Please write up the following for the 4 dances we saw at City Center last night for discussion and to hand in

Download 22.97 Kb.
Date conversion19.05.2016
Size22.97 Kb.
Please write up the following for the 4 dances we saw at City Center last night FOR DISCUSSION AND TO HAND IN:
Title of the work - any relationship to the dance
Credits: choreographer, set designer, composer/music source as appropriate
Describe choreography - the dance itself, movements, patterns,  #s of dancers, genders, concepts relayed, feelings engendered
Set/stage and lighting design: describe it and how it related to the dance
Costume design
Sound/music - type/style, live or recorded, relationship to the dance

  1. XOVER – all caps

Maybe means cross-over

There was definitely a diagonal push pull in the dance and in the Rauschenberg backdrop


Choreographer: Merce Cunningham

Dance company: Merce Cunnigham Dance Company

set designer (Décor and costumes Robert Rauschenberg

composer” John Cage

music source: Aria and Fontana Mix

Aria performed by Joan La Barbara

Fontana Mix by 3 musicians (what were they “playing?”

Dancers: 13 dancers: 7 men, 6 women
Chroreography – mostly danced in pairs, angles, push and pull

balance counter-balance

Angular like dancers
In NYTimes Obit (july 27, 2009)

n his works, independence was central: dancers were often alone even in duets or ensembles, and music and design would act as environments, sometimes hostile ones. His movement — startling in its mixture of staccato and legato elements, and unusually intense in its use of torso, legs and feet — abounded in non sequiturs.

In his final years, while still known as avant-garde, he was almost routinely hailed as the world’s greatest living choreographer.

These choreographers both combined and rejected the rival influences of modern dance and ballet, notably the senior choreographers Martha Graham and George Balanchine. They absorbed aspects of ordinary pedestrian movement, the natural world and city life. They tested connections between private subject matter and theatrical expression. And they re-examined the relationship between dance and its sound accompaniment.

Mr. Cunningham’s most celebrated and revolutionary achievement, shared with the composer John Cage, his collaborator and companion, was to have dance and music created independently of each other. His choreography showed that dance was principally about itself, not music, while often suggesting that it could also be about many other things.

(from Merce Website): Of all his collaborations, Cunningham’s work with John Cage, his life partner from the 1940s until Cage’s death in 1992, had the greatest influence on his practice. Together, Cunningham and Cage proposed a number of radical innovations. The most famous and controversial of these concerned the relationship between dance and music, which they concluded may occur in the same time and space, but should be created independently of one another. The two also made extensive use of chance procedures, abandoning not only musical forms, but narrative and other conventional elements of dance composition—such as cause and effect, and climax and anticlimax. For Cunningham the subject of his dances was always dance itself.

NYTimes Obit:

“Ambiguity” and “poetry” were among Mr. Cunningham’s favorite words when talking about choreography. So was “theater.” Wit and humor abounded in his work; his conversation was full of laughter and wry anecdotes. Partly because dance was the main subject of his choreography, and partly because he often created dances requiring virtuoso skill, he did more than any other choreographer to demonstrate that dance can be classical while being in most ways far from ballet.

Hear static like changing radio stations

The sound is choppy like the choregography
Set: Staging: woman on stage at a podium

Painted backdrop, even lighting

Backdrop: collage of bike and traffic “furniture”

Red and white barriers, fences

balance counter-balance

Angular like dancers

Sound: a collage of spoken voice and singing and recorded noise and silence: during silence you hear feet and breathing

Eventually you phase out audio; hard to watch the danace with the distortion of LaBarbara’s voice

Costume: white leotards- make you focus on pure body, no distraction

2) “I Can See Myself in your Pupil:

about relationships
choreographer: Andrea Miller

dance company: Gallim Dance

Lighing by Vincent Vigliante

Costume designer: Andrea Miller

composer/music source: Balkan Beat and Bellini
Dancers: 8 dancers: 5 men, 3 women
Describe choreography – had relationship to social dance idioms, recognizable, funny. Line dancing. Jumping, fist pumping, some gesture to the audience, requesting applause, breaking the fourth wall. Also other actions like kissing –geatures we recognize from real life. Bravado dancing –e.g. jump into a split. Second part had woman who couldnt really walk –funnny—yet perhaps related to disabled person who does not fit in? Game –playing –horsey and 2 people swinging a third up and down without hitting the floor.

Set/stage and lighting design: Big scrim/screen behind dancers with strong light creates big black shadow pr silhouette behind each dancer

Other times, polka dots of light
Costume design: contemporary, hip hop, almost “normal” dance clothes. Men in black pants, white shirt, women in more “funky” dresses/skirts, cute hair

Sound/music – recorded dance music

Dancers danced to the music; it was familiar, pop, social, made you want to dance.

  1. Vistaar --- KERISHMA TO PREPARE

Translation: - any relationship to the dance

Choreographer: Madhavi Mudgal

Costume: Madhavi Mudgal

Lighting: Gautam Bhattacharaya

composer/music: Madhup Mugdal

Dancers: 5 women –including choreographer

Describe choreography –

Odissi movement: traditional Indian dance, all dancers were women

They moved together, focus on hands and feet, head and angular arms, oscillating, mostly moved in diagonals, on occasion in a circle’ spinning.

Shiva foot

Set/stage and lighting design: Set had 5 musicians on stage, seated on a platform, oriented at a diagonal, one vase of flowers at fron to stage right. Lighting even

Costume: traditional Indian. Not revealing; body covered except for arms and feet. Accordion folds in pants opened to reveal their colors –purple and orange; when dancers squatted or bent their knees.

Sound/music – live “Indian” music, dancers danced to the music. 2 vocalists –including composer/brother, percussion and flute and sitar.

  1. The Golden Section

The ratio between two numbers a  and b  chosen such that the ratio of a  to b  is equal to the ratio of a+b  to a . Its value is approximately 1.618. Shapes with proportions equal to the golden section are observed especially in the fine arts and in architecture, as between the two dimensions of a plane figure such as a rectangle. The ratio between consecutive numbers in a Fibonacci sequence approximates the golden section with increasing precision as the series progresses. Also called  golden mean , golden ratio .

Fibonacci sequence:


Choreographer: Twyla Tharp

Dance Company: Miami City Ballet

Music: David Byrne

Scenery and Costumes: Santo Loquasto

Lighting: Jennifer Tipton receted by John Hall

Dancers: 13 dancers: 7 women; 6 men

Describe choreography –athletic. Frenetic, a lot of running, leaping, lifting, spinning, boxing; groups of dancers, men and women, entire company in unison, and solos and paired dances

Set/stage and lighting design: black curtain in the back

Hit with golden light

Costume: golden, athletic wear; tight shorts and tank tops, socks and sneakers/dance shoes.
Sound/music – recorded: starts before the curtain rises to create a sound space and a mood.
Lighting: golden

The database is protected by copyright © 2016
send message

    Main page