“You dance love, and you dance joy, and you dance dreams. And I know if I can make you smile by jumping over a couple of couches or running through a rainstorm, then I 'll be very glad to be a song and dance man.”, these words spoken by the legendary Gene Kelly are just one of the reasons why I have come to have a great respect for his acting and singing. Singin’ In The Rain, which was released in 1952 and directed by Kelly and Stanley Donen, wasn’t the only thing I was introduced to that Monday in class, but my attention was brought to an electrifying performer who was amazing at what he did. As I watched the film I was captivated by his dancing abilities and how graceful he moved, every movement that he made seemed to come to him so natural. He was so amazing in this film that I had …show more content…
"Gene was the everyday man." I enjoyed hearing Kelly sing in both films and I found him to be quite good and once you combined that with his dancing and acting ability it makes him stand out even further at being an extremely talent individual. I think that if an individual sees and area that they might possible lack at they should perfect their other skills to the point that it isn’t even noticeable, Gene Kelly’s singing to possibly others and himself might have been on a seventy-five percent level but with his dancing talents being on a level of one hundred and twenty-five percent it almost balances itself out so that you couldn’t tell that some felt he lacked in that area. I chose to write this paper about Gene Kelly because the films that I was introduced to
Starring him were extremely impressive and I enjoyed them. Every character he plays he does a great job of bringing to life and really allowing his personality to shine through which is what make a great actor. He was an innovator when it came to dance and has influenced some
Frank, Rusty E. . "First Tap Dancing Star of the Silver Screen." Tap! New York: Da Capo, 1994. 30-32. Print.
...’s work. Although dancing Taylor’s choreography, Grossman was allowed the freedom to experiment and this factor allowed him to develop as a performer. Grossman has admitted that he had some fear in dancing in Taylor’s Company; however he has further added that in doing so his fears were gradually diffused and he in fact reached “a sense of peace or calm”.
In many different scenes, dances were created to capture how each character felt in the scene that they were in. For example, when the crow was being bullied while he was tied up on the cross, Fatima created a dance to show him finding his inner courage and no longer having fear of the birds. I loved when Dorothy and Scarecrow sang walking down the yellow brick road because the dance gave the sensibility of people uniquely living the spirit of expression. The dance looked fun and vibrant like many of the jazz dances we see today. One of the styles of jazz that were engaged in the film was bebop. Bebop is characterized during the 1940s as having a fast tempo and improvisation based on the structures of a situation that inspired the movement. I noticed that bebop was displayed well when Ne-Yo danced because of its complex technique, fast tempo, and improvisation while singing at the same time. This style of jazz was suitable for the presentation of the film because it kept me as an audience engaged in every dance that was choreographed. With the tempo being very fast, it allowed for the movement to be big and easily
Alvin was born during the Great Depression to two working class parents in Rogers, Texas. His father abandoned the family when Alvin was a mere six months old, leaving him and his mother with the struggle of fending for themselves. The inability for Alvin’s mother to find work led to their move to California in 1942, where Alvin was introduced by a classmate to the most influential person that would be the foundation for his future successful career in modern dance, Lester Horton (DeFrantz 1). Alvin was captivated by Lester’s work, which focuses on building a strong body, and made the executive decision to start his dance training in 1949 when he was eighteen years old. Because Lester Horton’s dance company embraced diversity, and accepted dancers of all ethnicities and backgrounds, Alvin was given the opportunity to do something great with his
own dance. He then remembers the blood on the dance floor and leaves soon after. In the wake
For my second dance show review, I went to Hollywood to watch a show called Billie Holiday Alive. This show was a performance of Billie Holiday’s greatest hits accompanied with dancing as someone portrayed Holiday and lip synced her songs. The show also took time to tell the audience an abridged life story of Holiday between each musical and dancer performance. This show was quite unique because it utilized hologram technology to show someone who portrayed Billie Holiday. It also used live dancers to accompany the hologram performance. It showed the growth from Holiday’s time to the present and her influence on how singers sang and what they sang.
Mast, Gerald and Bruce F. Kwan. A Short History of the Movies. Allen & Bacon,
telling stories about his life without really setting up a structure for the audience to follow.
When I first watched Chicago at the movie theater, I was not fully satisfied. I wanted more, so I went back to get some and watched it six more times with different friends and family members! Last summer during a visit to my native Mexico City, I had the opportunity to watch drag queens perform several numbers from the movie-musical. They did an amazing job, without surpassing the outstanding performances of the actors in the film. Last year, I visited NYC for the first time and indulged in the rows of the Ambassador theatre experiencing Chicago, the Broadway musical, and because I had seen the movie many times before, I knew all the songs and dances by heart. I loved it, but it was actually the movie that influenced me to become a “Chicago fan.” The movie is based on the 1996 Chicago revival of the original musical version of 1975. It was thrilling knowing that the making of the musical into a mainstream production would increase its accessibility and widen its distribution into all the corners of the world; now there is no excuse for people not to experience Chicago, and though not everyone can go to Broadway to see it, just about anyone can indulge themselves in this dazzling movie in the comfort of their homes. In addition to a fantasy world of singing, dancing and Vaudeville, the film also provides a narrative that is explicitly presented through Roxie’s point of view, creating a counter human side to Roxie’s fantasy world so that the audience can easily identify and engage. Chicago is a must see film for anyone who likes to spoil themselves with an outstanding award-winning musical composed of a catchy plot, truly superb acting, commendable direction, and a clever soundtrack.
Shusterman, Richard. "Moving Truth: Affect and Authenticity in Country Musicals." Journal of Aesthetics and Art Criticism 57.2 (1999): 221-33. EBSCO Host. Web. 12 May 2014.
...ike Brooks and Dunn had done. I think it’s neat that even though things were popular a long time ago they are brought back time and time again through music. Whether it be songs, dances, music, events or memories, it’s nice to have something to remember.
the room. Light can really add a element to your scene . In this scene kubrick did a lot to add to
...downfalls. Fagan in his own hope want the audience to look at dance without going through boredom or thinking dance as a medicine (Bramley 24:1997). The musical has allowed this particular component to make differences to such challenges from one dance to the next. This was possible due to Fagan’s approach to choreography that are different compared to another choreography that was designed to other Disney films turned musicals i.e. Beauty and the Beast and Little Mermaid. These two notable musicals have taken the stages of Broadway by storm. However, there is an ingredient missing to those shows that Taymor was able to capture from beginning to end with the Lion King. It was a risky challenge that Fagan radically took out of the negative into the positive with the use of vocabulary to approach the use of dance and movement as part of a highly successful musical.
As the song continued, Ron began to dance a bit around the stage – interacting with his guitarist, bassist and drummer individually. They were all smiling and laughing as they played and sang – not so much as to ruin the music, of course, but enough that you could tell these were people who truly loved music and that they get to do it living. Following that were performances of some of the other tracks from his most recent album (at the time), “Calling off the Dogs.” Then it happened: the beginning chords to my favorite song of all time, “Fireflies.” I lost the ability to breathe for a moment. As the song played, I heard other people singing along just as loudly as I was – it made my heart swell to know that other people loved this song just as much as I do. I don’t know why that surprised me, really – all throughout the night, the entire audience had been screaming the lyrics along with him and moving their bodies to the beat of the