret it in their own way. It is a more personal form of expression in literature. The Night Circus shows many forms of colour symbolism that furthers the plot line and adds obscurity to the text. Although it may be hard to find balance between the symbols in Erin Morgenstern's novel The Night Circus, there are still many of Freudians theories that connect with each other.
Performance art was created in the late 1950’s with its precedents being Futurism and Dada in the 20th century. It was often associated with issue-based politics – feminism, ecological and anti-nuclear issues and time-based and processed art practised by some of the conceptualists. Performance provided a means through which the geography and events of ‘found’ sites could be approached outside the representational means of painting and sculpture. Allan Kaprow’s Yard and Vito Acconci’s Seedbed represent the ever-changing nature of performance and installation art through the decades. Reinventions, documentation, audience participation with the use of the body are key factors to these performances.
Dance is a universal language in regard to its versatility in connecting with others through expression and movement, not exclusively through verbal communication. This primary element of dance was evident within the performances of Dancescape. Throughout the entirety of the program, there were many different styles of dance which encouraged different interpretations and perceptions from the elements expressed. These perceptions, as well as the symbolisms and elemental qualities of the dances, will be delved into further from a deeper analytical perspective. When considering the dances as a whole, no two were the same.
Music is generally made up with single rhythm repetition and iteration such as those of the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass and John Adams. Not only the music but also the dance is influenced by Minimalism. The pioneers of the Minimalist dance are Anna Teresa De Keersmaeker and Lucinda
The dance is full of gusto, flirtation that lends itself freely to improvisation . Here, I enclose the opening of Sarasate’s Carmen Fantasy, Op. 25, 3rd movement, which is a violin fantasy based on the themes from the opera Carmen by Bizet, in fig. 5 to show the use of seguidilla
My activities at BronxNet studio was a review of my past camera and lighting class. I had the opportunity to continue practicing with the studio equipment. At the post production I learn how to edit packages using final cut pro. My activities at the studio and at the post production became a routine. At the studio before the show started I had to help setting up the studio.
Jeff Koons is an American contemporary artist born in 1955 in Pennsylvania. A major practice of Koons is his liking to take everyday, commonplace objects and putting them interestingly in installations. He got his expertise in Baltimore at the Maryland Institute College of Art, obtaining his M.F.A. He ended up getting more of an education at the School of the Art Institution of Chicago after seeing an exhibit of Jim Nutt, who attended the same school. Eventually Koons obtained a doctorate there, but is still known to have said that one exhibit really sparked him to want to go there in the first place.
I narrowed in on Physical Therapy and then took the time to do some shadowing in it for my senior study. When I was working as a non-certified student athletic trainer I took the athletes to the Physical Therapist and I was allowed in by the student to watch the evaluation. At this time I realized that I was so interested in this field and I knew that I may have found a career.