A Seminal Artist is defined as someone who is highly original and influences the development of the future of the artistic medium. I think that Matthew Bourne is more so a seminal artist then not. He is original in pushing the gender boundaries of dance, through his manipulation of conventions; however hasn’t influenced other choreographers to do the same. This can be determined through his personal background and training, his socio-historic context and compositional devices. As well as within his productions, the music, stage setting and props, lighting, costuming and casting.
There were many attitudes and bent legs the choreography was very much grounded and very low to the earth. Very long lines the movement continued and stayed very fluid. With this being a award winning work of art I can truly understand why its complication being able to make the great Bill T. Jones work come to life its greatness in itself. Being able to pull through this choreography shows great gratitude and dedication from his company. The work tells a story about and it goes into great detail and makes it very clear through precise graceful movement each part of the story that is taking place at the moment.
The next movement I noticed was two dancers doing a kind of “stomping” on the stage. This conveyed a very tribal message to me. Finally, I noticed in movement in which the performer twirled in place on stage. This gave me a sense of relaxation. The sound score starts out very tribal but then transforms into a slightly more sophisticated musical composition.
When Graeme first began choreographing he was greatly influenced by many of his dancers, one of them being Paul Macurio. When he was choreographing Graeme never went into a studio with set work, he liked to make self discoveries as he worked on and with the dancer and how their body moves. He felt as though is he plans a class; he may miss the ‘perfect mistake’. ...“Variation on variation”... Graeme's original dance works, numbering over seventy and including thirty full-length works, are closely created with his dancers and muse (Janet Vernon). These include Ecco (1971), Sequenza VII (1977), Poppy (1978), Nearly beloved (1984), Swan Lake (2001) and Shades of gray (2004).
He has worked in ballet, classical, dramatic and contemporary environments, and has created many dance and theatre works. Jervies’s choreography for ‘EcoBots’ was angular and mechanical. There were times when there were movements of organic quality, but his choreography was used to express the effects of global warming through robots. Rather than the choreography being distinctively Australian, the story behind the choreography is what is distinct. This is because ‘EcoBots’ is showing very dramatic versions of what will happen when global warming goes too far.
This dance seemed to be very precise. My evaluation says that it was a very sad but yet entertaining dance. The Greek story about how Prometheus stole the fire from Zeus was in there because of the fire, but what I realized was that it seemed to be more of a love story than anything else. The lifts and in how they were executed was very well. The story seemed to be very well thought of, The dancers all was very good.
Compare the use and function of five different movement relationships in Lloyd Newson’s Strange Fish (1992) with those in Lea Anderson’s Flesh and Blood (1989) The two pieces I will be comparing are Lea Anderson’s Flesh and Blood (1989) and Lloyd Newson’s Strange Fish (1992) on the choreographer’s uses of different movement relationships. I will be comparing the use and effects of: mirroring, unison, canon, spatial formations and numerical groupings. The term ‘mirroring’ in dance is the idea of creating a mirror image of a dancer, usually seen between two dancers facing each other (similar to copying). Mirroring can give the effect of the two dancers seeing a reflexion and are doing the same movements in unison. An example of this in Strange Fish is where the two male dancers (Nigel and Dale) are facing each other with one arm on the wall and the other at their lateral sides.
“Tartuffe reminds me of a grown up version of a Dr. Seuss book.” says Casey McCall, who plays Mariane, “It really is a great Show, and I think that people will enjoy it a lot.” The audience is in for quite the surprise when they see this show. They’ll be shocked to see how many parallels there are in modern life to a play that was written centuries ago. Every audience member will be able to connect to a character, whether they’re the religious hypocrite, the person who speaks out of place to fight for what’s right, or the young boy having their love seduced by another man who we all know
In the video, the dance looked like it was very easy to execute but having already been in the technique class all year, it is amazing to know that doing the movements correctly is actually difficult. May O’Donnell constructs her pieces with the use of spacial structure. She organizes her dancers so that different groups are spread out differently throughout the stage and at times she uses all dancers in one singular spacial structure, like a diagonal. She changes the organization on stage frequently so that the audience would be constantly captivated by the rapid action on stage. She also uses many other choreographic tools to keep the attention of the audience and bring contrast to her piece.
“The 39 Steps”, is a special kind of Broadway show. These four people change from character to character without losing the audience’s attention and enthusiasm one bit. These actors are so good that they even made the audience laugh without losing their attention on the theme of the play. This is very important in any type of show because actors always want to keep the audience interested and entertained. This was the first show in a while that I have stood awake and paid attention throughout the whole play because of the amount of talent that these actors have that left me in