Mccaw Hall And Swan Lake Analysis

The Oklahoma Festival Ballet was a very high intense, sexual, and suspenseful production. The dancers of each piece did an excellent job of exemplifying those emotions and making sure the crowd felt these emotions. There were four different segments of this production and each one was very unique and different. I did not think I was going to understand or actually feel the emotions in this production but because of the dancers’ movements I could feel and fully understand each piece. Overall the performances ranged from heavy, light, gentle, and soft pieces.

While observing this dance ballet, there were many things that caught my attention. First, the theater itself was extremely large, and the stage itself was big, and the dancers had plenty of room to move across the stage and perform their routines. There were many dancers, and they all played various roles that ranged from Clara, Fritz, Herr Drosselmeyer, the Rat King, the Nutcracker, the Sugar Plum Fairy and her Cavalier, and many more. All of the performers wore vivid costumes

‘Swan Lake' is a four act ballet, which is a common element amongst the classical era of ballets. During the romantic era they were usually only two acts, where as they were up

Act Two began with the “Entr’acte” followed by “Fidgety Feet.” This fun number was a fantastic way to open the Act Two. The company had beautiful harmonies as well as phenomenal

Mrs. Farrell’s book is quite technical when it comes to the lengthy descriptions of the dances she rehearses and performs; from a dancer’s view these varied conclusions of the types of movements she was dancing is quite astonishing. In fact, it adds a whole new level to the imagination that can come alive in a person’s thoughts when they read an expressive book. Although the technical explanations will excited, astound, and reveal how much passion and deep meaning ballet had in Suzanne Farrell’s life, but a reader, who may not be involved in the arts will be unfamiliar with the ballet and musical terms in

The Bucks County School of Performing Arts is preparing to present 2017 Broadway Revue. Tonight was the night-dancers in position, the rest of the cast lined up backstage, band tuned and ready for the top of the show. My director gives the cue, “Lights on stage, open the curtain.”

Originally premiering in December 1892, at the Mariinsky Theatre in St. Petersburg, Russia; The Nutcracker was once not the beloved production we know of today, but instead was immensely criticized. It wasn’t until 1954, when George Balanchine re-adapted the classic for the New York City Ballet, that it gained the momentum now received nationwide. Nevertheless, Denver’s adaptation of the story surely doesn’t disappoint, incorporating a cast expertly delivered by both professional dancers, as well as students from the Colorado Ballet Academy with timeless choreography by Martin Fredmann and Sandra Brown.

Just recently I went to view the Dance Plus Spring performance on Saturday April 23rd, 2016. Overall, the show was unique and exciting at the same time. Each of the performances were very different and they conveyed their own separate messages and themes, which made them all so exciting and fun to watch. The performance that I will be critiquing in this paper is “Excerpts from The Rambler.” Choreographed by Joe Goode and Melecio Estrella, this piece was performed in a proscenium stage because the whole idea was to have the entire audience engaged and have them view and understand the message they were trying to communicate.

The Fall One Acts Performance that I watched on Saturday, November 14th, 2015 at 7:30 PM was magnificently performed, and the actors’ and actresses’ hard work was definitely carried out in this production. The two act plays that moved me the most were Livestock by Catherine Trieschmann and Till Death by Claudia Barnett because Ruby and Josh in Livestock were very comical and made me laugh many times, while the sentimental and intimate bond between Julian and Felicity in Till Death appealed to my emotions.

Matthew Bourne’s Swan Lake was first performed at the Sadler Wells Theatre in London in 1995. Bourne's version of Swan Lake is the longest running ballet in London’s West End and on Broadway. It has been performed in a number different countries such as United Kingdom, Europe, Australia, South Korea, Japan, Israel and Singapore. Mathew Bourne’s rendering is best known for having traditionally female parts of the swans danced by men. Graeme Murphy version of Swan Lake is not so much a battle between Odette (Good) and Odile (evil), which is presented through the original Swan Lake. But it examines love and betrayal, and other elements of the original story. Through comparing and contrasting Acts 2 and Act 4 of Graeme Murphy’s rendering of Swan Lake and Mathew Bourne's Act 2 and Act 4, this essay will interpret and evaluate how each choreographer portrays movement and non-movement components throughout their piece.

The Brown Theater, located downtown Houston, Texas at the Wortham Theater Center is a remarkable theater. It is located in a stylish district that adds to the appearance of this polished theater with artistic statues that are visible on the street corners surrounding the building. The astonishing entrance welcomes its spectators with a tall escalator positioned directly in the center of the foyer, lined with works of art. At the top of the escalator, you step into a lobby filled with restaurants that lead to the auditorium, which is breathtaking with rich red tones, unbelievably tall ceilings, and elaborate detailing on every inch of the wood work. I was extremely impressed with this theater and its alluring appearance with its various levels of seating, all of which, slant down toward the stage. The afternoon was delightful and entertaining; this was largely due to the welcoming theater and its pleasant patrons. I was seated three rows away from the stage, with this being my first ballet I couldn’t have been happier because it made me feel as if I was part of the performance. The day’s performance was the classic ballet, Sleeping Beauty, which is about a princess who was cursed at birth by an evil fairy. She pricks her finger on a spindle at her sixteenth birthday and falls into a deep sleep that can only be broken by true loves’ kiss. This performance was choreographed by Ben Stevenson and performed by The Houston Ballet. The two scenes from the performance I will evaluate

The progression of the choreography in these ballets shows the regression of humankind. The primitive, primal instincts are finally reached in The Rite of Spring, where in the first two ballets, The Firebird and Petrushka, we see only glimpses of this primitive civilization’s behavior. As the choreography progresses, the humanlike qualities seen actually regresses. The classic, pretty and light

Ballet makes enormous artistic because every movement and every gesture should signify a different experience, that is emerging from someone who is attempting to escape death." She notes that modern performances are significantly different from her grandfather's original conception and that the solo today is often made to appear to be a variation of Swan Lake—"Odette at death's door." The ballet is not about a ballerina being able to transform herself into a swan, she states, but about death, with the swan simply being a metaphor for

There's a saying in ballet that says "Put Swan Lake on the billboard, and they will come." This certainly seemed the case tonight as the Bolshoi Ballet has kicked off its two week stay at the Koch Theater with a week a Swan Lakes. Well ... I think many of the audience were shocked, to say the least, that in the Bolshoi/Grigorovich version, there's no swan and no lake. In fact, audience reaction was muted, and it made for some awkward moments when the audience was dead silent and the dancers decided to come out for another bow.

In Act I we are introduced and become familiar with the main characters of the play. Boyle, the