My goal of studying performing arts began early. A reserved child, my mum suggested I attend Musical Theatre summer school. Diagnosed in 2014 with depression I lost happiness, zeal; I wasn’t living. I decided I didn't want to feel like that ever again, realising there’s no shame in being honest or vulnerable. I pushed myself to audition for productions and attend more dance classes, finally understanding how significant performing is to me. Knowing my weaknesses makes me strong. Performing Arts helped me be myself again, enabling me to express emotion freely. This year has been intense: I've put my heart and soul into all aspects of performing in order to grow closer to obtaining my goals, taking studying singing and Grade 6 Ballet.
A-Level Drama helped me develop my performing, directing and evaluation skills, giving me an understanding of drama and theatre in a social, cultural and historical context. Preparing for the role of Annie from ‘The Gut Girls’ I referred to Stanislavski’s technique of psycho-physicality; the dialogue between body and psyche. This taught me the body conveys as much information about a character as the brain, thus psychology affects how you use your body -
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In a Martha Graham Dance Company master class, I learnt to concentrate on the basic activities of the human form and intensify the body’s raw and expressive capability through sharp, angular, and direct movements. I admire Fosse’s distinctive style, which has become one of the most influential elements in the field of twentieth-century jazz. Characterised through isolations, turned in knees, shoulder rolls, and high-stepping struts, he constructed a stylised, alluring and seductive technique. Though he was physically considered ‘wrong’ as a dancer, he never let those limitations impede his artistic ambition; he moulded his imperfections into a diverse
In this area of theatre i have learned more about brainstorming, character position, the effectiveness of music, the effectiveness of light and at what darkness and more about character goals and character formation both physical and vocal.
Dance is the universal language of the soul. Dance speaks of the truest inner feelings and life experiences of a dancer. Every dancer and/or choreographer will grow up to have a very distinctive style and set of unique techniques, dance values, and teaching methods to be followed. The dancer whom we will be analyzing in this paper is a pioneer of modern dance, Lester Horton. He was born on January 23rd, 1906 in Indianapolis, Indiana (Segal, 1998). He had moved to California to create dances and had developed a fresh and unique style of technique and choreography (Warren, 1977). He established the first permanent theater in America devoted to dance, and organized one of the first integrated modern dance companies (Yeoh, 2012).
What started out as a hobby transformed into a passion for an art form that allows me to use movements and expressions to tell a story. Whether I’m on stage in front of an audience of just friends and family, hundreds of strangers and a panel of judges, or the whole school, performing over thirty times, has helped me build lifelong
Martha Graham has had a large impact on modern dance throughout the years and even after her death. She took the conventional dances of her time and revolutionized them. Martha Graham and her techniques have greatly affected modern dance by introducing new and innovative concepts. As Alma Guillermoprieto figured out, Graham was “the first creator of modern dance to devise a truly universal dance technique out of the movements she developed in her choreography” (qtd. in Terry). This statement shows that Martha Graham and her techniques’ affects were universal through dance.
The term Jazz gained notoriety in 1914 as a form of music. Before it gained attention, its origin consisted of an “African rhythmic, formal, sonoric, and expressive elements and European rhythmic and harmonic practices” (4). Jazz form included a “call-and-response pattern, repeated refrain concept, and chorus format of most recreational and cult dances” (27). The fact that these elements made the transition to early jazz and survived today showed that it had a solid foundation ...
People have dreams of what they want to do or accomplish in life, but usually musical theatre is just pushed into the non-realistic void. It isn’t a dream for me. In the past four years, musical theatre has been clarified as my reality. Musical theatre has been the only thing I have seen myself wanting to do. My first love was The Phantom of the Opera, seeing how I watched it almost every day and it was one of the first shows I saw. Of course, I started doing all of those cute shows in middle school and making a huge deal about it to my family and friends, but I have never felt so passionate about something. The minute I get up on that stage I throw away Riley for two and a half hours and it’s the most amazing feeling! Being able to tell a story
Widened with amazement, my eyes watched as my fingers swirled the blobs of red and blue paint into a deep purple. The smell of tempera paint and wet wood-chips surrounded me that rainy day in the small playground of De Colores pre-school. I vividly remember feeling that astounded thrice more; first, when I roamed the aisles of Michael’s craft store for the first time, secondly, when I perfected my favorite shrimp dish, and lastly after my first psychology course. Though I have had countless positive and exciting experiences, I have also had some pretty impactful negative ones. Dropping out of high school was the biggest blessing in disguise of my life. It led to my enrollment in a concurrent enrollment program at a local community college that changed my life, through which I met some resilient people that I will always remember. Art therapy is my number one career choice and the Master of Arts in Art Therapy program at Notre Dame de Namur University
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
Lazarus, Joan. "On the Verge of Change: New Directions in Secondary Theatre Education." Applied Theatre Research 3.2 (July 2015): 149-161. EBSCOhost, doi:10.1386/atr.3.2.149_1.
When I entered my first year of college, I decided to pursue psychology as a major because I was interested in how people’s minds affect how they behave and their personalities. Despite not taking psychology classes in high school, I had a pretty good experience in knowing what was going on around my friends by observing their behavior, the tone in their voice, or actions, and I’ve learned to develop skills in offering good advice to them. It seemed useful to apply my skills to academics. However, I aspired to be more than just a regular psychologist. I wanted to find a deeper, interesting, and creative method that can help people who suffered personal issues, such as relationships and disorders.
Until now, only my family and those who have had the experience of calling my house in the midst of one of my renditions of the confrontation scene between Javert and Valjean from Les Misérables knew about my passion for musical theater. For years I have endured ridicule from my sisters and their friends who have overheard me belting out the lyrics to "Sunrise, Sunset" from Fiddler on the Roof while in the shower. Ever since my first musical, Jesus Christ Superstar, seven years ago, I have been obsessed with the telling of stories through melody and verse. My heart leaps when I see that Phantom of the Opera is coming to the local theater, or when Guys and Dolls is appearing on television at one in the morning.
It was interesting to find out that she was the first modern dancer in the United States to break standards (Graham, 2015). During the time when ladies were battling for the privilege to vote in the United States, Martha Graham focused on her studies as she was getting into her 20s. In spite of the fact that she was shorter and less seasoned than different artists, she utilized her body in an athletic and cutting edge way that was against each guideline female artists had been taught. Whatever was left of her life was spent as a supporter for expressions of the human experience. As her focused on individuality and an expressive style, notwithstanding, she grew to be one of the main figures in contemporary dance. After she opened her own dance company, she started to teach young dancers at her company, adding to a system in the American advanced modern dance. Her dance incorporated the withdrawal and arrival of diverse parts of the body; close connection of breathing to feeling and development; grim, precise body line; and close contact with her ground. It is important to understand that from the late 1920s through around 1935, she reclassified her picture as that of a radical pioneer. Amid this time of starkness, when her perspectives compared to an astonishing degree to those of dynamic planners, she introduced herself and her female organization in serious, stripped-down moves that disconnected social and passionate states and formed them as far as an activity and pressure. Graham's first dance was performed on an exposed stage with different outfits and lights. The artists' countenances were tight, their hands solid, and their ensembles short. Later she included more view and diverse ensembles for impact. The music was cutting edge and normally created only for the move. Isadora Duncan the first cutting edge artist, had utilized music to rouse her works, however Graham utilized music to make
The career that I chose was Performing Arts, more specifically, Musical Theatre. I would perform as a singer, dancer as well as an actress, gaining the title of a performer. My career in a small view is performing different plays and musicals for people and making everyone happy. I chose this career, because I love performing and I’ve always done some form of it through elementary school until now. I had always enjoyed singing and playing music, but when I performed in front of the student body in Play Production II, everything changed. I had learned that I loved acting and singing the same amount. I decided, if I could do one thing, I would perform in some sort of musical. It is important to understand
I’ve learned to appreciate the beauty of how theater is more than a mere performance, but rather an artform with nuance and depth. My knowledge on theatrical styles has expanded and some of my favorites we have studied in class are Brechtian and Chinese theatre styles. I grew up participating in musical theatre, but never had the opportunity to truly learn the history and details of the craft. After studying RENT, I am inspired by the various possibilities for theater beyond acting, singing, and dancing. Theater can be used for activism or as a form of commemoration. Theater is relevant by communicating issues to the world. Theater is so much more than a dramatic presentation. The theater that I have come to appreciate the most are the performances that relay a greater purposeful message about society amidst the theatricals on
Within the five key learning areas of the arts (music, visual arts, drama, media and dance), drama is a highly valued medium within the educational sphere. Its significant position within Queensland schools is due to the broad skills students develop as they “create, reflect challenge, ritualize, critique and celebrate” (The Arts years 1-10 Syllabus 2002, p1). In Queensland education, schools are encouraged to incorporate all five of the arts key learning areas. Due to a mixture of reasons, such as funding, demand and skilled educators, offering all five are not sustainable. Therefore schools must choose which subjects they can offer well and will most benefit its students. Drama is consistently ...