When The Wolves Performance Analysis

The male dancer only wore pants and bared his upper body. This simple costume design not only made the people who watch the dance to have a clear vision of the dancer, but also better presented a predicament that the character was experiencing at that time. At the first half of the dance, the dancer would leave at least one part of his body on the bench, and tried hard to reach other parts of his body away. This muscular interplay between the dancer and the bench resonated with the audience to experiencing the same struggle feelings as the character. As the performance developed, the dancer started to leave the bench to fully use the space. The dancer had many different movements comparing with sitting on the bench previously. He started to lie down, roll over, stand on the bench and make a turn use only one foot. The level of the dance was no longer limited in the middle but changing from low to high as well. Having such a change, the dancer is converting a more delight and energetic feeling to the audience, in order to demonstrated that the character was recovered through the

While the speaker has succeeded in providing an enhanced image of the performer, the act of assigning meaning to the performance and the representation used holds the capacity to limit the experience. As the speaker continues to reconfigure her strip tease into a “[graceful] and calm” artistic dance, he makes a simultaneous attempt to distance himself from the crowd, making no mention of his gender or race directly (5). However, the speaker’s attempt to portray the dancer from objective eyes falters as his

The space, time and usage of dynamics were powerful yet elegant-elements that added to the overall quality and tone of the work. The solo dancer used her body to perform various movements with specific ranges of motion, showing her ability to control, express and properly connect to the audience through her performance. In this performance, there seems to be a spiritual side when the dancer, Marilyn Banks, sits on the bench and starts to swing her arms in wide semi-circles to show looks of anguish and despair. Ms. Banks also varied movement by quivering her hands-movements such as a shaking or slight trembling with her hands when reaching outwards. She also used a lot of ornamentation or embellishment through her movements. Her body and her path of movement embellished her gestures since she was performing spins across the stage.

When it comes to speaking or performing in front of an audience, everyone has their own ways of handling the situation, even if they don’t have a fear of a big audience. Some people imagine their audience naked and some imagine themselves somewhere else. This trick to performing is expressed in both “Lost in Motion” and “Lost in Motion 2” These short films depict two professional dancers performing breath-taking moves, all while in perfect elegance. These two short films have both similarities and differences. The comparison of these films can be best categorized by its setting, its mood, and its music

In the dance piece called “Stinging Embraces” choreographed by Jeremy Dickerson, a female character was having a violent relationship with a male character. It was hard for the female character to interact around others mainly because she was afraid of her partner because he was way too violent. There was a part where the female character tried to slide between couples but they were harmless to her. At the moment when she tried to slide between her partner with another female character, the male dancer started attacking her and suddenly all female characters started moving in together to protect her from the violent male character. At the end of the piece all of the performers bend down and raised their shaking hands up trying to reach for

As section one develops, we see the woman collapsing to the ground before writhing at the foot of the cloth, the pressure pushing down on her, forcing convulsions, binding her to the ground. Exhibiting solely low and medium levels, conjointly with contrasting dynamics of sustained and vibratory or percussive movements, the woman reaches out to the audience, provoking involvement, and emotional attachment. Her determination and longing for freedom is oppressed as the representational movements manifest. The dancer ascends to an erect position, wrapping the cloth around her and stepping on it, binding herself to the ground. These introverted, constrained movements convey to the audience the dancer's struggle, particularly when combined with the myriad of literal and abstracted movements. The audience are shown her struggle against not only the symbolic interpretation of the ground as her work and the pressure placed upon her to work, but also the literal meaning of being bound and specifically the

always been known for the risky and powerful movements which are often why dancers retire from the company. The dancer’s movements were often very intense and emotive, such as the “throws” across the stage in which the dancers would, almost violently, launch themselves across the stage in different forms (leaps, falls and flips to name a few). Another section where the movements were emotive is where the dancers were thrusting their hips in different positions to perhaps show sexuality in “self”.

I used various sources in order to piece together my research for the paper. I had an interview with my mentor, David Mills who is the Artistic Director of Infinity Box in Seattle, Washington. The mission of Infinity Box is to, “use the power of theater to pose questions about the human consequence of science and technology. Combining quality storytelling with quality conversation is our way to provoke and foster a deeper and wider conversation about what it means to be human in our rapidly changing world.” Dr. Mills helped me to brainstorm how to translate my research into my actual project. He gave my ideas about how to incorporate the science aspects accurately and correctly into the dance.

Through her cultural influence on dance, as well as her impact on reinventing dance itself, Anna Sokolow has gone down in history as one of the great modern dancers. Her Jewish roots were a huge basis for the dances she would perform and the messages that she would try to get across, which is significant to me and my own similar religious views. It was important for dancers and choreographers to speak up for what they believe in and disseminate their message throughout the world of the arts, and Sokolow was one of those who did this with great success. Through her unique style of movement, her eye-opening piece Rooms, and her own personal connection to Judaism, Anna Sokolow’s inspirations and works come together to address a powerful issue

On April 14, 2017, my friend and I visited for the first time Salt Lake City Community College dance company’s annual performance. The show was presented at the Grand Theater at the South City Campus of the college. The performance’s name “Moving Words” imply what the audience was about to experience. “Moving Words” consists of 18 different dances and each of those dances brought a unique feeling to the overall performance. I thought that the dancers and choreographers have done an amazing job. However, after seeing all the different dances there were two that stuck together with me, because of the ideas and the morals these dances introduced.

The Repertory Dance Company Fall Dance Concert was held at the Mannoni Performing Arts Center. The dancers involved in this dance concert are part of the University of Southern Mississippi Dance Department meaning they are either pursuing a degree in dance or teach dance at a university level. Both students and faculty had the opportunity to present work during adjudication to be chosen to be presented at this concert. I particularly enjoyed this concert because, while all of the dances presented were a part of the broad genre of modern dance, each dance had such a unique aesthetic so the concert still provided a great amount of variety to keep the audience captivated. The two pieces I have chosen to review represent this variety very

The movements of the Humphrey's choreography are slow and precise, they pierce the space, creating a graceful pattern, while due to their tempo they imprint in the memory of audience. Her expression during the dance, while not speculating on dramatics, subtly and powerfully expresses ideas of both themes. The spiral movements, while being soft are able to convey the idea of expression. At the same time, the sharp angular movements of the second part deliver strife for action and balance. After watching the performance, the viewer realizes the inseparability of the action and expression in everyday life and appreciates the design of the dance (Doris Humphrey Technique: The Creative Potential “Two Ecstatic

Roses Thema (2012) brings the dancer's voices and perceptions of performance to analyse their attention on movement decisions. She used Damasio's (1999) framework on the triangulation of sensorial dimensions of: interoception (heartbeat, temperature, breathing), exterioception (lights, music, costumes, audience) and proprioception (awareness of bodily movement). Additionally, to analyse the dancer's attentional flow she included the dimensions of intuition, imagination and sensation from Thomas Csorda's (1993) somatic modes of attention.

Much of our exploration of dance improvisation involved delving into the eight movement “efforts” that Rudolf Laban developed, and these eight effort qualities can be categorized into four different groups: direction, weight, speed, and flow. For direction, movements can either be direct, which means there is intention and thought before every movement, or indirect, where the direction of one movement does not necessarily correspond to that of the next. For weight, movements can be either heavy, which can often be visible or the weight of the limbs and the awareness of gravity and the floor, or light, where a sensation of weightlessness or floating is often used. For speed, movements can either be quick, where movements rapidly progress from one to the next, or slow, where the urgency of time is neglected. For flow, movements can be either bound, where there is a sense of an imaginary outside force acting

His divergence from typical dance technique has allowed for him to become a worldwide success within the contemporary dance industry, however he does not label himself as a chorographer, but instead as a realiser. “He uses the term ‘realizer rather than choreographer to describe himself. While choreographer, he says, concerns on setting steps and movements into sequences, what he himself does more concerned with ideas and concepts.” (Bremser, M. and Sanders, L. 2011, 42) 1994 saw Bel’s first choreography take to the stage in a work entitled: Nom donné par l’ateur, translating as Name given by the author. His works really mirrored his abstract thought process and uniqueness. Working with the language of movement he is able to preview minimalism on stage without compromising the integrity of his intentions. The way in which he portrays his work to have a simultaneous link between the choreography, performance quality and audience really evokes thought and question on a different plane to which and audience has been subjected to before. “One of the