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Similarities and differences between modern and ballet
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INTRODUCTION
“I am interested in a very elementary question: why when i see two actors doing the same thing, I get fascinated by one and not the other” (4) This question is the primary reason to why I decided to explore this topic. The question was asked by Eugenio Barba, a world renowned theatre practitioner who has dedicated his life to answer the question. He did this by travelling around the world to study different theatre traditions. From ballet to Kathakali, he has studied everything and came up with a study called theatre anthropology. This is a study of the performer’s pre expressive scenic bios which constituted by a set of principles (5). ‘Scenic bios’ is defined as the performer’s physical and mental presence.
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These levels of organization in the performance are only distinguishable and separable by the performer them him/herself, that to through analytical research and abstraction during the technical work of the composition done by the performer. What this basically means is that pre expressivity helps the performer properly organize the dynamics, time frames etc. in their piece. It is essentially characterizing your message in an action, gesture or movement "even before this life attempts something" (paper canoe pg 16, 17). Having the ability to focus on your pre expressivity expands your knowledge not just practically but in other factors as well. Barba developed five principles of pre expressivity to help get the performer into perspective. They are a set of rules that the performer must follow to achieve pre expressivity and to do their best on stage. With the help of these principles the actor must erase daily behaviour and tap into their extra daily behaviour to be in a pre expressive state. The classification of ‘daily behaviour’ comes from actions that are culturally and socially predetermined and ingrained into our brains. Different cultures have different daily behaviours. So Barba’s goal was to develop or govern a performer’s scenic
One of the central themes of theatrical form is identity and the catalyst by which identity is formed is the body. In using the body as the site of formation of individual identity, women are “uniquely identified with their anatomy” and specifically the parts of their anatomy that differ from that of men (Callaghan 30). Because women are thus defined by their relation ...
It follows a routinized and learned social script shaped by cultural norms. Waiting in line for something, boarding a bus and flashing a transit pass, and exchanging pleasantries about the weekend with colleagues are all examples of routinized and scripted front stage performances. The routines of our daily lives that take place outside of our homes like traveling to and from work, shopping, dining out or going to a cultural exhibit. The performances we put together with those around us follow familiar rules and expectations for what we do, what we talk about, and how we interact with each other in each setting” (n.d.) while the back region is “what we do when no one is looking. Being at home instead of out in public, or at work or school, is the clearest demarcation of the difference between front and backstage in social life. We are often more relaxed and comfortable when backstage, we let our guard down, and be what our uninhibited or true selves. Often when we are backstage we rehearse certain behaviors or interactions and otherwise prepare ourselves for upcoming front stage
Li’s passion for ballet shows on and off stage through his arabesques, flexibility, fouettés, grande jeté and pirouettes that were nothing less than perfection. I understood that becoming a dancer requires commitment, passion and having a great memory as there’s many moves, routines and ballet terms that you need to learn. When I was performing on stage, I felt free and that I could own the stage as it felt like it was my second home. I also felt complete within myself just as Li felt. To perform on stage, you need to be light and graceful along with connecting to the music using precise steps, poses and formal gestures. The film used dance, music, scenery, and costumes to portray a story characterised by Li’s dance. Classical ballet dancers require the utmost grace and I’ve found that you also need a tremendous level of concentration and memory. This portrays when his choreographer Ben Stevenson asked Li Cunxin to replace the main male role due to an injury on the day of the performance to memorise new dances and perform them in front of an enormous crowd. Many of my performances have been in a group where we all need to be in sync and work together. This film highlighted that in order to become a professional ballet dancer, you have to prepare to work extremely hard no matter how gruelling the schedule is in order to
From this statement, I believe that there’s a fear of losing the expressive plane, if this problem triggers. On the other hand, we have the general audience. Listeners often neglect them. He argues that a good listener should know the musical structure in order to enhance the enjoyment of music on this plane.
One solution is to approach an actor at the beginning of their training, and see where knowledge of "commedia dell'arte" and its performance can expand a performer's range. The contemporary young actor's most familiar performance role model is that of televisi...
According to Munsterberg’s film theory, the motion picture is an original medium in that it aesthetically stimulates the spectator’s senses. Although both still picture and theatrical play can possibly leave images on the spectator’s retina or brain, each element of motion picture, including camera angle and work, lighting, editing, music, and the story itself, appeals to somewhere more than just retina or brain— the element of motion picture truly operates upon the spectator’s mind. Speaking of Darren Aronofsky’s Black Swan, the film unfolds a story of physically and mentally repressed ballerina’s life. Due to the film’s effective filming and editing techniques, the film successfully increases excitement as well as suspense in the story. Since Black Swan captures not only the real world the ballerina lives in but also the other side of the world the ballerina has within her mind, its spectator would experience a fantastic world where one ballerina lives in two different worlds at the same time. Even though the still picture and the theatrical play also give the spectator either a visual or an aural image, motion picture is the one that stimulates the spectator’s senses with its story, color, sound, acting, filming, and editing.
According to Erving Goffman’s performances theory, the way we interpret ourselves is similar to a theater in which we are all actors on a stage playing a variety of roles. The way in which we act in front of a group of observers or audience is our performance. Goffman introduces the idea that we are always performing for our observers like actors performing on a stage. The impression that we give off to an audience in a scenario is the actor’s front. You can compare an actor’s front to a script. Certain scenarios have scripts that suggest the actor how he or she should behave in every situation. The setting for the performances includes the location and scenery in which the acing takes place.
Bertolt Brecht and Constantin Stanislavski are regarded as two of the most influential practitioners of the twentieth century, both with strong opinions and ideas about the function of the theatre and the actors within it. Both theories are considered useful and are used throughout the world as a means to achieve a good piece of theatre. The fact that both are so well respected is probably the only obvious similarity as their work is almost of complete opposites.
The performances included opera-styled singing with intricate hand gestures. I used to think that the Chinese theater performances my grandparents watched on TV were too over-the-top and unnatural, but after reading about the history and meanings behind Chinese theater, I’ve developed a new perspective on the style and have come to admire the beauty of cultural differences in theatrical arts. Chinese theater’s “traditional performance” features a synthesis of poetry, singing, and dancing. In present day, “traditional performance” has undergone an improvement toward what can be termed “characterization performance,” which emphasizes the performer’s internal experience of the character played and the artistically truthful portrayal of feelings and thoughts (cite). Different cultures contribute to the varying theater styles. For example, “chinese playgoers are familiar with the stories, characters, and conventions...the objective of the Chinese performer is to meet the high expectations of the playgoers” (cite). Thus, Chinese performers are more conscious of ensuring that their gestures and body movements appear aesthetically beautiful to satisfy their audiences’ expectations. The knowledge of the diverse approaches of theater in different regions is significant for respecting a theater piece, because theater from different cultures than one’s own should be evaluated and appreciated with the viewpoint of that
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
A ballet dancer’s general intention when performing any piece is to convey a message to the audience. A message is relayed through the dancer’s strategic facial expressions and body movements. Each movement has a purpose in articulating the dancer’s energy, and confidence within themselves to express the emotions and inspire the audience (Lucas). A dancer’s energy and
“Acting is not about being someone different. It’s finding the similarity in what is apparently different, then finding myself in there.” ― Meryl Streep. I love exploring and gaining knowledge about the beautiful craft of acting. During my journey of being an actor, I notice there are two types of actors: stage and film. Stage and film actors are different in their times of rehearsal, their relationship with an audience, and their emotional challenges.
(Icosilune, 2009) Back in years, Western thinkers believed that they knew excatly what was and what was not a performance. ‘But in fact, there is no historically or culturally fixable limit to what is or is not “performance”. (Schechner, 2006, pg. 2) Schechner explains the difference between four performance categories, which are being, doing, showing doing and explaining showing doing. Being is an existance, just being who we are without any effort to do or pretend something. Doing is any act done in daily lives. Showing doing is an actual performance, when the actors act and represent the reality. And explaining showing doing is the theory, talking about the performances and commenting the art. He brings out the issue of the theory ´is´ or ´as´ performance, and describes how do they distinguish. There are some limits to what ´is´ performance. To qualify a performance as ´is´ performance, it must be said so in historical and social context. Any performance cannot be determined that it ´is´ a performance if it does not refer to specific cultural circumstances. On the other hand, ´as´ performance can be studied round about everything. But ultimately, it can be decided independently, if one considers it ´as´ or ´is´a performance. This leads to another topic, which is...
Dance serves as an exposure of expression throughout the world depending on its cultural context and function of either producing a work of art, a way of socializing or its use for ritualistic purposes. Bollywood, one of the most famous styles of cultural dance, in essence is an Indian film dance style modeled on both the traditional Indian classical and folk dance while fusing inspiration from more modern styles, allows the performer to act out the lyrics of a song, fashioning a story. The wild world of African dance on the other hand, represents the fundamentals and belief system of historical Africa, by moving in an expression to their inner feelings. Although these styles of dance may seem to be at either end of the spectrum, each share the similarity of a “mass pattern of dance which may hold a mirror to humanity…functionally allowing the human body to be exposed to the world, communicating in every aspect, whether it is the magnificent art form or the daily movement” (Doris Humphrey). Through analysis and interpretation of both the non-movement and movement components, while examining the function of dance which is present in each cultural art form, the similarities and differences of how they create meaning through dance will be exposed.
The myriad mysteries of science can be unraveled by the emerging technologies including Biotechnology. Science has always been my interest and forte thus, the choice of Biotechnology as my academic option was the ideal decision. I had prepared for the highly competitive entrance exam AIET to get admission into the integrated Masters Degree in Biotechnology and Bioinformatics at Dr. D.Y. Patil University and secured 87th all over India rank and was proud to gain admission to this venerated university. The academic curriculum has introduced me to amazing subjects like ‘Microbiology’, ‘Molecular Biology’, ‘Biochemistry’, ‘Genetics’ and ‘Industrial Biotechnology’. Although many seminal biological events have been explained in theory during the past century, the technology to harness their potential for benefiting humankind has only been possible during the past few decades. This is testament to the great improvements in biotechnologies and I am glad to be a part of this grand scientific experience.