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
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
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...
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
" Certainly, this small boy's family life has its frightening side, but the last line suggests the boy is still clinging to his father with persistent if also complicated love" (Kennedy and Gioia 668). Although their dance appears to be "comic", Roethke seems to possess "an odd and ambivalent closeness" to his apparently intoxicated father (Balakian 62). Still, even more evidence of these mixed feelings is illustrated in the third stanza. "This love dance, a kind of blood rite between father and son, shows suppressed terror combined with awe-inspired dependency" (Balakian 62).
The first movement is in sonata form - Allegro ma non troppo, un poco maestoso. Strings and horns appear from the distance as if they had been already playing out of earshot. The music gradually intensifies in volume until the final explosion into the first subject. Then this whole process is repeated. The first movement shows a contrast of emotion that seems to return in the recapitulation befor...
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 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",
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.
In the beginning, the dancers start this arrangement by slowly sitting down, hunched over in their chairs and then hurl their upper bodies into the air, only to gradually sit back down. After a few moments, the dancers suddenly wind their arms off to the right side and hastily throw them to the other side and then repeat the steps they did before. Throughout the piece, they add on to the sequence and eventually go on to reverse it before they finally break free at the end.
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
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
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.
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’.
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