In "The Kingdom of the Shades Pas de Deux" from La Bayadère by Marius Petipa, I was shocked to see a minimal set. I did not expect such a bare stage for a major story ballet. I think the minimalism of the stage added to the dance immensely - it allowed the sole focus to be on the dancers and their relationship. Svetlana Zakharova’s effortless extensions add to the ethereal beauty of her role. Her lines are so beautiful, I wrote in my notes that I barely paid any attention to Roberto Bolle because of Zakharova’s trance. I believe this is a compliment to Bolle, being that in this piece, his main role is to support his lost love. Prior to my conversation with Sophie after watching the dance, I was unaware of La Bayadère’s plot, thus I wondered why the dancers’ expressions were sorrowful and blank. Then it clicked. …show more content…
The long ruffled dresses and the vest and tie added greatly to the storyline of the piece. Then, the set caught my attention - I probably did not start watching the actual dancing for quite a bit! I was very intrigued by the set because it is very minimal, yet appears very 3D and has many parts. The dancers who stay still in the background intrigued me. I wondered if they were ever going to move or change. Upon closer inspection, the woman standing by the sitting girls is initially in front of a pole, in the light, but when the camera cuts to a different angle at 6:15, the woman is suddenly behind the pole, in the shadows. The main dancers were so captivating that I did not notice this at all. I wonder if this was intentional or not. One moment I really enjoyed was at 6:52 when the camera follows Martha Graham downstage to a fence. I was not expecting the fence at all. This moment made me curious about how the camerawork of the pieces I will watch throughout the quarter will affect my
The choreography kept things interesting and the dances in a musical can make or break the performance. Overall, Cherie and Abby did an amazing job directing each person to have a place among a crowded stage. Last but not least, the costumes! This play was set in the 1890s, meaning it is very important to have correlating costumes so the audience can be aware of what time period they are in.
The production had many elements which for the most part formed a coalition to further the plot. The characters, the three part scenery and costumes represented well the period of time these people were going through. As far as the performers entering and exiting the stage, it could have been more organized. There were a few times when the performers exited at the wrong times or it seemed so due to the echo of the music. At certain moments the music was slightly loud and drowned the performers. Many of the songs dragged on, so the pacing could have been more effectively executed. Though the music was off at times, the director's decision to have most of the songs performed center sage was a wise one. Also the implementation of actual white characters that were competent in their roles came as a great surprise to the audience and heightened the realism.
The structure of the third paragraph provides merit to other claims as well such as the impact of the “color, editing, cinematography, special effects, and even costume design” (Acevedo-Munoz 128). In the analysis of each scene, the author accounts for how such traits impact the narrative structure of the film, and how they affect the audience as well. For example, the author depicts the lighting and special effects utilized during the sequence in which Tony and Maria first meet at the dance. Here the “oil effect”, lighting effect and “‘not quite real’ representation of an otherwise realistic set” are described and
The dance was divided up into three different choreographed parts. The plot of the ballet was revealed through the different stages. In the first stage, there were tw...
All throughout “The Best Slow Dancer”, the key ingredient to the image within the reader’s mind is the mood set by the poem. The mood is mystical, quixotic, intimate, and continual. This state is accomplished by three techniques—poetic devices, turns of phrase, and contortion of syntax. The main pair of poetic devices that set up all these moods and humors simultaneously are enjambment and synecdoche. Enjambment is bizarre in this poetic work, especially in descriptions of physical setting or position, such as the setting of the dance, “in the school gym across the key through the glitter/ of mirrored light”, or the position of the main character with his “cheek against her temple, her ear just under/ that”.
The lighting was good it was a simple yellow light that focused on the production most of the time during the play. It helped the scenery look like it was really from back in the day. It connected well to the time that it was supposed to take place in. Another thing I liked was when the lights at some points focused all on one character when they
Bob Crowley did a great job with the designing of the costumes. They completely fit with the scenery and the setting. The music was also a plus with this film. It always fit in every scene. The base drumbeats were timed just right in the scene when Elizabeth is questioned about John being an adulterer. Right when she gave her answer the drum went, “BOOOM!” The camera always seemed to be in just the right place at all times. The cameraman shot every angle perfectly. He caught every person’s reaction, such as in the scene when John admits to lechery with Abigail. First he catches Abigail’s reaction to John’s admittance of this, and then he also catches Reverend Parris’s reaction when the Judge is talking about the girls dancing in the woods.
On May 29, 1913 when Diaghilev’s masterpiece debuted at the Theatre des Champs-Elysees, the response of the audience was overwhelming in their shock at the erotic and unconventional nature of the dance. What made this performance different then what anyone in Western Europe had ever seen before was its jarring and sexual nature. Rather than the music and choreography be one, flowing, coherent unit, it was instead rather choppy and dissonant which most likely caught the naive audience off guard. The nature of this ballet is described many times t...
The element that stood out the most to me was how effectively the music and the footwork corresponded. The best examples of this are seen through the dancers solos. Especially Albrecht's solo, his feet glide on the stage at the same tempo as the music. Similarly, Giselle's graceful footwork is truly amazing. I really like the similarities between the choreographed footwork and the music, it makes Giselle seem much more elegant and beautiful. This also seems to make the work look more put together and in sync because the dancers are dancing in harmony with the orchestra. The choreography by itself is amazing. The footwork is rapid and intricate, however, at the same time it is delicate and graceful. The ballerina (Giselle) made it look very easy to do the choreography, when it rea...
I loved how Butterfly’s Uncle’s identifying step for me were how he would always seem to be doing jumps such as glissades and pas de chats in his choreography. I was pleased to see that I recognized the temps levés and enveloppés that Sharpless was implementing when he read Butterfly Pinkerton’s letter. I now understand how crucial it is for dancers to spot after I viewed how sharp, straight, and elegant Pinkerton’s pirouettes were in Act one. I also believe in the power of articulating through pliés are to a dancer because I saw how simply beautiful and high the cast’s grande jetés were throughout the performance. How important epaulment for ballet dancers is was very evident throughout, and how much thinking of performing to each individual’s corner of the room was critical in creating and maintain straight and crisp
Nearly all rights that involve us are approved by state governments, and like so, state courts manage most arguments that control our day to day lives. Because federal courts protect several of our main laws, they are also very important in our lives.
The author of this article focuses on the art of dancing, specifically ballet. This ballet shares many plot elements with other
In addition, the dance portrays a combination of operetta, musical hall and happenings. While watching the performance the viewer wonders where the rain comes from. This is a perfect portrayal of a natural happening outside the performance hall. The dancers are actually not confined within the studio as the outside world is transformed into a natural studio. The overall effect on the performance is a lively dance that keeps the audience glued to the last minute. In this regard, Bausch’s choreography is ‘life’ as she works on what moves the audience without largely concentrating on the movement of her dancer
Overall, the entire set up and design of the production was very minimal, the troupe only used what was needed and nothing more. I enjoyed this aspect because it forced the actors to make up for the lack of flashiness with their acting abilities, and they did not
There wasn’t any particular scene on stage that made me doubt the integrative work of the director since all the staging work such as lighting, design, costumes and performance were well coordinated and blended for a very good production. The lights were well positioned with well fitted costumes and a very ideal scene to match. There wasn’t much change of scenes in the play except for some movement of tables and chairs. There was an entrance and exit for the performers which made their movements uninterrupted. There was a loud sound of a bell when school was over while the lights were dimmed whenever there was a change of scene. The pace of the production was very smooth since one scene followed the other without delay and most likely because most of the performers wore the same costume; especially all eight students wore the same costume for the entire