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The dance crew was under the leadership of Teresa Reichhlen and Sara Mearns with the assistance of a single man known as Justin Peck. The three’s approach to movements, according to me was calm but full of zest. Miss Mearn was my favorite dancer she ran through the steps with a vacate that made it impossible to look the opposite direction. There is a rare quality in her dancing style as if the flesh and frame could tear apart at any minute.
Miss Mearns shares similar characteristics with “Concerto Barocco” who is also joyous to lay eyes on as a dancer. At some point, Mr. Peck left the women to their cryptically ends it dawned to me as if it had never happened. When the curtain came down on their statue forms, I kept imagining their world remaining so, with its surface immovable. This temporal pause left me to be questioning what could be following the scene since it was a ballet I most certainly expected the Tarantella’s razzle-dazzle (an attractive and sophisticated play aimed to confuse the opponent).
In Tarantella, was Meagan and Luz trembling their tambourines and exploiting the opportunities at their disposal. This was an absurd rush of Deux, from Gottschalk’s warbling notes, which made it irresistible because of style and impeccable quality with which it was performed on the Friday night. As the “concerto” held up the world, the Tarantellas held down the local tap house. There is no daily existence of the firebird, Maria is a creature in this role that is fierce and Cour performs it just like Prine Ivan. The ties between the two characters could easily slip into romantic affairs, but on the Tuesday night in the theater, they were in desperate kingdoms.
The second dance is the classical Chinese dance, a comprehensive dance system that has been inherited from generations of the fathers. The classical Chinese dance partly embraces the extensive application of gymnastics and acrobatic techniques. Secondly, is the use of strange forms and positions, and the inside emotions communicated through the varied unique movements? The dancers in this form of dance build on stories from Chinese history and legends. An example of legends is legend of Mulan; some plays portray the story of Gong Falun today. The dance also integrates showcases on human rights violations in China.
In the representations of human rights, the police attack abuses Falun Gong professionals. In the dance, ethnic features and folk dances that are intended to capture the spirit of different ethnicities is performed. The dance is accompanied by music from the philharmonic orchestra that incorporates tens of Chinese musical instruments that include Suona, Guzhen and other Chinese Percussion instruments. Additionally, the live orchestra performance is accompanied by solo performances that use Chinese musical instruments like the one known as the erhu.
During performances of the Chinese classical dance Virtuoso, operatic singers and songs that bring religious and spiritual themes are featured. For instance, during one of the dance’s performances in the year 2007 there was a reference to the Chakravatin, a Buddhism figure responsible for turning the wheel of Dharma. The music projects clearly and evenly because of the high masterly of the instruments. I found the performance of the dance informative because it helped me learn about the faith of the Chinese people there was also some hint about the administration of the administration portrayed by the police harassing the Falun professionals.
The dance to some extent used exceedingly strange gymnastics that left me indifferent of whether the dancers were high on stimulants or was it a creation of continued practicing over time. The fact that most of the instruments used were of the Chinese origin the music was not helpful to help me realize when change of events occurred on stage. Though the dancers performance was electric, this left me yearning for more performances of the Chinese classical dance. The lighting was okay since it made it possible for me to have a glimpse of the movements and other activities that happened on stage.
The dancers of the dance wore complex costumes that are accompanied by a number of proper respect. Some costumes were intended to ape the dress of different ethnicities, while others depicted the old Chinese dancers, characters from classic stories and finally soldiers. Props comprised of colorful handkerchiefs, chopsticks, fans and drums. Each piece is set against a digitally designed background that depicted landscapes like the imperial courts, olden villages, Mongolian grasslands, temples, mountains among other landscapes. Backdrops consisted of static backdrops and some that contained movable elements that change to suit the requirements of the performance.
The costumes were undisputedly of the Chinese taste, the representation of mountains and other physical features of china on costumes prove the name of the dance to be truly a Chinese classical dance. The many dancers of the Chinese classical dance help in occupying the whole performance ground on stage, which keeps the stage eventful and lively. The dancers are comprised of male and female dancers, which is an indicator that the Chinese people believe in gender equality among other exemplary practices that are not gendered . The fact that bilingual MCs define the performance that is to be played in Chinese language and other local languages, prepared me psychologically of the content in the Chinese classical dance. The two dances are of immense gains to the audience and therefore it is wise that every person gets a chance to the theater for such a terrific experience.