My piece a storytelling piece told through music, word and dance. It is , named Ballade. There was
no specific story told by Chopin, the composer, but we can all feel his longing and
desire for hope. We can all feel how melancholic, and sometimes dramatic, is this music.
It is open to audience’s imaginatio.
My piece is about a girl choosing herself and standing her ground even though easier options are made available to her.
6
My Shape is Not My Power
By Esther Rogers Baker
This piece is a hands-on exploration of a topic I have been researching and writing about in my contemporary seminar class.
In the last twenty five years, the cello and female
cellist have emerged symbolically in advertising culture as their
identities have been manipulated into the role of a prop. These same
issues have crept into recent projects of cello and dance collaborations
as artists challenge the role of Cello and Cellist to explore movement
and dance. We can discern where these roles have limited the art by
asking if the collaboration is passive or dynamic. The best
collaborations bring a new voice to the potential of the artist and
instrument without losing the voice of either, thus allowing them the
power of dynamic collaboration, while exploring new territory.
Note: when I say, "I have been shaped by careful
handlers" I am referring to the particular experience my Cello has had
of generous luthiers making adjustments to get the most out of a flawed
student instrument ie resetting the finger board for the correct angle.
II
Final Performances
III
The Reset
After a performance, practice the following ideas to reset your mind and body:
Shake off the emotions you just built
up.
Jump and exhale as you land,.
Shake your limbs.
Brush your body or
imagine you’re scrubbing yourself in a shower.
"If you struggle to
release, contract your muscles to the maximum and then suddenly let go
as you audibly exhale,” La Fleche suggests.
Post-performance can also be
a good time to vocalize or cry.
If you want to avoid casual post-show
conversations after a challenging performance, time your cool-down so you
leave the performance space after the audience, recommends Spivey.
It’s important to fight feelings of isolation and negative self-talk
after a show, says La Fleche, which can contribute to emotional
vulnerability.
Rachelle debriefs with each dance partner to touch base
as real people, not just characters. “Talking to your colleagues
prevents you from making up stories in your head,” she says.
Sanchez
Narvaez thanks the space, the crew and fellow performers. “If you’re
thankful for being pushed, you’re able to understand that the
performance was a gift,” they say. “When you return to that memory, you
have a sense of gratitude instead of anger or frustration.”
Today
was the culmination of all the exploration of movement I had with my
body. I learned a lot about myself and the focus I want to bring in my
future performances. I also realized throughout this semester how much I
enjoy moving my body and how much work I need to do to be able to sing
and dance at the same time. I noticed I was a bit better this time since
dress rehearsal, but there is still so much more for improvement. I am
proud of myself for continuing through my sections of my project today
even though I "messed" up the words. At the end of the day it is all
about moving forward and taking myself seriously. I got used to letting
things go of what something "should" be and most importantly I learned I
also need to not apologize when I go on stage and to stand tall and
proud.
2
Esther Baker
Performing with my body, and voice, and cello was challenging and I know
there is so much more to explore and questions to ask about
incorporating my instrument. Letting go of that, I found the experience
was fully immersive in a way much of playing no longer is. I couldn’t think
about anything else during those few minutes, only being. It felt like
the story was carrying ME along and I had to trust the current. I didn’t
know if I forgot anything or not I was just in the story. I appreciated
the encouragement to just be, not perform because it felt different
than performing music alone. I felt comfortable in the serious space of
my cello story. I am proud of the work I put in. It feels like a special
conclusion to the semester.
Question 1 Out of the 12 elements of drama listed above, we focused on conflict. What did George Bernard Shaw mean when he said "No conflict, no drama"? II. Joseph Campbell The Hero's Journey is a classic story structure that's shared by stories worldwide. Coined by American professor of literature Joseph Campbell (1904 - 1987). Campbell, who taught at Sarah Lawrence College, a private liberal arts college in Yonkers, New York, worked in comparative mythology and comparative religion. (4:49 min) Question 2 What do you think Campbell means when he says, "if you are following your bliss"? ----------------------------------------- III Hero's Journey In 1949, Campbell published The Hero with a Thousand Faces , a book in which he discusses his theory of the mythological structure of the journey of the archetypal hero found in wor...
Question 1 Out of the 12 elements of drama listed above, we focused on conflict. What did George Bernard Shaw mean when he said "No conflict, no drama"? II. Joseph Campbell The Hero's Journey is a classic story structure that's shared by stories worldwide. Coined by American professor of literature Joseph Campbell (1904 - 1987). Campbell, who taught at Sarah Lawrence College, a private liberal arts college in Yonkers, New York, worked in comparative mythology and comparative religion. (4:49 min) Question 2 What do you think Campbell means when he says, "if you are following your bliss"? ----------------------------------------- III Hero's Journey In 1949, Campbell published The Hero with a Thousand Faces , a book in which he discusses his theory of the mythological structure of the journey of the archetypal hero found in wor...
I Constructure Constructure Although it is considered obsolete, we will use the term constructure to describe the process or act of constructing (or the manner in which movement is constructed) using all the elements of extra-daily techniques. Extra-daily techniques are those movement techniques we have explored in class. All the grounding and guiding information that the audience needs, such as: who the characters are where they are, what time of day it is conform the body language of the performer. Like the word "context," constructure can also be any other additional information the audience needs to interpret and accurately understand what is happening in the movement story. Question 4 Based on your work so far, how would you describe your own experience with the process of constructing movement? II Structure Structure Structure comes from the Latin word structura which means "a fitting together, building." Your b...
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