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Costumes in elizabethan theatre
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Jon Jorgenson’s motivational monologue and Mahomet-Seymour High School’s dance created a composition that is unlike traditional literature. These girls are able to display Jorgenson’s monologue in a manner that is comparable to contemporary literature today. Jon uses the phrase, “what room does fear have,” repetitively as a literary device throughout his entire speech. His expressive oration brings meaning to the dance and reveals how literature can take diverse forms. “What Are You Afraid of” and the addition of the dance contains features that are considered conventional literature as well as modern adaptations. The two are combined together to create an inspirational and hopeful feeling within the audience, as well as provoking the audience …show more content…
Then the danseuses pull down fabric from their shoulders and are instantly changed into a white outfit with a pink belt. At this point, the mood shifts to a hopeful and uplifting feeling. That moment is considered the climax. In this section, the instrumental also starts which creates an even greater impact. The falling action includes Jon Jorgenson wrapping up his speech with, “I’ll ask you one last time, what room does fear have when I make room for love”. Finally, ending it with the question, “what are you afraid” …show more content…
In fact, by excluding God and all religious aspects the monologue can now be shared to an even larger audience than before. Continuing his speech, Jon declares, “But then I did a little research and by that I mean I researched and researched and researched over and over again and through all of my researching I keep coming up with the same exact question” (Jorgenson). At this point in the dance, the dancers are preforming a turn called a fouetté. As Jorgenson repeats himself they spin around and around; this motion is repetitive just like his statement. The actions within the dance create pictures that coincide with the words. Jon says, “when I lean on hope,” (Jorgenson) and the dancers all lean together. Throughout the entire dance this pattern repeats itself. Jorgenson verbalizes a motion and the dancers carry it out. Another example of this is when he says, “I’ll ask you again, what room does fear have when I step out of the darkness and I bask in the light”. The dancers lift their legs dramatically and step as if they are stepping out of the darkness like the quote entails. Every movement in this dance functions as a depiction of the monologue. In an interview with Jade Dowling, a dancer of 16 years, she claims that, “none of the motions in any dance are used without purpose. Whether it is to portray a certain word, action, or phrase, or if the motion is to
“A hidden weight seemed to attach itself to simple objects—a teacup, a doorknob, a glass—hardly noticeable at first, beyond the sense that every move required a slightly greater exertion of energy”(187). In Nicole Krauss’ short story, “The Young Painters”, Krauss brings across the idea of guilt swallowing the narrator because of her decision to steal a frightening story told to her by a dancer and recreate the story and publish it as her own work. In the first scene, the author encounters a captivating painter in the dancer’s home which she later discovers has a intense backstory. She later publishes the story as her own but adds a happy twist to deemphasize the horror of the original story. In the second scene, after an odd encounter with
The theme of the text “Harrison Bergeron” is equality has its pro’s and con’s,the author's use of similes and metaphors helps develop the theme.First off,one element that help support this theme is honor. Humor helps support the theme because in the text,”Harrison Bergeron” it shows how employees can’t even do their jobs because they have their handicaps on,but Know one earns a better profit because they're the same.Another type of element the author uses is similes .In the text it says,”but Harrison looked like a walking junkyard”.That helps support the theme because if the leader or government puts handicaps com people they will get mad and try to escape their state or country.The theme in the article is equality has its pro’s and con’s this
Her goal was to move, not dance. She challenged the notions of what a quote on quote “female dancer” was and could do. Dance to her was an exploration, a celebration of life, and religious calling that required an absolute devotion (pg. 11, Freedman). She considered her dancers “acrobats of God”. An example of a dance which symbolized the “essentialized” body was Martha Graham’s Lamentation, choreographed in 1930, which served as an expression of what person’s grief, with Graham as the solo dancer in the piece. The costume, a tube-like stretchy piece of fabric, only allowed her face, hands, and feet to be seen, and, as Graham stated, “The garment that is worn is just a tube of material, but it is as though you were stretching inside your own skin.” In the beginning of the piece, she started out by sitting on a bench with her legs wide spread and arms held tight. Her head was going back and forth as if she was feeling sadness or maybe replaying thoughts in her head. By the way she was holding her hands so tight and close to her body, it symbolized the deep pain within her––the essence of her piece was grief, and she danced it from inside out. Russel Freedman, the author of Martha Graham A Dancers Life, stated, “She did not dance about grief, but sought “the thing itself”- the very embodiment of grief (p. 61).” Graham, dancing with strength and power, was encapsulated with her movement and was completely surrendered
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
There was an apparent synergy between the poem and the dance composition. At some points the movement created a visualization of the stanza being vocalized. When the poem said “only the cold stone hangs at the breast”, the dancer falls to the floor because of the weight of the stone. She then recovers from the fall with her head last to emphasize the chest area. Bettis’ used movement from both extremes that clearly exemplified the to and fro of the emotion. For example, she would use a very bound movement with little effort followed by an intense movement with great use of space. Other parts of the work repeated the same movement numerous times to emphasize one side of the two-sided emotion. Her movements went with and against the music but the movement always followed the speed of the score. These movements displayed ones yearning for lost love with the reaching of the arms and the leg extensions. There was also a large amount of movement directed toward the heart, the point of pain. Brook Notary eloquently displayed these emotions through her facial expressions. A majority of movement can be viewed as sporadic but definitive. There was even parts of the choreography that was spastic and isolated with one area of the
The dancers start center-stage in a spotlight, and they are motionless for a long moment. The two dancers, on male and one female, are wearing the same outfit. On top, they are wearing a black, long-sleeved blouse. On bottom, they are wearing puffed, blue skirt/shorts. The music is cued along with the lights, and it gives the piece a sense of time as the dancers stand still for what seems like a minute. The dancers begin gesturing without feeling, and as they move out of the spotlight, the lights grow to encompass the full stage. The dancers then take turns experiencing each other’s weight in weight sharing and lifting. The lights remain the same as the dancers share weight, repeat recognizable gestures, and perform an awkward partnered dance that resembles ballroom style. The sameness of the light corresponds to the sameness of the gestures. The f...
The work ‘Ghost Dances’ by Christopher Bruce was viewed on 26th August, 2011 to the Year 12 Dance class. The individual interpretation of the social/political or world issue/ comment the piece is attempting to make. Using direct examples from the performance, the use the choreographer has made of the movement and the non-movement components have been identified. Also the effectiveness of this piece has been evaluated.
This movement brings a sense of overwhelming joy and pleasure from beginning to end as it maintains a familiar mood and cadence throughout even convincing me that it is about to end before it actually does.
In the beginning the dancers start out standing completely still and gradually sit down in a chair, with their heads facing down, which brings their upper bodies into a hunched over position. A few seconds later they quickly fling their upper bodies up into the air, taking them out of their seats, and then gently sit back down. When the dancers are on their chairs, their bodies tense up and with their heads facing down as if gravity and pressure weigh down the dancers, restricting them. The dancers free themselves as they break through confinement and jolt their bodies up out
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
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
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
In the beginning, the dancers start on the ground and in the motions of the music and essentially “slipping” through the past there was this rise and sink motion that was fluid. Both dancers arced, spoked and carved. Renee made lots of lines with her entire body as he held her straight (horizontally) in his arms and she also arced as she put her arms around him to hang on to him and as she let go of him she continued to make circle with her feet. In addition, in the beginning of the video, they created an infinity symbol with their legs and feet to an extent signify the past as always being a part of your life even after you slip through and let go.
His right hand quickly comes straight across her mouth, while this action is in motion he begins to emerge from the darkness and into the audience’s view, leaving the audience with an uneasy feeling. Both of Kayla’s hands grab onto his hand which is covering her mouth in hopes of discarding his hand. This specific moment in the dance conveys a great deal of symbolism, linking the actions with the overall theme of addiction. The hand over her mouth symbolises the constant addiction that Kayla’s character is struggling with, it shows him as the drug, endeavouring to intoxicate her as she struggles. This is then followed by his left hand running down against her hip in a pressed motion, causing her to react by fiercely pushing his hand off, leading to an aggressive movement from the male dancer as his hand grips her left hip.