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The Evolution of Musical Theatre Dance
Gordon 1 Jessica Gordon 29 March 2010 Honors Thesis Everything was Beautiful at the Ballet: The Evolution of Musical Theatre Dance During the mid-1860s, a ballet troupe from Paris was brought to the Academy of Music in lower Manhattan. Before the company’s first performance, however, the theatre in which they were to dance was destroyed in a fire. Nearby, producer William Wheatley was preparing to begin performances of The Black Crook, a melodrama with music by Charles M. Barras. Seeing an opportunity, Wheatley conceived the idea to combine his play and the displaced dance company, mixing drama and spectacle on one stage. On September 12, 1866, The Black Crook opened at Niblo’s Gardens and was an immediate sensation. Wheatley had unknowingly created a new American art form that would become a tradition for years to come. Since the first performance of The Black Crook, dance has played an important role in musical theatre. From the dream ballet in Oklahoma to the “Dance at the Gym” in West Side Story to modern shows such as Movin’ Out, dance has helped tell stories and engage audiences throughout musical theatre history. Dance has not always been as integrated in musicals as it tends to be today. I plan to examine the moments in history during which the role of dance on the Broadway stage changed and how those changes affected the manner in which dance is used on stage today. Additionally, I will discuss the important choreographers who have helped develop the musical theatre dance styles and traditions. As previously mentioned, theatrical dance in America began with the integration of European classical ballet and American melodrama. -
A Study of Shakespeare Contribution in Hindi Cinema
International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2016): 79.57 | Impact Factor (2015): 6.391 A Study of Shakespeare Contribution in Hindi Cinema Asma Qureshi Abstract: In India, Cinema not only a name of entertainment, but also educate to millions of people every day. Friday is celebrated by screening of new films. Indians happily participate in Cinema culture of the Country. Shakespearean tragedies have been a never ending source of inspiration for all filmmakers across the world. Many Hindi films based on Shakespeare novel like Shahid, Omkara, Goliyo ki raasleela Ramleela etc. William Shakespeare in India has been an exceptional and ground-breaking venture. The literary collection of Shakespeare is dynamic and an unlimited source of inspiration for countless people across the globe. When Shakespeare’s writing is adapted in cinema, it sets it ablaze, and transfers the audience to a cinematic paradise. Indian adaptation of both Shakespearean tragedy and comedy can be comprehended as an Combination of ‘videsi’ and ‘desi’, a synthesis of East and West, and an Oriental and Occidental cultural exchange. Shakespeare’s, “bisexual‟ mind, the complexity of his Narrative, music, story-telling, and creative sensibility categorizes him as an ace literary craftsman. This Research is an attempt to understand the contribution of Shakespeare novel in Hindi cinema. So that we can easily understand the main theme of the story. What writer wants to share with us. We can easily understand main theme of novel. 1. Introduction European library worth the whole native literature of India and Arabia‖. It also has a lot to do with profound resonances Indian Hindi language film industry is also known as Hindi between Shakespeare‘s craft and Indian cultural forms that cinema which is situated or we can say mainly operated converge on one concept: masala. -
The Lost Ethos of Uttam-Suchitra Films: a ‘Nostalgic’ Review of Some Classic Romances from the Golden Era of Bengali Cinema Pramila Panda
The lost ethos of Uttam-Suchitra films: a ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda Vol. 2, No. 3, pp. 194–200 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 194 Vol. 2, No. 3, pp. 194-200 The lost ethos of Uttam-Suchitra films A ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda [email protected] www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 195 The mild tune of the sweet and soft song been able to touch every aspect of modern wrapped in sentimental love, “Ogo tumi je human society. This brings us to discussing the aamaar... Ogo tumi je aamaar” (You are status of romance or love in Bengali cinema mine, only mine…) from the Bengali movie half a century back. Harano Sur (Lost Melody) released in 1957 These divine qualities teach us the hymn of still buzzes pleasantries, not only inside my humanity and the art of living. These heavenly ear, but also at the centre of my mind. qualities are highly essential for the survival of Suchitra Sen and Uttam Kumar were the human society in peace and happiness. Of considered the ‘golden couple’ of Bengali films course, the world of cinema has not totally from 1953 to 1978. They left their special ignored the importance of these human identities by contributing the best of qualities to be reflected and utilized through themselves through their marvellous acting the different roles of different characters in talent. -
2018 Annual Dance Recital Show Order
2018 Annual Dance Recital Show Order Thursday 6:30pm Show 1. “So You Think You Can Dance Auditions”- All Company Dancers - Choreographed by: Karah DelCont, Lauren Gavin, Chelsey Geddis and Gabrielle Seabrook 2. “The Little Mermaid”- Ballet I - Choreographed by: Alexandria Sepulveda 3. “Sing”- Tap II - Choreographed by: Lauren Gavin 4. “Hold On”- Contemporary IV- Choreographed by: Lauren Gavin 5. “Ride”- Jazz III- Choreographed by: Chelsey Geddis 6. “Spoonful of Sugar”- Ballet/Tap I - Choreographed by: Michele Young 7. “Love Is A Battlefield”- Junior Company Jazz - Choreographed by: Lauren Gavin 8. “Life Is A Happy Song”- Choreographed and Performed by: Alexandria Sepulveda 9. “Halo”- Petite Company Lyrical - Choreographed by: Katharine Miller 10. “I Want You Back”- Hip Hop/Jazz - Choreographed by: Gabrielle Seabrook 11. “Better”- Tap III - Choreographed by: Lauren Gavin 12. “Drop the Game”- Acro II - Choreographed by: Daisy Pavlovics 13. “Sweet Dreams”- Jazz IV - Choreographed by: Chelsey Geddis 14. “Love on the Brain”- Choreographed and Performed by: Carly Simpson 15. “Jolly Holiday”- Father Daughter - Choreographed by: Katharine Miller 16. “Doll Shoppe”- Ballet - Choreographed by: Maura Herrera 17. “I Am”- Choreographed and Performed by: Kate Zielinski 18. “Trapped”- Senior Company Contemporary - Choreographed by: Natalie Jameson 19. “Rhythm Nation”- Jazz II - Choreographed by: Chelsey Geddis 20. “Ending”- Contemporary III - Choreographed by: Kaelynn Clark 21. “I Won’t Give Up”- Lyrical I/I.B - Choreographed by: Katharine Miller 22. “Shining”- Hip Hop IV- Choreographed by: Chelsey Geddis and Gabrielle Seabrook Intermission 23. “Riot Rhythm”- Senior Company Jazz - Choreographed by: Karah DelCont 24. “Pep Rally”- Hip Hop II - Choreographed by: Gabrielle Seabrook 25. -
Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Omkara: the Adaptation of William Shakespeare's Tragedy Othello
International Journal of Multidiscip linary Research and Development Volume: 2, Issue: 5, 570-571 May 2015 Omkara: The adaptation of William Shakespeare’s www.allsubjectjournal.com e-ISSN: 2349-4182 tragedy Othello p-ISSN: 2349-5979 Impact Factor: 3.762 Dr. Gajender Kumar Dr. Gajender Kumar Assistant Professor, Abstract Department of English Omkara is a 2006 Indian crime drama film adapted from Shakespeare’s Othello, co-written and directed Govt. College for Women, by Vishal Bhardwaj. It starred Ajay Devgan, Saif Ali Khan, Vivek Oberoi and Kareena Kapoor in the Narnaul M/Garh, Haryana, lead roles, supported by Naseeruddin Shah, Konkona Sen Sharma and Bipasha Basu. The director Vishal India Bhardwaj himself composed the entire music for the film, including the background score, with lyrics by Gulzar. The film is set in Meerut, a town in Western Uttar Pradesh. Keywords: Omkara, drama film, Shakespeare’s Othello Introduction The film was showcased in the Marché du Film section at the 2006 Cannes Film Festival along with a book on the making of Omkara. It was also selected to be screened at the Cairo International Film Festival, where Bhardwaj was awarded for Best Artistic Contribution in [5] Cinema of a Director. The film also won three awards at the Kara Film Festival , an award at the Asian Festival of First Films, three National Film Awards, and seven Filmfare Awards. Omkara Shukla or Omi (Ajay Devgan) is a bahubali, a sort of political enforcer. He is the leader of a gang which commits political crimes for the local politician Tiwari Bhaisaab (Naseeruddin Shah). -
Shakespeare in the “Post”Colonies: What’S Shakespeare to Them, Or They to Shakespeare
Shakespeare in the “Post”Colonies: What’s Shakespeare To Them, or They to Shakespeare Shakespeare Association of America Annual Meeting 2021 2 April 2021, 8-11am EDT About the Seminar Co-leader: Amrita Dhar (Ohio State University) Co-leader: Amrita Sen (University of Calcutta) Seminar keywords: vernacular, local, multilingual, intersectional, indigenous, postcolonial, race, caste, pedagogy, influence This seminar investigates what Shakespeare has meant and now means in erstwhile colonial geographies (especially those under the British Empire), and how the various 21st-century Shakespeares worldwide impact current questions of indigenous rights, marginalised identities, and caste politics in “post”colonial spaces. The violence of colonialism is such that there can be no truly post-colonial state, only a neo-colonial one. Whether under settler-colonialism (as in the US and Canada, Australia, New Zealand) or extractive colonialism (as in the Indian subcontinent, the Caribbean, and the African continent), the most disenfranchised under colonial rule have only ever changed masters upon any political “post”colonialism. Given the massive continued presence of Shakespeare everywhere that British colonial reach flourished, and the conviction among educators and theatre practitioners that the study of Shakespeare can and should inform the language(s) of resisting injustice, this seminar explores the reality of 21st-century Shakespeares in geographies of postcolonial inheritance, such as the Indian subcontinent, continental Africa, the Caribbean, -
Othello Syndrome G Asha Rani1, Fabiola M Dhanaraj2
REVIEW ARTICLE Othello Syndrome G Asha Rani1, Fabiola M Dhanaraj2 ABSTRACT Othello syndrome is a psychological disorder where either the husband or the wife is preoccupied with the thought that the partner is being unfaithful without having any real proof and manifests with a delusional jealousy. This case study is that of a 45-year-old man who has this problem and presented to the hospital. A complete detailed history of the patient is important. The line of management is antipsychotic drugs and psychological and social therapies. Keywords: Case, Delusion of jealousy, Male, Psychological disorder, 45 year. The Journal of Nursing Trendz (2020): 10.5005/jp-journals-10086-0006 INTRODUCTION 1,2Arulmigu Meenakshi College of Nursing, Kanchipuram, Tamilnadu, A 45-year-old man presented with a two-week history of delusional India beliefs that his wife was having an affair. His presentation was Corresponding Author: G Asha Rani, Arulmigu Meenakshi College of consistent with the diagnosis of an Othello syndrome, which is Nursing, Kanchipuram, Tamil Nadu, India, Phone: +91 6374678414, characterized by intense delusional beliefs of infidelity by the e-mail: [email protected] patient’s spouse or sexual partner. How to cite this article: Rani GA, Dhanaraj FM. Othello Syndrome. The Othello syndrome was named by the English psychiatrist J Nurs Trend 2020;11(1):20–21. John Todd (1914–1987) in a paper he published with K. Dewhurst, Source of support: Nil entitled “The Othello syndrome: a study in the psychopathology Conflict of interest: None of sexual jealousy.” DEFINITION • Personality It is a psychological disorder in which a person is preoccupied with the • People who are very insecure/even fearful are more likely thought that their spouse/sexual partner is being unfaithful without to become anxious/question their partner’s commitment having any real proof along with a socially unacceptable/abnormal to them. -
Zvidance DABKE
presents ZviDance Sunday, July 12-Tuesday, July 14 at 8:00pm Reynolds Industries Theater Performance: 50 minutes, no intermission DABKE (2012) Choreography: Zvi Gotheiner in collaboration with the dancers Original Score by: Scott Killian with Dabke music by Ali El Deek Lighting Design: Mark London Costume Design: Reid Bartelme Assistant Costume Design: Guy Dempster Dancers: Chelsea Ainsworth, Todd Allen, Alex Biegelson, Kuan Hui Chew, Tyner Dumortier, Samantha Harvey, Ying-Ying Shiau, Robert M. Valdez, Jr. Company Manager: Jacob Goodhart Executive Director: Nikki Chalas A few words from Zvi about the creation of DABKE: The idea of creating a contemporary dance piece based on a Middle Eastern folk dance revealed itself in a Lebanese restaurant in Stockholm, Sweden. My Israeli partner and a Lebanese waiter became friendly and were soon dancing the Dabke between tables. While patrons cheered, I remained still, transfixed, all the while envisioning this as material for a new piece. Dabke (translated from Arabic as "stomping of the feet") is a traditional folk dance and is now the national dance of Lebanon, Jordan, Syria, and Palestine. Israelis have their own version. It is a line dance often performed at weddings, holidays, and community celebrations. The dance strongly references solidarity, and traditionally only men participated. The dancers, linked by hands or shoulders, stomp the ground with complex rhythms, emphasizing their connection to the land. While the group keeps rhythm, the leader, called Raas (meaning "head"), improvises on pre-choreographed movement phrases. He also twirls a handkerchief or string of beads known as a Masbha. When I was a child and teenager growing up in a Kibbutz in northern Israel, Friday nights were folk dance nights. -
Dance Workshop an Online Offering of Live and Recorded Dance
The Queensborough Community College Dance Program In the Department of Health, Physical Education and Dance Present Dance Workshop An online offering of live and recorded dance. Welcome from Emily Berry - Dance Program Director 1. The Healing Choreography: Kevin McEwen with creative input from the cast Performance: Andre Murph, Chynah Bennett, Desiree Ohangio, Hallie Langaigne, Kadeshia Thomas, Kyasia Cooper, Maiya Holley, Randi Morgan, Samantha Cajamarca Music: Zid Lmel (featuring Maalem Hammam) by Boddhi Satva, Come Together by The Internet, Work That by Mary J Blige, Destiny by Burna Boy, Soli Rapid by the Kofago Drum Ensemble Costumes, Videography and Video Production: Kevin McEwen Muriel Manings Award Presented by Kevin McEwen 2. Beyond. Within. - Part I: Microcosmic Entropy Choreography and Performance: Yona Lavie Music: Ludovico Einaudi Videography and video editing: Yona Lavie 3. HOPE(ful) Choreography and Performance: Khayla Mcleod Music: Drehz & Ólafur Arnalds Videography/Editing: Khayla Mcleod Costume: Khayla Mcleod 4. This Seems a Home Choreography: Aviva Geismar in collaboration with the performers Performance: Dennis Charwin, Brook Lyn Gonzalez, Jiwon Kim, Hallie Langaigne, Yona Lavie, Desiree Oghaego, Phillip Pettiford, Nadia Simmons and Kadeisha Thomas Music: “Plan and Elevation” by Caroline Shaw, recorded by the Attacca Quartet Text: “Fences” by August Wilson Video Editing: Aviva Geismar Tech Scholarship Request and Rising Star Award Presented by Aviva Geismar 5. A New Me Choreography and Performance: Samantha Cajamarca Music: K/DA- MORE Videography: Mynor Ordonez Video Editing: Guillermo Garcia 6. Peace Choreography: Hallie Langaigne Performance: Chynah Bennett, Maiya Holley, Hallie Langaigne, Randi Morgan and Nadia Simmons Music: “Nile” by Beyoncé ft Kendrick Lamar Costume: Marcela Jones 7.