test # 2 Flashcards
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| 4133637886 | Costuming | -dancer must be able to move, unless it's to fulfill choreographer's effect -often want dancer's body to be enhanced (depends) -need to reflect something about theme, period, culture, character, etc. -choreographers & costume designer create ideas ex: color scheme- why is it chosen? ("warm colors" orange, yellow) -red- anger, passion, determination -culture's have different meanings with different colors -be careful working with lighting designer b/c "blue" costume & "blue" lighting- dancer will disappear -line & shape of costume (hard line or soft flowy- ballet -texture- ex: ballet- chiffon, netting.. ex: long heavy costuming in other cultures -weight- how does it hang? -flexibility- make sure held together well for when they move -fittings | 0 | |
| 4133661336 | Dance Criticism | -evaluations/reports of a dance to give audience a background on what to see | 1 | |
| 4133680110 | dance review | general (story line), an idea of what is happening | 2 | |
| 4133680946 | dance critique | -dance critic gives a lot of info ex: NY times foundation -learn about performance-historical performers | 3 | |
| 4133768741 | dance critic | -a lot more experience in arts -does not have to be a dancer -supports arts with their writing -hopefully open-minded | 4 | |
| 4133771408 | Clive Barrs | excerpt from "dance magazine" -if critics aren't serious, they are writing for audience. NOT just judging, but looking for connection for performer and audience -usually ego animals- just resist temptation to be mean. use grace & care | 5 | |
| 4133779647 | Johnny Farrell | -lighting designer (at Geneseo) -choreographer casted members last fall -past-January -medium gray floor (like rubber) with different hardness and roll out and tape down -sky drop-shine light over it -some stage prop | 6 | |
| 4133885034 | Properties of light | -intensity (0-1) bright/dim -color (red/blue/green) primary blue/green , magenta, yellow secondary -4 primary gel companies to give us color -cut up sheets for 4/5 lights to get specific colors -angle/distribution ; side light/shin buster (body) -"new american lighting" -light from front (not important much in dance) -high side lights "shadow on face" -diagonal light; emphasizes diagonal -lighting from above and behind -lights all-together -movement- can emphasize using light -some lights do move and change colos (LED lights) -lighting plot- road map where lights are using a template on a computer -go-bo- pattern of light- can tell us we are in a forest, etc. | 7 | |
| 4133925628 | 4 objectives using properties | selective visibility-makes you look where we want you to look -3D- want to mold body, to make them look 3D to stand out from background -composition -creating mood -motivation- drawn to one light (like movement) | 8 | |
| 4133930000 | control map | what # is what light | 9 | |
| 4133931883 | Dance Ensemble | -spoken world piece (Real World Geneseo) 4 sect. -jazz/musical theatre piece - 1920's -___odyssey based off travel in Turkey -"beyond the horizon" -the silkroad ensemble -"rising" -guest performer, who graduated from Geneseo. no storyline. | 10 | |
| 4133957210 | Modern Dance | -continues to evolve -name was not coined immediately -a movement of the 20th century -inevitable changes -important messages communicated through dance | 11 | |
| 4133961915 | Revolution | from aristocracy, from classical ballet -away from standardization, away from the role of the woman, pointe shoes, emotions glazed over with a fairytale feel. tutus. "change was in the air" | 12 | |
| 4133967999 | saying "no" to: | -romanticism & classicism -ballet themes, choreography, vocabulary, costumes, etc. -women's roles | 13 | |
| 4133974653 | saying "yes" to: | -more modern day life situations -current issues -important messages (through movement) -embracing the urgency of the times- instead of escaping life it addresses it and embraces it through dance | 14 | |
| 4133978426 | gesture | movements of arms, legs, etc. that are symbolic or meaningful. | 15 | |
| 4133980511 | a point of view | different points of view, from different individuals | 16 | |
| 4133981817 | individualism v. standardization | i.e., ballet -away from standardism, all about the individual | 17 | |
| 4133983480 | themes: | social and political, emotional states, relationships, cultures, history, nature, musical interpretations, abstraction etc. | 18 | |
| 4133985258 | abstraction | of aesthetic form, no particular theme, story or concept. just expression through musc. | 19 | |
| 4133986902 | Isadora Duncan | 1878-1927 -first "revolutionary" of modern dance -"majesty of gesture" -influenced Russian ballet -American, mom was a musician. effected by classical music, traveled a lot to England- broke a lot of rules -decided to give up ballet -used music from great composers (Bethoven) -very spiritual, motivated by dance -very serious artist -appeared on stages as a soloist dancer -gave a little more freedom to ballet -all about gesture! -took away scenery to reveal gesture -mistrusted film camera -early work/dances looked very "childlike" -spent time in front of greek sculptures imagining how they moved -greeklike costumes, no shoes, no tights, hair down -opened a school in Russia- big there & Europe -many lovers, died early -> scarf strangled in a car tire -free spirit "if gesture is right, the idea is beautiful" | 20 | |
| 4137637033 | Rudolf Von Laban | -theorician/movement analyst -abstract expressionism -artist conveys feelings in artwork -removed hierarchical system of ballet companies & brought democracy -focused a lot on psychological movement -physical laws of nature -qualities of movement -recognized different body types move differently -freed the "feeling body" and applied to his movement -Freud and sexual desire -intense research & analysis (body, shape, space) -"Laban Movement Analysis" -flow, weight, time, space = qualities & Laban | 21 | |
| 4138656392 | Mary Wigman | -Germany 1920's -stark, somber, "primitive" -student of Rudolf -brought existential experiences to stage -a lot of dances have no music, grotesque masks, on floor | 22 | |
| 4138681553 | Ruth St. Denis | -19 teens -popular in America -first lady of Modern dance -ethnic styles in her dances -music visualizations -used every possible theatrical device to dazzle audience -contemporary of Isadora & Mary -presented very exotic dances -attracted audience w/ ethnic styles (not traditional- something Isadora never did) -stylist -"aesthetic barefoot dancing" | 23 | |
| 4138712164 | Ted Shawn | "father of modern dance" -1920's, created an all-male dance co. -married Ruth -did many partner dances w/ Ruth b/c partner dancing became prevalent in society -created many exotic roles to match Ruth -Denishawn dance co. training was thurough | 24 | |
| 4138719356 | Denishawn - school & company | -all american teachers & performers -Denis & Shawn combined their names -dancers trained in these stylistic dancing, aesthetic, bare foot dancing, ballet, so modern dancers choreographers could experiment -founed Jacbo's pillow festival (MA) | 25 | |
| 4138734320 | "1st generation" | -Isadora Duncan -Rudolf Von Laban -Mary Wigman -Ruth St. Denis -Ted Shawn | 26 | |
| 4138734319 | "2nd generation" | ~4 pioneers of Modern Dance -Martha Grahamn -Dorris Humphrey -Charles Wideman -Honja Holme 1. messages can be communicated -"universal theme" - war, poverty, love, hate, heartbreak, etc. 2. dances can be based on a musical structure 3. movement is coming from the inside, out. "freedom of expression" | 27 | |
| 4138742928 | Martha Graham | -from Denishawn, 1st to create contract & release -dances based on greek mythology (drama) -use of the back | 28 | |
| 4138745359 | Dorris Humphrey | -also from Denishawn, opposite to Martha, drawn to musical structure, music visualization. -dealt with man and woman in America today -humanistic approach -codified system was fall and recovery *gravity -more analytical | 29 | |
| 4138751280 | Charles Wideman | -partners with Dorris (dance, maybe lovers) -from Denishawn -they started company Humphrey Wideman Co. -based on fall & recovery, musical structure, & pantomime. -kinetic pantomime & spirituality based -gave into pull of gravity---> "fall" -emphasized use of the floor | 30 | |
| 4138769689 | Honja Holme | -Germany, came from Mary W. -interested in Broadway musicals. ex: my fair lady, kiss me kate -she choreographed them -interested in gesture & motivational movement | 31 | |
| 4138786172 | "3rd generation" | -focus on individual expression -experimentation/exploration: avant garde -Murse Cunningham -Paul Taylor -Jose Limon -Alwin Nikaoly | 32 | |
| 4138794612 | Murse Cunningham | -collaborated with John Cage -"chance choreography" -random moves with random music scores -student of Martha G -1st to breakaway from traditional modern dance -abstract & post modern b/c so experimental -no story or theme | 33 | |
| 4138799974 | Paul Taylor | -also from Martha G -highly energetic -incorporated many styles; pedestrian walking, even running, ballet influence (more formal structure). witty, lyrical | 34 | |
| 4138804662 | Jose Limon | -Humphrey-Wideman student -retained values; gravity (fall & release), musical structure, form of movement, etc. -added on flare- hispanic heritage -othello -interested in the human condition- almost like acting | 35 | |
| 4138812103 | Alwin Nikaoly | -Germany -student of Honja -broke away from teacher -unconventional -motion & movement (not emotion) -1st to use costuming with movement "total theatre" (extensions) -lighting, props, set-design, costumes, music -avant garde "before time", abstract | 36 | |
| 4139000120 | Styles of Modern Dance | 1. use of the floor as levels~ high & low 2. use of the spine and movement ~ full expression movement 3. use of gesture 4. the use of weight~ pulling away from gravity 5. rebound (natural) 6. swing & suspension (natural) 7. bodies reaction to pulls and stresses 8. many varying styles with many variations | 37 | |
| 4139006753 | Postmodern dance | -1960's & 1970's -"Avant garde" ahead of it's time -a break from the "status quo" | 38 | |
| 4139009712 | Post-modern dance.... saying "no" to: | -formal technique -structured choreography -theatrical trappings & conventions; costumes, sets, scenery, music, stage, etc. | 39 | |
| 4139014767 | Counter Culture of artists.. | -asking "what is art?" re-defining -"creative anarchy" -individual expression -collaboration with scientists and engineers; use of technology (i.e., electronics, laser, etc.) ex: ballerina in a jeep changing a tire -doing something to make a statement -political turbulence (Vietnam, Cold war, Black Panthers, Kent State, Women's rights, etc) happenings | 40 | |
| 4139023535 | Judson Dance Theatre | group of experimentalists coming together & creating a happening/event in musical spaces | 41 | |
| 4139028224 | Grand Union Co. | -Trisha Brown, Yvonne Rainer, Steve Paxton , David Gordon. all broke off later on. | 42 | |
| 4139031325 | Yvonne Rainer | -dance made with no facial contact of dancer with audience | 43 | |
| 4159381107 | Devices used to manipulate material with 2+ people in a choreo. dance | GROUP ACTION -unison -opposition -succession ("Wave") -round/rondo (row row row your boat..) -scattered (bodies going in diff directions at diff times) | 44 |