As artistic director, internationally renowned choreographer Natalie Weir has created a ‘seven deadly sins’ analysis number of outstanding dance performances for ‘Expressions Dance Company’. ‘7 Deadly Sins’ is of a similar breed. In an hour long spectacular, Lust, Gluttony, Greed, Laziness, Wrath, Envy and Pride are visualised before an admiring audience, watching the internal struggles of the basic sins of mankind fight within man. Through the use of movement and non-movement dance elements, Natalie Weir has effectively created a portrayal of the deadly sin ‘Greed’ which is easy for an audience to understand and interpret. For example, Natalie Weir has used the dance components such as costuming, levels, instrumentation, choreography and …show more content…
When watching the segment of ‘Greed’, as the music changes, the choreography does as well. When the music is calm and serene, the choreography is as well, consisting of slow, strong, powerful movements that are performed without rush, extremely technical and controlled. However, when the music changes (when ‘Greed’ loses his wealth), the choreography changes as well. To suit the music, the movements become fast, almost robotic and extremely segmented, fitting the rhythmic nature of the music. It seems that ‘Greed’ is searching through his box for something to satisfy his greed. Another thing of note is that when ‘Greed’ loses his wealth, he actually physically reacts. He shies away, seeming to be almost in pain. However, at the end of the piece, when ‘Greed’ grabs back his wealth, he becomes calm, once again completely fixed on the gold. The nature of this performance allows the audience to attempt to analyse and understand the combination of choreography, music and …show more content…
These moving elements including levels and choreography, with non-moving dance elements including costumes, lighting and music. All of these elements combined allow an audience to understand the sin of ‘Greed’, (thanks to an effective portrayal created by Natalie Weir) and allow an audience to recognise the sin of ‘Greed’ within
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
The Seven Deadly Sins, is a classification of sins (sometimes referred to as vices), that were used to describe the sources of all sins. The Seven Deadly Sins is a Christian idea and was most widespread in the Catholic Church. These sins are thought to have possibly gotten their origins from two places in the Bible, Proverbs 6:16-19, and Galatians 5:19-21. The first idea for The Seven Deadly Sins was from the writings of the monk, Evagrius Ponticus, who lived in the fourth-century. The Seven Deadly Sins were edited and modeled into their modern form in A.D. 590 by Pope Gregory 1. These sins are as
A sinful nature is an aspect in man that makes him rebellious against God. Everyone has a sinful nature and it affects every part of us. Sin corrupts the human mind and has consequences for doing wrong in the eyes of the Lord. Every individual on Earth sins, and this is represented in the novel The Scarlet Letter. Nathaniel Hawthorne uses Hester Prynne and Arthur Dimmesdale to portray how different people cope with their sin and the consequences of that sin.
The story explores many vital concepts accompanied by beautiful illustrations. I felt a strong sense of cultural understanding, spirituality and connection to family and land as though I was on this journey too. I could sense an underlying meaning in each dance, holding great importance to Bertie’s family and a strong connection to their culture. Pryor has attempted to fuse the then and now, by speaking of changes in the land, from a once spiritual gathering place, to a now busy town street where through food, they keep the culture alive (Pryor, 2010).
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.
Gluttony, Avarice, Wrath, Lust, Pride, Envy, and Sloth are all commonly known as the “Seven Deadly Sins”. Each of these seven sins plays a major role in development of the different characters. In Geoffrey Chaucer’s “The Canterbury Tales”, the Pardoner committed sins through gluttony and avarice; the Wife of Bath through Pride and Lust; and also the Monk through gluttony and wrath. However, omnipresent on all the characters are the different deadly sins that led to their development and morality.
“Be true! Be true! Be true! Show freely to the world, if not your worst, yet some trait whereby the worst may be inferred” (Hawthorne). As this sentence is read in the The Scarlet Letter, the reader will realize that the main theme of the book is the sentence above. Throughout the book, secret sin damages the lives, soul, and the integrity of the main characters. However, it could have easily been evaded through open confession of their sins. Nathaniel Hawthorne’s purpose in writing this novel is an attempt to influence the reader to openly confess their sins and never be ashamed of who they are. According to Levine, “even though we convey ourselves as saints, we are really sinners (Levine 64). The Scarlet Letter is a classic work of Hawthorne due to the themes it portrays and the relevancy to today’s society. By definition, “A classic is a work of art so universal that it has transcended the boundaries of time and place; it has survived the ‘test of time’” (Lazarus). In the highly symbolic novel, “The Scarlet Letter”, Nathaniel Hawthorne explores the effects of hidden sin and his characters’ ultimate release from guilt when they learn to own their sin.
meaning to the role of dance in musical theatre and is well known as America’s
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...
Author Christine Mitchell’s “When Living is a Fate Worse Than Death” told the story of a girl Haitian named Charlotte. Charlotte was born with her brain partially positioned outside of her cranium which had to be removed or she would have not survived. Her skull had to be concealed by a wrap in order not to cause further damage. Charlotte was born with less brain cells which allowed her only to breath and not feel much of the pain. Charlotte’s parents thought that the doctor’s in Haiti did not know what was best for their daughter. The doctors in Haiti thought Charlotte should not be resuscitated, undergo anymore horrible treatments and die peacefully. Charlotte’s parents were not happy with the doctor’s guidelines and thought the United States medical care would have better technology and could save their daughter. Charlotte’s parents bought her a doll which
The components can be broken down into the following: dance and movement, character portrayal, masks/puppetry, music, costume design and idealistic process. Each component will be analysed in detail in an attempt to portray how this effectiveness has added to the overall musical vision.
I don’t believe the past can be repaired, only exceeded,” a man says as he re-encounters someone he knew for a brief but emotional time. Most of the solitary souls who populate Richard Ford’s A Multitude of Sins, whether they’ve sinned or been sinned against, ceaselessly interrogate their lives in the hope that they can indeed be improved.
...y conveyed a story based on the musical components. Through, pitch, duration, tempo, timbre, dynamics, tecture, rests, structure and mood at different parts, Harlem Shake conveyed a desensitized depiction of gang warfare in the rough Harlem district of New York during the 1920s. Perhaps the lack of emotion tries to convey a darker message. Indeed, an emotion that accepts tragedy and evil as reality because it has always been present. Yet, instead of ignoring the evil, acknowledging it and finding the positive out of it may help deal with the issue: Dancing.
In Nathaniel Hawthorne's novel The Scarlet Letter, many of the characters suffer from the tolls of sin, but none as horribly as Hester's daughter Pearl. She alone suffers from sin that is not hers, but rather that of her mother's. From the day she is conceived, Pearl is portrayed as an offspring of vice. She is introduced into the discerning, pitiless domain of the Puritan religion from inside a jail; a place untouched by light, as is the depth of her mother's sin. The austere Puritan ways punish Hester through banishment from the community and the church, simultaneously punishing Pearl in the process. This isolation leads to an unspoken detachment and animosity between her and the other Puritan children. Thus we see how Pearl is conceived through sin, and how she suffers when her mother and the community situate this deed upon her like the scarlet letter on her mother's bosom.
A man spoke boldly with emphasis on each phrase while the music was playing. The dancers executed different movements with stretch arms and pointed feet, such as diverse forms of leg lifts and jumps. In the dance, the change in music gave the atmosphere a western-style vibe, which made each movements held out longer. Later, a more modern style was played with soft trumpets in the background, decelerating the tempo for about twenty seconds. Once this occurred, the dancers traveled back onto the ground and performed different movements. Since the tempo amplified again, the dancer rose up from their low-levels movements to perform medium-leveled movements, consisting of reaching forward while bending the knees in a squat position. Towards the end of the dance, they dancers slowly transitioned into the left corner of the stage until each dancers turned off the stage behind the curtains. The final position were two dancers in a corner of the stage, facing each other as the lights dimmed