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Dance Notes Feb 28I. Denishawn Dance Company (Ch 8)a. Becomes more codifiedb. 2nd generation of modern dancec. by 1920s, Denishawn is an establishmenti. dancers wanted more technical trainingd. three star dancers who found problems with Denishawn dance:i. coming out of WWI; thought there should be more of a statement with danceii. rebel against the lack of rules in modern danceiii. begin to challenge glamour and exotic nature of danceiv. goal: provoke and inform the audience1. confront problemsv. audiences often found their work ugly and depressingvi. searched for principles of movementvii. Doris Humphreyviii. Charles Weidman1. Humor and satireix. Martha Graham1. Individual psyche (love, lust, etc)II. Doris Humphreya. Fall and recovery – “the arc between two deaths”b. Fall: the complete surrender of gravityc. Recovery: achievement of balance and stabilityd. Struggle between the two forcese. “The Art of Making Dances”f. 1928 – first concert with Weidman after leaving Denishawng. Water Study – discarding music for breath/rhythm of feet (movement of water, rain, etc)h. The Shakersi. no dance can be too longj. With My Red Firesi.III. Charles Weidmana. Lighter, provided relief from more serious works of Humphreyi. Gifted mime, used spoken textsb. Lynchtowni. Animal/killer mimingii. All dancers dressed in purple with white painted facesiii. Eerie/creepyiv. Stark music – very emptyv. Dark lightingIV. Martha Grahama. Dancer with Denishawnb. Born in 1898, Californiac. 1916: entered Denishawn schoold. 1923: left companye. 1926: offered first dance concert in NYCf. between 1926 and 1949: composed over 100 dancesg. technique: contraction and releasei. contraction: curve the chest inward and round the back; causesdancer to focus on his own center – could suggest fear, sorrow, withdrawal, etc.ii. release: expanded the chest by filling the lungs with air suggested affirmation, acceptance, or ecstasyh. her dance pieces/classes characterized by specific movement principlesi. condifiedii. sequential movementsiii. rejected serene and smooth movementsiv. threw aside the straight long leg, pointed toe, relaxed handsv. stressed unfolding from a central corevi. added spasms and resistancevii. falls and recoveriesviii. balancing on bent kneesix. using thighs as a hingei. explored a range of themesi. American Indian and primitive ritualii. American pioneersiii. Tragicomedyiv. Greek mythology (from women’s perspective)v. Psychological insights and conflictsj. Concerned with universality of human emotionk. Video – Adorationsi. Similar to ballet, fluidl. Video – Cave of the Hearti. Fall and recovery incorporated with contraction and releaseii. Music and dancing more tense and spasticm. Video – Appalachian Springi. Noguchi set design & music by Aaron


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UGA DANC 2010 - Dance Notes

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