DOCSLIB.ORG

Carolyn Carlson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carolyn Carlson Seeds (back to the land) Creation 2016 Carolyn Carlson Piece for 3 dancers For young and all audiences Seeds (back to the land) Creation 2016 Choreography | Carolyn Carlson Choreographic Assistant | Sara Orselli Dance | Chinatsu Kosakatani, Ismaera Takeo Ishii, Alexis Ochin Elyx (animated by YAK) Video creation, animation | Yacine Aït Kaci (YAK) Original music | Aleksi Aubry-Carlson Lights | Guillaume Bonneau Costumes | Olivier Mulin Costumes fabrication | Fatima Azakkour Ismaera’s outfit by Arnaud Lazérat Props and scenery | Gilles Nicolas Production | Carolyn Carlson Company Coproduction | Théâtre National de Chaillot ; CCN de Rillieux-la-Pape In collaboration with Briqueterie / CDC Val de Marne ; CDC Atelier de Paris-Carolyn Carlson and Studio 28 with the support of Crédit du Nord Length | 50 min Piece for all audiences from age 7 On tour - 4 & 5 May 2017: Théâtre des Bergeries, Noisy-le-Sec - 27 to 30 May 2017: Shenzhen & Beijing (China) - 12 & 13 Octobre 2017: Valence - 23 & 24 Septembre 2017: Moscow (RU) - 28 Octobre 2017: Cannes - Mars 2018: Saint-Etienne, Lyon, Montceau, Dinan, Aubervilliers… (booking in progress) TV News (french national TV TF1 – 01/16/16) about Seeds: http://lci.tf1.fr/jt-we/videos/2016/seeds- l-ode-a-la-nature-signee-carolyn-carlson-8707064.html?xtmc=carolyn%20carlson&xtcr=1 TV cultural show « Entrée Libre » France 5 – 02/11/16 about Seeds and others creations by Carolyn Carlson: http://dai.ly/x3rpirt Seeds (back to the land) Creation 2016 In 2006, Carolyn Carlson created her solo Double Vision in close partnership with the artist ---- Yacine Aït Kaci. In this solo, the space was One seed planted echoing the body, the stage was an immense ten-thousand trees projection screen, the gigantic costumes were dust, wind, and copper wings the skin of an image in perpetual movement. scattering of the seeds --- Today, Carolyn and Yacine (YAK) initiate a new creation, this time aimed at young audiences. Carolyn choreographs; Yacine animates ELYX, a small drawned figure placed in a real world in order to open our eyes on what is surrounding us, and transform reality with the only power of our imagination. Seeds is a joyful ode to Mother Earth, as much as a call to the future generations for a greater awareness of environmental urgency and the danger of daily extinctions of many living species. ---- The performers imagine the world of tomorrow: I pluck a petal from a flower a couple of Japanese dancers who are pin it to the wall becoming aware of the danger; a third dancer, to remember how vast the mirror image of Elyx on stage, questioning the Universe sings audience both young and old alike, all coming born to seed and mystery from a seed; and Elyx, who in a way is the --- fourth dancer, as a whistleblower angel. Carolyn Carlson The title, Seeds, deals with themes such as birth, or rebirth, an ode to hope: seeds will be spread, virtually or physically, for the blooming of new ideas and desires, to celebrate life. Questions to Carolyn Carlson and Yacine Aït Kaci The title of the piece, Seeds, refers to birth, rebirth, hope. What is your source of inspiration? CC – It’s a call to awareness: the Earth is in danger, I’m talking about an environmental urgency, numerous species of plants, animals and insects are under threat of extinction. We have to be aware that what enables us to live on this planet, our food, the air we breathe, our humanity; they all come from seeds, seeds that give birth. This piece is an ode to the seed, sacred source. Let’s cherish what has been given to us, let’s think of the future generations who will have to preserve the Earth. In Norway there is a world stock of seeds, a place where are stored all seeds from all subsistence crops of the Planet in order to preserve genetic diversity. I think it’s brilliant and promising! You collaborate again with the visual artist Yacine Aït Kaci, with whom you created your solo Double Vision in 2006. Why did you choose him again? CC - Yacine is a visual artist, who can express with video concepts what we can barely express with words. It was the case for Double Vision already, we literally drew the piece, it served as a basis to create my movement, my poetry. Video magnified my choreographic language. We will use the same method for Seeds, Yacine’s visual creations will tell the story of the piece: with the video, we will go from a seed falling to the ground to a tree growing. It’s fantastic. YAK – 10 years after our first and successful collaboration, Double Vision, with Electronic Shadow, it is a pleasure to work with Carolyn again and at the same time it is a big step for me. I don’t neglect technology with Elyx, on the contrary I devote myself to the next stage, its fusion with humanity. Humanity that becomes a sort of lifeblood, an invisible link that gradually defines it like an entity in itself. Those seeds of culture, imagination and knowledge, those seeds that are transmitted and passed out, are those of this living system we belong to, with joy and full awareness. What inspires you in Elyx, the little guy drawn by Yacine? CC – When I contacted Yacine for this new collaboration, I didn’t knew that he had created Elyx, a « paper figure » like he calls it. Elyx is a virtual charming character, who tells a story. He represents our first conscience and responds to Humanity’s need to gather and plant seeds. On stage there are 3 dancers and Elyx: a couple of Japanese dancers, Chinatsu Kosakatani; who knows perfectly my work as she was 10 years with me in Roubaix’s CCN; and Ismaera Takeo Ishii, portraying Humanity about to realize. They are observed by a third figure: Alexis Ochin, who questions, he is the intermediary between virtual and real worlds. I’d like to quote Carl Jung who talks of « Shadow », our individual part that doesn’t know itself. Elyx will come and go, he will question our subconscious with the necessary dose of fantasy. Between reality and fiction, Elyx will personify the 4th dancer of the piece, Alexis Ochin’s alter ego. YAK – Before words, drawing is one of the most basic expressions in our life learning process. All at once language and creation object, drawing is universal, nobody can say he has never drawn. When a child draws a human being, it’s often reduced to the essential, a head, a body and limbs. Elyx is that drawing grown up, a graphical language reduced to the essential to maximize its expression, with that same child’s view on the world, in which everything is possible, imagination and reality exist side by side in a continuous dance. Elyx has this innocent view, without naivety on what we forget to watch, the daily poetry, with empathy and humor most of the time. Elyx enjoys the fruits of chances that grow in day-to-day life, the city, the people, the situations. This harvest lies on an abundant value, imagination, poetry and joy. Carolyn Carlson References California-born Carolyn Carlson defines herself first and foremost as a nomad. From San Francisco Bay to the University of Utah, from the Alwin Nikolaïs company in New York to Anne Béranger’s in France, from Paris Opera Ballet to Teatrodanza La Fenice in Venice, from the Théâtre de la Ville de Paris to Helsinki, from Ballet Cullberg to La Cartoucherie in Paris, from the Venice Biennale to Roubaix, Carlson is a tireless traveller, always seeking to develop and share her poetic universe. She arrived in France in 1971 the beneficiary of Alwin Nikolaïs’ ideas about movement, composition and teaching. The following year, with Rituel pour un rêve mort, she wrote a poetic manifesto that defined an approach to her work that she has adhered to ever since: dance that is strongly oriented towards philosophy and spirituality. Carlson prefers the term ‘visual poetry’ to ‘choreography’ to describe her work. For four decades, Carlson has had significant influence and success in many European countries. She played a key role in the birth of French and Italian contemporary dance through the GRTOP (theatre research group) at Paris Opera Ballet and Teatrodanza at La Fenice. She has created over 100 pieces, a large number of which are landmarks in the history of dance, including Density 21.5, The Year of the Horse, Blue Lady, Steppe, Maa, Signes, Writings on Water and Inanna. In 2006, her work was rewarded with the first ever Golden Lion given to a choreographer by the Venice Biennale. Founder of the Atelier de Paris-Carolyn Carlson at the Cartoucherie in 1999, she was associated artist to Théâtre National de Chaillot from 2014 to 2016 with the Carolyn Carlson Company, and now continues her projects around the world. Career highlights 1965 -1971 Soloist in the Alwin Nikolaïs Company 1974-1980 Etoile-Chorégraphe (‘Star Choreographer’) at Paris Opera Ballet (GRTOP) 1980-1984 Artistic director of Teatrodanza La Fenice, Venice 1985-1991 Residence at the Théâtre de la Ville, Paris 1991-1992 Residence at the Finnish National Ballet and Helsinki City Theatre 1994 -1995 Artistic director of Ballet Cullberg, Stockholm 1999 -2002 Artistic director of the dance section at the Venice Biennale Since 1999 Artistic director of the Atelier de Paris-Carolyn Carlson 2004 -2013 Director of the National Choreographic Centre Roubaix Nord-Pas de Calais Since 2014 Director of the Carolyn Carlson Company 2014-2016: residency in Théâtre National de Chaillot, Paris Artistic collaborators Sara Orselli – choreographic assistant Sara Orselli starts her dance studies at Dance Gallery under the direction of Valentina Romito and Rita Petrone, then from 1999 to 2002 she studies at Isola Danza, the academy of Biennale de Venise then directed by Carolyn Carlson.
Load more

Recommended publications
  • Principles of Movement Control That Affect Choreographers' Instruction of Dance
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2011 Principles of Movement Control That Affect Choreographers' Instruction of Dance Julia A. Fenton University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Motor Control Commons Recommended Citation Fenton, Julia A., "Principles of Movement Control That Affect Choreographers' Instruction of Dance" (2011). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1436 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Principles of Movement Control that Affect Choreographers’ Instruction of Dance Julia Fenton Preface The purpose of this paper is to inform choreographers of different motor control and skill learning principles that affect instruction of dance and choreography as well as provide a resource for choreographers to make rehearsals more productive. In order to accomplish this task, I adapted the information presented in three main texts, written by Schmidt and Wrisberg, Schmidt and Lee, and Fairbrother, in order for it to be useful to choreographers. I have included dance examples rather than sport examples in order for the choreographer to more easily relate to the information. The in-text citations in this paper were kept to a minimum in order for it to be read more easily.
    [Show full text]
  • CHOREOGRAPHY BASICS By: Max Perry to Choreograph an Effective Routine, a Dancer Will Use Several Techniques to Create a Dance T
    CHOREOGRAPHY BASICS By: Max Perry To choreograph an effective routine, a dancer will use several techniques to create a dance that will not only fit the music, but will feel good when danced. The tools we use as choreographers are knowledge of the dance components, a basic idea of phrasing music, and an idea of how the material is to be used (the dancers or organization or company, etc.). ______________________________________ POINTS TO REMEMBER: 1. “A body in motion tends to stay in motion”. There is an initial force required to put the body in motion. Every time there is a change in the directional movement, there is additional force required to make the change. Too many abrupt changes in direction are not as comfortable as letting the body flow in the direction it wants to go, then gradually slow before changing directions. This does not mean you should slow down before every turn - I am referring to energy output only! 2. Choose music that has a wide audience appeal. You do not want a piece of music that sounds dated. The song should sound good every time it is played. If you want artists to take notice, or a national release, the rule is if you hear the song on the radio, it is too late. These songs were recorded months ago. Major established artists do not need a dance. Never go for the obvious - choose a cut from the album that may be released as a single or use a newer artist - possibly an independent artist. 3. Choose material that has a wide audience appeal.
    [Show full text]
  • The THREE's a CROWD
    The THREE’S A CROWD exhibition covers areas ranging from Hong Kong to Slavic vixa parties. It looks at modern-day streets and dance floors, examining how – through their physical presence in the public space – bodies create temporary communities, how they transform the old reality and create new conditions. And how many people does it take to make a crowd. The autonomous, affect-driven and confusing social body is a dynamic 19th-century construct that stands in opposition to the concepts of capitalist productivity, rationalism, and social order. It is more of a manifestation of social dis- order: the crowd as a horde, the crowd as a swarm. But it happens that three is already a crowd. The club culture remembers cases of criminalizing the rhythmic movement of at least three people dancing to the music based on repetitive beats. We also remember this pandemic year’s spring and autumn events, when the hearts of the Polish police beat faster at the sight of crowds of three and five people. Bodies always function in relation to other bodies. To have no body is to be nobody. Bodies shape social life in the public space through movement and stillness, gath- ering and distraction. Also by absence. Regardless of whether it is a grassroots form of bodily (dis)organization, self-cho- reographed protests, improvised social dances, artistic, activist or artivist actions, bodies become a field of social and political struggle. Together and apart. ARTISTS: International Festival of Urban ARCHIVES OF PUBLIC Art OUT OF STH VI: SPACE PROTESTS ABSORBENCY
    [Show full text]
  • Choreography for the Camera: an Historical, Critical, and Empirical Study
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 4-1992 Choreography for the Camera: An Historical, Critical, and Empirical Study Vana Patrice Carter Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Art Education Commons, and the Dance Commons Recommended Citation Carter, Vana Patrice, "Choreography for the Camera: An Historical, Critical, and Empirical Study" (1992). Master's Theses. 894. https://scholarworks.wmich.edu/masters_theses/894 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. CHOREOGRAPHY FOR THE CAMERA: AN HISTORICAL, CRITICAL, AND EMPIRICAL STUDY by Vana Patrice Carter A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Communication Western Michigan University Kalamazoo, Michigan April 1992 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHOREOGRAPHY FOR THE CAMERA: AN HISTORICAL, CRITICAL, AND EMPIRICAL STUDY Vana Patrice Carter, M.A. Western Michigan University, 1992 This study investigates whether a dance choreographer’s lack of knowledge of film, television, or video theory and technology, particularly the capabilities of the camera and montage, restricts choreographic communication via these media. First, several film and television choreographers were surveyed. Second, the literature was analyzed to determine the evolution of dance on film and television (from the choreographers’ perspective).
    [Show full text]
  • The Cunningham Costume: the Unitard In-Between Sculpture and Painting Julie Perrin
    The Cunningham costume: the unitard in-between sculpture and painting Julie Perrin To cite this version: Julie Perrin. The Cunningham costume: the unitard in-between sculpture and painting. 2019. hal- 02293712 HAL Id: hal-02293712 https://hal-univ-paris8.archives-ouvertes.fr/hal-02293712 Submitted on 31 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE CUNNIN Julie PERRIN GHAM COS TUME: THE UNITARD IN-BETWEEN SCULPTURE AND PAINTING Translated by Jacqueline Cousineau from: Julie Perrin, « Le costume Cunningham : l’académique pris entre sculpture et pein- ture », Repères. Cahier de danse, « Cos- tumes de danse », Biennale nationale de danse du Val-de-Marne, n° 27, avril 2011, p. 22-25. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE Julie PERRIN CUNNINGHAM COSTUME : THE UNITARD IN- Translated by Jacqueline Cousineau BETWEEN SCULPTURE from: Julie Perrin, « Le costume Cun- ningham : l’académique pris entre AND PAINTING sculpture et peinture », Repères. Ca- hier de danse, « Costumes de danse », Biennale nationale de danse du Val- de-Marne, n° 27, avril 2011, p. 22-25.
    [Show full text]
  • Department of Dance and Choreography 1
    Department of Dance and Choreography 1 DANC 102. Modern Dance Technique I and Workshop. 3 Hours. DEPARTMENT OF DANCE AND Continuous courses; 1 lecture and 6 studio hours. 3-3 credits. These courses may be repeated for a maximum total of 12 credits on the CHOREOGRAPHY recommendation of the chair. Prerequisites: completion of DANC 101 to enroll in DANC 102. Dance major or departmental approval. Fundamental arts.vcu.edu/dance (http://arts.vcu.edu/dance/) study and training in principles of modern dance technique. Emphasis is on body alignment, spatial patterning, flexibility, strength and kinesthetic The VCU Department of Dance and Choreography offers a pre- awareness. Course includes weekly group exploration of techniques professional program that provides students with numerous related to all areas of dance. opportunities for individual artistic growth in a community that values communication, collaboration and self-motivation. The department DANC 103. Survey of Dance History. 3 Hours. provides an invigorating educational environment designed to prepare Continuous courses; 3 lecture hours. 3-3 credits. Prerequisites: students for the demands and challenges of a career as an informed and completion of DANC 103 to enroll in DANC 104. Dance major or engaged artist in the field of dance. departmental approval. First semester: dance from ritual to the contemporary ballet and the foundations of the Western aesthetic as it Graduates of the program thrive as performers, makers, teachers, relates to dance, and the development of the ballet. Second semester: administrators and in many other facets of the field of dance. Alongside Western concert dance from the aesthetic dance of the late 1800s general education courses, dance-focused academics and creative- to contemporary modern dance.
    [Show full text]
  • The Art of Resilience: SESSION REPORT Creativity, Courage 573 and Renewal
    The Art of Resilience: SESSION REPORT Creativity, Courage 573 and Renewal CULTURE, ARTS AND SOCIETY Session 573 | The Art of Resilience: Creativity, Courage and Renewal Salzburg Global Seminar would like to thank the Edward T. Cone Foundation for its generous support of Session 573 and all participants for donating their time and expertise to this Session. 2 Session 573 February 7 to 12, 2017 Salzburg, Austria The Art of Resilience: Report Author: Creativity, Courage Margaux Portron Interviews: and Renewal Andrea Abellan Photos: Herman Seidl & Denise Macalino Editors: Louise Hallman & Susanna Seidl-Fox Cover Image: Petteri Sopanen 3 Session 573 | The Art of Resilience: Creativity, Courage and Renewal Table of Contents 5 Summary 9 Introduction Welcome and Session Overview 11 Opening Conversation An Artist Reflects on Resilience INTERVIEW: Anida Yoeu Ali – “You can have very powerful conversations without speaking a single word” 15 Thematic Discussions Refugees, Migration, Integration Fellows’ Group Work and Recommendations: MAM – Migrant Artist Manifesto INTERVIEW: Chadi Bahouth – “It is very hard to stand your ground inside a newsroom where you are the only person coming from an ethnic minority in a big group of middle-class, white people” 21 Urban Upheaval and Social Injustice Fellows’ Group Work and Recommendations: HURBANIZATION/URMANIZATION INTERVIEW: Orijit Sen – “Comics allow the audience to identify with the characters – it lets them enter their world” 27 Post-Conflict Settings: Trauma, Reconciliation and Renewal Fellows’ Group
    [Show full text]
  • Anaconda-Becoming: Huni Kuin Image-Songs, an Amerindian Relational Aesthetics
    Artigos Articles http://dx.doi.org/10.1590/S0104-71832018000200002 Anaconda-becoming: Huni Kuin image-songs, an Amerindian relational aesthetics Devir-anaconda: huni kuin cantos-imagem, uma estética relacional ameríndia Els Lagrou * * Universidade Federal do Rio de Janeiro – Rio de Janeiro, RJ, Brazil [email protected] Horiz. antropol., Porto Alegre, ano 24, n. 51, p. 17-49, maio/ago. 2018 18 Els Lagrou Abstract After depicting the contemporary scene of Huni Kuin ayahuasca shamanism and artistic agency, I analyze a selection of image-songs from this ritual. The songs unveil the workings of embodied perception and synesthesia, that is, the transductions of bodily sensations and perceptions in vision, rhythm, song and sound. The experience entails a process of other-becoming where to know means to see through the eyes of Other; to be covered with the skin/ornaments of those beings one has consumed and to sing through their voice. This other-becoming is a becoming in a deleuzian sense, which means that the lived experience is situated in-between the space of self and other. In this context the expression “you are what you eat” has specifi c implications for one’s health and for the acquisition of agentive and perceptive capabilities of other beings. The ritual technique of almost becoming consists of alternatingly producing and undoing temporary transformations through song. Keywords: shamanism; ayahuasca; Amerindian relational aesthetics; song. Resumo Depois de apresentar a cena contemporânea da agencia artística e do xamanismo ayahuasqueiro dos Huni Kuin, apresento uma seleção de seus cantos-imagem. Os cantos revelam a lógica de uma percepção incorporada e sinestésica, isto é, as trans- duções de sensações corporais e percepções entre visão, ritmo, canto e som.
    [Show full text]
  • Ceroc® New Zealand Competition Rules, Categories and Judging Criteria
    Version: April 2018 Ceroc® New Zealand Competition Rules, Categories and Judging Criteria Ceroc® competition events are held in different regions across New Zealand. The rules for the Classic and Cabaret categories as set out in this document will apply across all of these events. Event organisers will provide clear details for all Creative category rules, which may differ between events. Not all categories listed below will necessarily be present at every event. Each event may have their own extra regional Creative categories that will be detailed on the event organiser’s web pages, which can be found via www.cerocevents.co.nz. Contact the event organiser for further details of categories not listed in this document. Contents 1 Responsibilities 1.1 Organiser Responsibilities 1.2 Competitor Responsibilities 2 Points System for Competitor Levels 2.1 How it works 2.2 Points Registry 2.3 Points as they relate to Competitor Level 2.4 Earning Points 2.5 Teachers Points 2.6 International Competitors 3 General Rules 3.1 Ceroc® Style 3.2 Non-Contact Dancing 3.3 Floorcraft 3.4 Aerials 3.5 Newcomer Moves 4 Classic Categories 4.1 Freestyle 4.2 Dance With A Stranger (DWAS) 5 Cabaret Categories 5.1 Showcase 5.2 Newcomer Teams 5.3 Intermediate and Advanced Teams 6 Creative Categories 6.1 to 6.15 7 Judging 7.1 Judging Criteria 7.2 Penalties and Disqualifications Version: April 2018 1 Responsibilities 1.1 Organiser Responsibilities The organiser is responsible for ensuring the event is run professionally and fairly. This is a complex undertaking and more information can be provided by the organiser or Ceroc® Dance New Zealand (Ceroc® NZ) upon request.
    [Show full text]
  • Eve of Kupalo
    Gordon Gordey, Director and Dancemaker Ukrainian Canadian Dance Works Created for The Shumka Dancers, Canada’s Professional Ukrainian Dance Company Eve of Kupalo - a Midsummer’s Night Mystery Masque Conceived and Directed by Gordon Gordey Choreographed by Dave Ganert Additional Choreography by John Pichlyk and Tasha Orysiuk Original Music Composed and Arranged by Andriy Shoost Sets and Costumes designed by Maria Levitska Additional Costumes designed by Oksana Paruta and Robert Shannon Masks created by Randall Fraser In January 2007, I created a concept and began writing the dance libretto for Eve of Kupalo - a Midsummer’s Night Mystery Masque as a contemporary Ukrainian folk dance dramatic narrative ballet with video projection. Over the decades I had seen numerous Ukrainian dance companies stage performances based upon the rituals of Kupalo and the midsummer solstice. In 30 years with the Shumka Dancers I too performed, from time to time, in dances based upon Kupalo, the first such performance taking place in the early 1970’s. The performances I saw and those I performed in seemed to become locked in a very standard formula. I could predict what the choreography was going to be in Kupalo before I even entered the theatre. The dance would typically start with female dancers weaving across the stage in a version of a chain style folk dance (Vesnianka or Chorovod) and move on to a dance where female dancers would begin to weave wreathes, which usually with the assistance of a stage lighting change depicting the passage of time, resulted in the wreathes magically becoming completed. These wreathes would be symbolically placed into a stream which was nothing more than placing the wreathes upon the stage floor.
    [Show full text]
  • Emotional Storytelling Choreography—A Look Into the Work of Mia Michaels
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2011 Emotional Storytelling Choreography—A Look Into The Work of Mia Michaels Bethany Emery Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/2534 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Bethany Lynn Emery 2011 All Right Reserved Emotional Storytelling Choreography—A Look Into The Work of Mia Michaels A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. by Bethany Lynn Emery M.F.A., Virginia Commonwealth University, 2011 M.A.R., Liberty Theological Seminary, 2003 BA, Alma College, 2001 Directors: Amy Hutton and Patti D’Beck, Assistant Professors, Department of Theatre Virginia Commonwealth University Richmond, Virginia July 2011 ii Acknowledgement The author would like to thank several people. I would like to thank my committee members Professor Amy Hutton, Dr. Noreen Barnes and Professor Patti D’Beck for sticking with me through this process and taking time during their summer plans to finish it out. I especially would like to thank Professor Hutton for her guiding hand, honest approach while also having an encouraging spirit. I would like to thank friends Sarah and Lowell for always being there for me though the happy and frustrating days.
    [Show full text]
  • Spring-Summer 2019 Ballet Review
    Spring-Summer 2019 Ballet Review 4 Philadelphia – Eva Shan Chou 5 New York – Karen Greenspan 7 Los Angeles – Eva Shan Chou 9 New York – Susanna Sloat 11 Williamstown – Christine Temin 12 New York – Karen Greenspan Susanna Sloat 16 Tokyo – Vincent Le Baron 95 Rennie Harris and Ronald K. Brown 18 Jacob’s Pillow – Christine Temin Celebrate Alvin Ailey 20 Toronto – Gary Smith Robert Greskovic 22 Boston – Jeffrey Gantz 100 Chopiniana 25 London – Joseph Houseal 25 Vienna – Vincent Le Baron 109 Judson Dance Theater 27 New York – Susanna Sloat Michael Langlois 28 Miami – Michael Langlois 114 Awakenings 29 Toronto – Gary Smith 31 Venice – Joel Lobenthal Karen Greenspan 32 London – Gerald Dowler 119 In the Court of Yogyakarta 35 Havana – Gary Smith Marian Smith 37 Washington, D.C. – Lisa Traiger 125 The Metropolitan Balanchine 39 London – John Morrone 40 Chicago – Joseph Houseal Gerald Dowler 42 Milan – Vincent Le Baron 141 An Autumn in Europe Alexei Ratmansky Sophie Mintz 44 Staging Petipa’s Harlequinade 146 White Light at ABT Lynn Garafola George Washington Cable 151 Raymonda, 1946 56 The Dance in Place Congo Karen Greenspan Michael Langlois 161 Drive East 2018 63 A Conversation with Karen Greenspan Clement Crisp 168 A Conversation with Maya Joseph Houseal Kulkarni and Mesma Belsaré 76 A Quiet Evening, in Two Acts Francis Mason Ian Spencer Bell 171 Ben Belitt on Graham 82 Women Onstage Gary Smith Michael Langlois 175 A Conversation with Grettel Morejón 86 A Conversation with Hubert Goldschmidt Stella Abrera 177 Rodin and the Dance 207 London Reporter – Louise Levene 218 Dance in America – Jay Rogoff 220 Music on Disc – George Dorris Cover photo by Paul Kolnik, NYCB: Joseph Gordon in Dances at a Gathering.
    [Show full text]