The stage performance of Rogers and Hammerstein's Oklahoma was a beautiful integration of book, song and dance. The three elements add richness and aesthetic quality in very distinctive ways. Dance is a form of expression using rhythmic movements of the body. Facial expressions and the use of body language through dance offer portrayals of feelings that compensate for dialogue. The choreography done by Agnes de Mille integrates dance into the lives of the frontiersmen (and women) of the Oklahoma territory. The 20th Century Fox film version released in 1955 had key differences than the current Broadway musical. One of the main differences other than a little extra dialogue was the utilization of dance. In the film dance was not used as a primary asset to the production. The impact of dance could be described by comparing the stage performance with the film.
There are two main plots running parallel in the show. First there is the developing love affair between Laurey and Curly. From purely the dialogue it is clear that these two characters do like each other but it is left up to dance to bring the subtext of their unsaid emotions to the surface. Second is the rivalry between the ranchers and the farmers on how the Oklahoma territory land should be used. The plots are not completely independent of each other. By the end of the show Laurey and Curly falls in love and gets married. This outcome has a secondary purpose. Laurey is a farmer and Curly is a rancher. Bringing them together into the union of marriage would symbolically address the solution to dividing the land. This leaves a happy ending for Laurey and Curley. Also there is a happy ending for the farmers and ranchers.
The opening sequence features the Oh what a be...
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The film used and presented the box social dance sequence in the same way as the stage performance. The aesthetic quality of the hoedown adds an authenticity to the Wild West. It is the kind of dance one would expect when thinking of stereotypical Wild West folk.
Dance adds a unique dimension. It has the ability to bring to the surface underlying feelings and themes as seen in the dream ballet and Kansas City numbers. The actual technique and movements of the dance can create a sense of fluidity and togetherness. This was important to the book plot of Oklahoma. Overall the dances were extraordinarily detailed. Several numbers had many dancers. The choreography achieved good utilization of the stage space. The backup dancers were well defined and not used as space fillers. It seemed everyone had a story to tell. Three cheers Oklahoma!
University of Northern Iowa Dance Marathon is an organization that raises money for the University of Iowa Children’s Hospital and the Children’s Miracle Network. The organization aims to provide emotional and financial support for families with children facing life threatening illnesses by raising money for Children’s Miracle Network Hospitals and organizing events that increase student and community awareness. This money then is put towards things like research, education, equipment and pediatric ward enhancements so the children and families can feel a little more comfortable during their stay at the hospital. The big event was on March 1, 2014, but the organization completes events throughout the year to fundraise as much money as possible for the Miracle Network kiddos, like a 5k color run on campus, trick-or-treating for kids who can’t, and selling grilled cheese at midnight during homecoming celebrations.
Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.
Musical theatre is an art form as are the dances within them. Musical theatre dances must relate to the song being sung, the character or characters within the story, the plot, the style of the musical and time period. It is a choreographers job to not only create an effective image onstage but also connect the dance with the musical in which it is performed in. For what is a dance without performance. In All that Jazz from Chicago, the song is seductive and performed in a burlesque style. Bob Fosse used few subtle and small movements of the individual body parts that execute the pianos beats as well as demonstrating the words of the song. Fosse used stillness more than usual in a dance number and it gives a climatic suspense and an even build throughout the performance. Still and silence is just as effective as the largest of movements which is a technique that Fosse manipulated to sexualize and bring the music to life through the dancers bodies. Fosse's choreography choices fitted the style, music, and feel of the song giving the dancers a greater connection with the performance. Fosses use of choreographing in this dance for me reflects the style of the era and the Jazz age. The subtle sexual and relaxed movement mirrors the Jazz music and the rise of women as more openly sexual and scandalous in the 1920's. In A Secretary is Not a Toy from How to Succeed in Business Without Really Trying, Fosse's choreography mimics the office work place. He includes the use of type writers, pads, and pens as part of the dance. He uses something as simple as women and men walking and moving through the office space and turns that into choreography. He then adds rhythm and simple dance movements such a skips, hops, arm gestures and holding out the props, all executed on the beats. He also uses his choreography to show the relationship between men and women in the working place. In
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
In the introduction, Mordden explains that “all its [musical theatre’s] artistry dwells in the historian’s key buzz term ‘integrated’: the union of story and score” (Mordden x). It is important for audience members to understand that musical numbers aren’t put into shows just for pure entertainment. Rather, the numbers are there to not only further the plot, but to also tell more about the characters than can be said in words. As many shows say: sometimes you just have to sing about it. Mordden also points out that “the historian recognizes other aspects of integration—of dance as a thematic and psychological instrument…” (Mordden x). Just as musical numbers reveal more about the character, so can dance. If the character is shy and reserved, their movements and dances will reflect it with smaller movements and less flashy numbers. If the character is big, over the top, and dramatic, the choreography will be huge, take up a lot of space and most likely require a lot of energy. If these numbers are
Half of the dances in the nutcracker suite are symbolic of different event in history or everyday life. A great example of a symbolic dance in the movie is the Russian dance; this dance that is performed in the Russian dance scene is a real Russian dance. Disney also instead of humans preforming it, they got the flowers preforming it which again gives it a very good vibe.
The film Dances With Wolves, attempts to change our stereotypical view of Native Americans, as savage and uncivilized people, by allowing us to see life from their perspective, helping us to realize that many of their experiences are not all that different from our own. The main setting of the film is the Great Western Plains of North Dakota. John Dunbar comes to discover the west before it is completely destroyed through settlement and what he actually finds is a group of people that he comes to understand and love, for all of the qualities that he finds within their individual lives. The Sioux soon become a part of John Dunbar's experience not only in the west, but in his life as well. Through his eyes, the viewers begin to see that these Native Americans are not what they are expected to be, but instead are civilized and are companions that can have strong relationships.
Through dance and movement, the storyline were expanded with the assistance of choreographer, Garth Fagan. A well-renowned choreographer for his innovative choreography primarily for Garth Fagan dance, Fagan used his unique style of choreography to the Lion King by combining a variety of Ballet, Jazz, Modern Dance, African Dance and Balinese Dance to suggest representations of nature without making a replica itself and use dance to help tell the story (Exploring the Lion King, 2010). Taymor’s idea of expanding the film by adding in choreographic elements not only will set the overall concept, it would additionally guide the visual aesthetic by allowing dance as the main element that balances musical numbers in all categories: effects, music and so on into the choreography (Bluemental et al 210:1999). Both Fagan and Taymor gave major contributions to the different styles of dance and performance techniques from around the world creating the precision and versatility that is being portrayed in the musical. In order to create the ideal staging of the hunting lionesses, flying dancers in the aerial ballet to the takeover of the hyenas at Pridelands, the collaboration between Fagan and Taymor gave suggestions of how these movements being performed with grace and poise using different dance styles and are cultural based be the forefront of the production(Taymor 148:1997). By looking at three notable dances in the musical, this chapter will analyse the presence of dance and movement being portrayed in the musical and how are these dances create the drama, still giving the idea of moving in an African Savannah. Furthermore, this will give an insight to all challenges and pitfalls both Fagan and Taymor endured during the development of the...
New Dance is described as a developing art form; this dance was articulated in the early 20th century. According to Chapter 8 in History of Dance book, “the new dance emerged as a response to the ballet that populated the variety shows and music halls, which had a rigid formula of steps and poses” (Kassing). The New Dance was a product of several strands that interlaced together dancers’ studies and backgrounds; these strands and others were woven together in a historical, political, and societal framework. For instance, one strand of New Dance consisted of the concepts, techniques, costumes, and stage settings from around the world. These strands influenced major dancers and choreographers, such as, Isadora Duncan, Loie Fuller, Ruth St. Denis, and Ted Shawn.
The movie Dances with Wolves was a real good movie and I enjoyed watching it. It showed how life was back in the time of the Civil War. The movie also showed how Indians lived and how they respect everything except the white men.
Hope, desperation, relief, and joy were the emotional aspects that I grasped onto during the piece. While there was not a literal story, it was relatable and real. The dance was visually beautiful, because the lighting, costumes, silk, and choreography worked together to create a picture of water. Yet, the music and idea behind the dance gave the intense and emotional aspect. Each of these elements worked together to create a piece that was mesmerizing and light
Overall, this film has the perfect format of a mockumentary, great acting and well-written satirized characters. This film is suitable for ages 12+ and anyone who is interested in seeing what goes on behind the scenes of dance
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
However, in this ballet concert, the choreographer had designed the scenes to be more like a comedy. The movement of the sisters are more amusing than cruel. For example, when they pulled each other for being eager to dance with the prince, or when they tried to hurt and bully the Cinderella, these movements are not that cruel but amusing. Even the stepmother was drunk and danced comically in the prom scene. Moreover, the movements of all the girls who wanted their feet to fit in to the ballet shoe which Cinderella had dropped in the prom are also very funny. These kinds of design successfully made the audience laugh out loud and without hurting the hearts of the little girls who went to see the performance with their
“Dance, the art of precise, expressive, and graceful human movement, traditionally, but not necessarily, performed in accord with musical accompaniment. Dancing developed as a natural expression of united feeling and action.”