Dan 344
Video Response Three men on the stage, two dressed in the same outfit with one being blue the other being green. They had a shirt on that cover one shoulder and shows the rest of the arm and shows the other shoulder and arm. Shorts that stops above their knees with a white cloth tied around their waist, they are portrayed as the servants. The third man a teal shirt that exposes both arms, cream shorts that are form-fitting stopping mid-thigh and a cloth wrapped around his waist similar to a skirt. He also has on a cape that outline his neck like a scarf but continues down his back, he is the prodigal son. There is a back drop of a village down center stage, a 3-D tent down stage left and a small picket fence down stage left in which the lighten shine on everything.
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In an attempt to change his mind, they surround him, grabs his hands and begins walking backward deepening their plié with each step until he breaks their hand connection. With the music, done by Serge Prokofieff, playing through the entire piece in a soft inconsistent pattern that intensify when it is accompanying the son’s movements when he begins to dance. His phrase that expresses his desire to be free, with an enthusiastic, rapid, intense speed, the son does a series of strong, wide movements where he uses the space around him with different walks, runs and jumps. When he dance under himself, he is does a series of spins that soften the choreography as if he a somewhat remorseful for wanting to leave the people that loves and cares about
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 section based on youth was successfully portrayed by the effective use of the shirt. It was symbolic of many elements of childhood play such as jump rope and elastics. This was a reflection on the Page’s childhood in Mt Gravatt not so much his cultural background. However, children that grew up with the traditional upbringing of his culture would still be able to relate to this representation. The two female dancers were shown teasing the male dancer at the front of the stage. This was a shown as a re-enactment of childish behaviour that Page and his 11 other sibling would have conveyed at a young age. Also, the male dancer could have represented himself at home being teased by his other sibling who would tell him that he was adopted and belonged to the milkman down the road as he had fair skin and his hair was blonde until the age of 12. Page says that, ‘all he (I) wanted to be was aboriginal,’ ("Belonging and identity: Stephen Page addresses the big questions",
Upon the dancer’s departure, “the dancer, who though older was still languid and full of grace, reached out and tapped me with two fingers on the cheek, turned, and walked away” (185). Krauss uses this odd gesture by the dancer helps reinforce the strange quirks of the dancer and the author’s thought of the gesture containing “something condescending in it, even meant to humiliate” (185). The use of the words, “languid and full of grace” continues to strengthen the narrator’s fascination in the dancers beauty but also how the narrator feels uncomfortable with her interactions with the dancer. After the narrator’s encounter with the dancer, she walks by a crowded park “until a cry rang out, pained and terrified, an agonizing child’s cry that tore into[her] as if it were an appeal to [her] alone” (186). The author’s use of the painful and terrifying cry reintroduces the theme of a screaming child from the first passage which reinforces the author’s incapability to manager her guilt. The use of the word “agonizing” in this context suggests the overwhelming amount of guilt the author contains but in form as a youthful shrilling scream. Towards the end of the short story, the agonizing
However, the clever and deliberate use of props, costumes, and the stage helps it establish its themes and context and set it apart from other plays. In the beginning, the props are set to evoke the setting of a slave ship. The chains surrounding the pedestal in the middle of the stage invoke the idea of being imprisoned, the images on the side depict slaves being shackled, and the basic idea how the living conditions were on the boat. In addition, the screens often depict vivid imagery of the time period, or historical figures of the time. The images along with the sound effects add to the atmosphere, as it makes a stronger statement than words alone. The costume choice is well-done, and they serve well to differentiate the actors from each other or the different characters. The man in shackles that was hidden underneath the cloth in the moving dolly gives off the appearance of the stereotypical slave. Considering Malik Proctor also portrayed the kid, the waiter, and Flo’rance, the audience does not focus on the actor but the character he is playing. The characters portrayed are differentiable as the costumes set them apart, aided by the tone and inflection in the way the characters speak and act. Having the characters being able to be told apart gives the play immersion, as it allows the audience to focus on what is happening, not why the actors are playing
The sequence starts with a woman who is part of the Dead searching frantically for something, shown through her facing the audience and bringing her hands towards them, then breaking down sorrowfully. A man from the Dead then joins her and they embrace, performing a series of lifts. This symbolises the bond between the characters and the emotional connection they share. The dance then turns into hiding and ducking movements as the couple tries to escape from an unseen force. Accompanied again by the dripping sound, the Dead perform reaching, circular movements, as if attempting to escape. The woman performs her movements with a sense of sorrow, focussed on the man, as if she knows he is going to be
“The Best Slow Dancer” portrays the mental state of a boy as he experiences a dance. It is a short dance, but one that seems to him prolonged for an eternity, the “three-second rule forever/ suspended”. The feelings that go through the youth’s soul range from extreme delight to just as extreme tension, and the reader may see them all exhibited in the lines of the poem. His surety when with the girl in his embrace is seen when his “countless feet light-footed sure to move as they wished wherever [they] might stagger without her”, but then he “tried…to tell her [he wasn’t] the worst one”, the worst of the boys, the one that she would not be seen dead with—which implies that he is fearful of the fact that she might reject him, “not waving a sister somebody else’s partner”. The full textual image demonstrates that the boy is with all his heart trying to impress the girl, and gets the dance with her against all odds of popularity and such, and then he treasures the experience, as he says to himself “remember” at the end.
He expresses himself through his ‘Dance of Defiance,’ a scene where he displays his genuine talent and strong passion through movement. When Jacky finally discovers Billy dancing ballet, the extreme close-up shot captures their gaze and eye contact to create tension between the father and the son. Here, Billy demonstrates his bravery by dancing aggressively in front of his father, challenging his father’s authority. As his exhilaration increases, the screen lengthens and his whole body comes into view. The strong rhythm of the music played in the background emphasises his passion and pride in dance. This scene is crucial where Jacky acknowledges his son’s strong passion and genuine talent as a dancer. It is his confrontation that Billy and his father grow closer together despite their differences. Thus, his love for dance emboldens him in front of his chauvinistic father and lays down a path into a wider more rewarding
The 2nd movement: A Ball. This movement is representative of the gala ball where he once again sees his beloved. This section is a dance movement in three parts. The Idea fixe reappears in Waltz time. The 3rd movement: Scene in the Fields.
The boys practice and danced so much that they basically missed out on their childhood from the start they weren’t allowed to go outside and play with the other kids from the neighborhood they were inside practicing day and night until they got every step as perfect as Joseph wanted it. Joseph was strict and a aggressive parent he would beat them if they didn’t do the routine how he wanted it. He was very serious about them getting every step right, he wanted just about everything perfect. If one of them messed up then all of them had to pay for it, and would have to start over until...
Starting on a moderate forte the march catches the audience attention from the beginning, introducing on a strong note. As the piece goes on it keeps it dynamics although through section A the dynamics in section B can be heard to quiet down to moderate piano, creating a softer and more quiet sound with a lighter more playful mood.
My dad has given me the task of choreographing a dance to this song for a website that he is in the process of developing. In an effort to interpre...
The movement of the dancers is crucial to establishing the idea of struggle and suffering for the people and the scariness of the government. The ballet starts off with three men facing a murky green light. They start to slowly move around giving off an ominous feeling as they support each other moving slowly and in unison; in addition the movements they make give the audience the feeling that the body they
There is no dance like Tango that has so much connection, intensity and passion. Tango is the dance of love as its beauty grabs ones attention leaving a desire to see more. It creates exciting and attractive images that inspire many associations, as well as interpretations such as passion, sensuality, gender, nationality, and a universal form of art. Tango evokes an elusive relationship between music and dance. “A Feeling that is danced, a secret danced between two people, a walking embrace. It’s not in the feet, it’s in the heart! It’s about the connection of feelings rather than about the choreography”. This statement is a true testament of what Tango represents when analysing the ‘Tango scene’ in the movie ‘Take the Lead’.
At the height of its elation, the dance is pulled back into G minor, a Poco meno mosso section, which nevertheless retains some of the previous urgency, heard in its pulsing sixteenth note chords and anticipating dotted rhythms. A progression of Italian augmented sixth chords leads into softly rumbling E-flat major arpeggios, reminiscent of thunder after a summer storm. A short cadenza of arpeggios and flourishes, serves as a transition back to the dance, this time marked con fuoco. Chromatically rising and falling passages, marked fortissimo and finally fortississimo, escalate tensions to the Dumka’s highest point yet, settling on A-flat major for its triumphant culmination. Finally, the opening ballad returns softly marking its departure with three loud, abrupt chords.
Everyman is rooted onto a background where a staged play had to teach a moral lesson. This occurred in the late 1400s during the medieval time, also known as theatre of the dark