FACULTY/GUEST ARTIST PROGRAM Greetings from the Chair
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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. -
Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’S Costumes Jeana Jorgensen Butler University, [email protected]
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2006 Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes Jeana Jorgensen Butler University, [email protected] Follow this and additional works at: http://digitalcommons.butler.edu/facsch_papers Part of the Dance Commons, Feminist, Gender, and Sexuality Studies Commons, Folklore Commons, and the Social and Cultural Anthropology Commons Recommended Citation Jorgensen, Jeana, "Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes" Midwestern Folklore / (2006): 83-97. Available at http://digitalcommons.butler.edu/facsch_papers/673 This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Midwestern folklore. Terre Haute, Ind. : Dept. of English, Indiana State University, [1987- http://hdl.handle.net/2027/inu.30000125293849 Creative Commons Attribution http://www.hathitrust.org/access_use#cc-by-3.0 This work is protected by copyright law (which includes certain exceptions to the rights of the copyright holder that users may make, such as fair use where applicable under U.S. law) but made available under a Creative Commons Attribution license. You must attribute this work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). -
Pittsburgh's Youth Artworks Is Designed to Take Teens Through
Pittsburgh’s Youth ArtWorks is designed to take teens through student instruction and paid apprenticeships to eventually turn them into full-time employees as mentors and instructors Art Work s to new students. By Douglas Root Photography by Ellen Kelson and Suellen Fitzsimmons he world-renowned DanceBrazil dance troupe performed three world- premiere works in New York City’s Joyce Theater last year. One of them, Unspoken ...Unknown, is a duet in the African-Brazilian form of Capoeira, Ta mix of pure dance blended with the raw athleticism of martial arts. Its history is represented in the movements imported to Brazil from Africa. Created by DanceBrazil artistic director Jelon Vieira, Unspoken ...Unknown tells the story of a friendship between two teenagers. As friends and fellow Capoeiristas, the two male dancers share everything—hopes, dreams and the Capoeira circle. The story line is a metaphor for how young people are drawn to Capoeira, in part because of the urban coolness inherent in the heart- pounding gymnastics and defensive fighting technique. But students also are captivated by the power of the movements to convey complex feelings of conflict, anxiety and isolation that teens often find difficult to verbalize. That power, which drew hundreds of young people to the New York dance theater, is on full display in a program now under way in Pittsburgh. The performances here are less grandiose—they are played out in school gymnasiums Nego Gato instructor Justin Laing helps a student with his form in and bare bones community centers—but no less energetic. And here the a Capoeira movement. -
2017 11 28 St Still-Young-At-Art.Pdf
| THE STRAITS TIMES | TUESDAY, NOVEMBER 28, 2017 EPIGRAM BOOKS FICTION PRIZE CULTURE VULTURE D From croupier and Is travel writing prison officer to relevant in the age award-winning writer of social media? D3 D5 Making up the expanded team at Teater Ekamatra, which celebrates its 30th anniversary next year, are (from far left) resident designer Akbar Syadiq, associate artist Munah Bagharib, company manager Erny Melissa, artistic director Fared Jainal, company director Shaza Ishak and associate artists Irfan Kasban, Ruby Jayaseelan and Eric Lee. STILL YOUNG AT ART The Straits Times speaks to super high production values, but contemporary language and style has contributed to its longevity in will invite six drama companies to now so does everybody else.” for Malay theatre. the scene. reinterpret plays from three long-running art groups about She adds that competition is from In 1995, Lut handed over the reins Effendy and his successor Zizi decades of its repertoire as short, not just other theatre groups, but to poet Rafaat Hamzah, actor Azah Abdul Majid also set up train- one-man performances. renewal, staying relevant and also visual arts festivals, museums – Zamberi A. Patah, and interdiscipli- ing frameworks that nurtured Fared says: “It’s for us to engage where Singaporeans get free access nary artist Zai Kuning, along with younger artists including Shaza. with people we’ve not thought challenges ahead – and even Netflix. theatre-maker Noor Effendy She and artistic director Fared about or talked to, to understand “Do you want to watch House Of Ibrahim. The latter left for the Jainal are part of an expanding what’s out there so we are con- Cards or come to SRT’s Hand To United States two years later, but team which this year added com- nected to the larger community.” God? That’s a tough one,” she says. -
A TRIBUTE to DANIEL NAGRIN: Russian Jewish Influences in American Modern Dance by Diane Wawrejko, MFA
1 Dancing Voices, November 2009 A TRIBUTE TO DANIEL NAGRIN: Russian Jewish Influences in American Modern Dance By Diane Wawrejko, MFA. CMT, PhD © Published in Dancing Voices, Nov 2009, Haifa Israel 1. INTRODUCTION. On the first anniversary of his death, this paper is a tribute to my former teacher and mentor, Daniel Nagrin. Nagrin (22 May 1917 – 29 December 2008), actor, Broadway dancer, and minor pioneer of American modern dance, was inspired and influenced professionally by three main people. The first major influence was Russian theatre director Constantin Stanislavski, whose method reached Nagrin through three New York-based acting teachers. The first was Miriam Goldina who studied in Moscow under Yevgeniy Vakhtangov, one of Stanislavski’s best directors and considered his ‘disciple.’ And lastly, through two Group Theatre actors/teachers: Stella Adler who studied with Stanislavski in Paris and married Group Theatre founder Harold Clurman, and Sanford Meisner who taught at the Neighborhood Playhouse. The second major influence was that of his professional partner and modern dance pioneer, Helen Tamiris, who later became his wife. The third were the techniques of Joseph Chaikin’s Open Theatre (Cohen, 1998 Kissel, 2000 Moore, 1984 Nagrin, 1994 Schlundt, 1998 and Silverberg, 1994). It is argued that these individuals and their artistic processes contributed to Nagrin’s worldview and aided in the development of his system of choreography, which I have termed ‘The Nagrin Method.’ As a result, Stanislavski’s system has influenced American modern dance choreography and performance through the praxis of Russian-Jewish immigrants. 2. MAJOR INFLUENCES. Questions are raised as to what extent the Russian acting director Constantin Stanislavski influenced Nagrin’s life and work; how far he unintentionally influenced not only American theatre and film but also modern dance; and the extent of influence that his acting methods had upon Nagrin’s choreographic process. -
Dream'd in a Dream
#BAMNextWave #DMUSA Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Dream’d in Executive Producer a Dream BAM Harvey Theater Oct 7—10 at 7:30pm Running time: 70 minutes, no intermission Seán Curran Company and Ustatshakirt Plus Choreographed and directed by Seán Curran Lighting design by Robert Wierzel Costume design by Amanda Shafran Visual design by Mark Randall Season Sponsor: Support for Muslim Stories: Global to Local provided by the Building Bridges Program of the Doris Duke Foundation for Islamic Art. Leadership support for dance at BAM provided by Doris Duke Charitable Foundation and The Harkness Foundation for Dance. Major support for dance at BAM provided by The SHS Foundation. Dream’d in a Dream PERFORMED BY SEÁN CURRAN COMPANY Rebecca Arends, Dwayne Brown, Elizabeth Coker, Benjamin Freedman, David Gonsier, Michael Richman, Christina Robson, Shane Dennis Rutkowski, Jin Ju Song-Begin, Aaron R. White MUSIC PERFORMED BY USTATSHAKIRT PLUS ENSEMBLE Nurlanbek Nyshanov, Bek Alagushov, Aizada Kasabolotova, Makhabat Kobogonova, Adinai Kudabaeva and Tolgonai Osmonova ADDITIONAL PRODUCTION CREDITS Creative associate Richard Gammon Production manager/Lighting supervisor Joe Doran Producer Julia Glawe SEÁN CURRAN COMPANY Seán Curran Rebecca Arends Dwayne Brown Elizabeth Coker Benjamin Freedman David Gonsier Michael Richman Christina Robson Shane Dennis Jin Ju Aaron R. White Rutkowski Song-Begin Dream’d in a Dream I Dream’d in a Dream I dream’d in a dream I saw a city invincible to the attacks of the whole of the rest of the earth, I dream’d that was the new city of Friends, Nothing was greater there than the quality of robust love, it led the rest, It was seen every hour in the actions of the men of that city, And in all their looks and words. -
MARK MORRIS DANCE GROUP and MUSIC ENSEMBLE Wed, Mar 30, 7:30 Pm Carlson Family Stage
2015 // 16 SEASON Northrop Presents MARK MORRIS DANCE GROUP AND MUSIC ENSEMBLE Wed, Mar 30, 7:30 pm Carlson Family Stage DIDO AND AENEAS Dear Friends of Northrop, Northrop at the University of Minnesota Presents I count myself lucky that I’ve been able to see a number of Mark Morris Dance Group’s performances over the years—a couple of them here at Northrop in the 90s, and many more in New York as far back as the 80s and as recently as last MARK MORRIS year. Aside from the shocking realization of how quickly time flies, I also realized that the reason I am so eager to see Mark Morris’ work is because it always leaves me with a feeling of DANCE GROUP joy and exhilaration. CHELSEA ACREE SAM BLACK DURELL R. COMEDY* RITA DONAHUE With a definite flair for the theatrical, and a marvelous ability DOMINGO ESTRADA, JR. LESLEY GARRISON LAUREN GRANT BRIAN LAWSON to tell a story through movement, Mark Morris has always AARON LOUX LAUREL LYNCH STACY MARTORANA DALLAS McMURRAY been able to make an audience laugh. While most refer to BRANDON RANDOLPH NICOLE SABELLA BILLY SMITH his “delicious wit,” others found his humor outrageous, and NOAH VINSON JENN WEDDEL MICHELLE YARD he earned a reputation as “the bad boy of modern dance.” *apprentice But, as New York Magazine points out, “Like Martha Graham, Merce Cunningham, Paul Taylor, and Twyla Tharp, Morris has Christine Tschida. Photo by Patrick O'Leary, gone from insurgent to icon.” MARK MORRIS, conductor University of Minnesota. The journey probably started when he was eight years old, MMDG MUSIC ENSEMBLE saw a performance by José Greco, and decided to become a Spanish dancer. -
Rising Choreographic Star Aszure Barton and Her Virtuosic Dance Troupe Make Their Dance Celebration Debut
FOR IMMEDIATE RELEASE MEDIA CONTACT: April 7, 2011 LAUREN SAUL Marketing & Communications Manager Annenberg Center for the Performing Arts 215.573.8537 [email protected] JPEG images available upon request Rising choreographic star Aszure Barton and her virtuosic dance troupe make their Dance Celebration debut May 5 – 7 at the Annenberg Center “One of the most innovative choreographers of this generation” – Mikhail Baryshnikov (Philadelphia, April 7, 2011) — She has been called “brilliant” by the San Francisco Chronicle, “audacious” by the New York Times, the Globe & Mail has called her choreography “exuberant” and the Boston Globe considers her “a rare accomplishment in the world of contemporary dance.” Now Philadelphia audiences can experience for themselves the joyful, sassy, playful and quirky work of rising choreographic star and Baryshnikov protégée Aszure Barton and her collective of visual, sound and performing artists, Aszure Barton & Artists. Performances take place on Thursday, May 5 at 7:30 PM; Friday, May 6 at 8:00 PM; and Saturday, May 7 at 2:00 PM & 8:00 PM and are the final performances of the 2010/11 Dance Celebration series, presented by Dance Affiliates and the Annenberg Center. Tickets are $24-$42 (afternoon performances) $28- $48 (evening performances). For tickets or for more information, please visit AnnenbergCenter.org or call 215.898.3900. Tickets can also be purchased in person at the Annenberg Center Box Office located at 3680 Walnut Street. The program opens with Blue Soup, a movement-to-music spectacular drawn from Barton's early repertoire. A series of vignettes, Blue Soup is set to an eclectic score that mixes Hungarian, Italian and African music with American pop music including artists such as Paul Simon, Andy Williams and even a recording of Maya Angelou reciting her poetry. -
Chapter 1 Uday Shankar and Locating Modernity
CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead. -
An Exploration of the Life and Work of Helen Tamiris (1902-1966) Elizabeth Mcpherson and Joanne Tucker
Avodah Dance Ensemble performing Tamiris's Negro Spirituals, c. 1996, as staged from the Labanotation score by McPherson. Dancers: Carla Norwood, Lisa Watson, and Kezia Gleckman Hayman, photo by Tom Brazil An Exploration of the Life and Work of Helen Tamiris (1902-1966) Elizabeth McPherson and JoAnne Tucker Introduction by JoAnne Tucker Because of our mutual and overlapping interest in Helen Tamiris, In the summer of 1958, I attended Perry-Mansfield Performing Arts when there was a call for papers/presentations for the “Jews and School and Camp in Steamboat Springs, Colorado, USA where I Jewishness in the Dance World Conference,” it was a natural re- studied with Helen Tamiris and performed her Dance for Walt Whit- sponse for us to propose a presentation on Tamiris. man. Although just a high school student, the three-week experi- ence was life changing. Tamiris had a profound impact on my dance Helen Tamiris: A Biography by Elizabeth McPherson career as founder and artistic director of the Avodah Dance En- Helen Tamiris is one of the great pioneers of American modern semble (1972-2004) and more recently in my work in prisons and dance. A dynamic dancer and choreographer, she explored themes jails and with domestic violence survivors. central to the American experience. Her diverse career included not only work in modern dance, but also in ballet, nightclubs, and Elizabeth McPherson joined the Avodah Dance Ensemble in 1990. musical theatre. Descriptions of Tamiris invariably include the word With her experience in Labanotation as well as having studied and “powerful,” describing her dancing and the force of her personal- performed many dance legacy works of the 20th century, she staged ity that propelled her into a career in which she followed her pas- Tamiris’ Negro Spirituals, which Avodah performed for nine years. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age.