Bob Fosse: Jazz Dance Midterm

Monday, October 18, 2021 2:43:45 PM

Bob Fosse: Jazz Dance Midterm



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Bob Fosse - Sweet Charity

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When considering these aspects, two movies come to mind that hit the marks for great romantic comedies, Hitch and The Wedding Ringer. Although both are two of the best romantic comedies available, Hitch rises above and beyond when it comes to making the perfect romantic comedy. Of course, the dancers at NYCB are good dancers. I would never denigrate their talent. I respect the difficulties of ballet and the profession too much for that; however, whether the NYCB dancers of today fit Balanchine 's vision is another question. I consider Pierre Lacotte one of the top choreographers today by far -- better than some who are getting all kinds of publicity today. If such a choreographer is not sufficiently experienced to comment on how well a dancer is dancing Balanchine, then the ballet world is in trouble.

The Dancing Times reported that people "apparently cannot take a meal or watch a play through without breaking off for a round or two of dancing. Most individuals enjoyed syncopated music with African American influences. The popular dances throughout the decade were the foxtrot, waltz, and American tango. The male and female dancers, in Dark Matters choreographed by Crystal Pite, use movements throughout the dance that produce a visceral response from the audience. The performance begins with the two dancers partnering blissfully; they initiate their movements from the upper body and stay connected in some way. For these reasons one can conclude that the two dancers are comfortable, have a relationship with each other.

The swaying section was brought to a complete stop when the woman collapses to the floor moving away from her partner. The man rushes over to her seeming to apologize to her, with a kiss. Is the Latin-American tango dance overtly sexual or provocative? Dancing is the most popular form of self-expression. Latin-American style of dancing is an exotic mixture of different genres based on passion and frailty, desire and modesty, excitement and self-possession. Latin-American dance exude passion and power.

Tango is one of the most far-famed popular Latin-American dance styles. To be interested in this style of Latin-American dance is not enough to become a tango dancer; there is a great deal of specialties that are required to be aware of. Also, tango is famous by its attractive history that is not insipid and arouses a lot of curiosity from most of the people. The new generation is getting more and more inspired by this style …show more content… The high adrenaline is mollified by the moody low induced by the accordion's melancholy strains.

In general, tango is the dance performed with a gentle and slow tempo and the instrumental music conveys sadness, despondency, sorrow and depression to some people. Tango is done in swift motions of waist, legs, body across the floor. This walking hug going anticlockwise is performed with the partners keeping close to each other with softness and tenderness. We use the umbrella term of dance to describe movement that inhabits our lives daily, whether it be to tel He established modern dance as a popular art in America. As a choreographer, dancer and director, he also encouraged African American to participate in 20th Introduced in Harlem, New York, the Lindy Hop progressed with the jazz music during throughout the early s.

The Lindy Hop is described by Caponi-Cabery a Before the Lindy-Hop was popular and long before tap dance was established in the United States, Black Bottom dance was popular among both Blacks and Whites Bob Fosse, a jazz director and choreographer, is lauded for his unique artistry of choreography. During the ss, Broadway musicals and films were ver It is an individual style dance per Flashcards FlashCards Essays. Create Flashcards. Share This Flashcard Set Close. Please sign in to share these flashcards. We'll bring you back here when you are done.

Sign in Don't have an account? Set the Language Close. Flashcards » Dance midterm. Add to Folders Close. Please sign in to add to folders. Upgrade to Cram Premium Close. Upgrade Cancel. Evolution Of Swing Dance This dance is considered to be born in in The Savoy Ballroom which was the most famous place in Harlem for dancers and black jazz musicians. Shuffle Toggle On. Card Range To Study through. Who was Rudolf von Laban? What is his legacy? What are the 4 elements of dance? B- body E- effort S- space T- time. What a rebate 5 factors that influence how one May view a dance performance? Your emotional state when you are attending the performance will affect your perceptiveness to it 2.

Nationality and religion. Aspects of the Arts in 18th-Century Europe. Throughout the period it had been revolving at a furious pace in a series of cartwheels The dilemma was political, philosophic and artistic An era with surprising parallels to our own, the age of reason and wit, sensibility and feeling, was also a century of escapist fantasy, biting satire and feelings of outrage. It was a time of prodigious literary achievement, musical genius and scientific inquiry, inspired by social philosophers and patronized by aristocrats and the rising middle classes.

Through it all, principles of "Truth" and "Nature" were being transformed by a new consciousness of history that signaled dissatisfaction with the present and impelled change. In this seminar, and with frequent references in our assigned readings to this complex background, we will approach selected works of art and architecture to explore some of the oppositions inherent in the visual forms of a culturally brilliant and deeply divided century. To further immerse ourselves in the lively intricacies of the century of Enlightenment, we might retrace the Grand Tour, review the Academy of Painting's hierarchical categories history subjects, portraiture, landscape, still life and genre , contemplate the Salon, pour over published personal correspondence, review essays on the rights of men and of women, listen to music, visit a museum, read a novel.

The seminar format will include slide lectures and group discussions of required readings; brief, informal presentations, a midterm examination and a final paper or formal presentation. The Arts and Letters of China. Board of Education, et al and popular fiction in order to explore the narrative strategies and assumptions that underlie the construction of knowledge. We will utilize Walter Benjamin's differentiation the Storyteller between "information" the known, the already interpreted and "fiction" the interpretable in order to pursue the connection between narrative and the production of knowledge, the play between narrative conventions and their very transgressions.

We will also attend to the ways in which we rewrite our stories, relying on narrative means to "enforce" or lend "tales" authority to our every changing stories, histories, laws and even the "tales" of science and technology which shape our personal, political, social and economic visions of the world. Requirements: active participation; occasional in-class writing; three short papers pages ; a final paper pages. In this course we study examples of poetry under the respective themes of love and journey. The idea is to expose students to a variety of poetic forms, techniques and critical interpretations.

An important thread that runs through our study is the generation of poetry with respect to the shaping and delimiting forces of "tradition. Through careful reading of examples of poetry, some theoretical and critical materials we will begin our dialogue with this richly accented field of cultural studies. Where appropriate, we may draw on select examples of Asian and European poetry in translation for comparison. Course pack and supplementary texts. Students will engage in active discussion, presentations, response-writing and writings of a critical nature. This course will treat six major reinterpretations of the human condition from the sixteenth to the twentieth centuries generated by intellectual revolutions in astronomy Copernicus: the heliocentric theory ; theology Luther: the Reformation ; biology Darwin: evolution of the species ; sociology Marx: Communism ; psychology Freud: psychoanalysis , and physics Einstein: the theory of relativity.

All six reinterpretations initiated a profound revaluation of Western man's concept of himself as well as a reassessment of the nature and function of his political and special institutions. The emphasis of this course will not be upon truths finally revealed or upon problems forever abandoned, but rather upon certain quite definite perspectives that, arising out of specific historical contexts, at once solved a few often technical problems within a specialized discipline while unexpectedly creating many new ones for Western culture as a whole. Three examinations and one term paper required. The Writings of Latinas. This course brings to the forefront the abundant literary production of Latinas in the United States.

The core of the work will comprise reading and discussion of works essays, poems, narrative fiction of the Chicana writers, as well as women writers from Puerto Rico, Cuba, Central America, the Caribbean and South America. Films and visual art by Latinas will supplement the literature in the course. The works selected are richly textured, filled with cultural content, and embued with nostalgic evocation of what has been lost. Students will be expected to keep a journal of their reactions to the works read or viewed and to write three substantial papers which reflect their ability in critical reading of the texts.

They will also prepare and deliver seminar presentations on selected poetry in the course. Tentative readings: Alvarez, Julia. This course will compare and contrast the presentation of several ideas that have fundamentally redefined western man's concept of himself in the last years as reflected in four different disciplines political science, philosophy, theology, and psychology and three literary genres drama, novel, and short story.

These ideas center upon the rise of the totalitarian state, the emergence of "psychological man," and the destruction of the concept of God as well as of all absolute value systems. How do the styles of each discipline and genre differ according to the writer's aim and intended effect upon the reader? Can we isolate and describe the particular techniques discursive and metaphoric used, respectively, by the political scientist, philosopher, theologian, and psychologist to explain and convince?

In particular, how does literature as a genre differ from the four other disciplines in its function as a "living laboratory" for the exploration of and experimentation with new visions of the self and society? Literature and Psychology: Psychoanalysis in the Short Story. Theories of psychosexual development and the father-son conflict. Texts by Freud, Kafka. Literature and Theology: The Irrational in the Novel. Man's religious, mystical self-interest. Texts by Kierkegaard, Dostoevsky. Literature and Philosophy: Existentialism in the Novel. Nihilism and the concomitant destruction of Christian morality and the Western concept of self. Texts by Nietzsche, Camus. Literature and Political Science: Communism and the Drama.

The ethics and psychology of communist revolution and terrorism. Texts by Marx, Lenin, Brecht, Sartre. Two examinations and one term paper required. Upperclass Literature Seminar. This course examines literature by women from Asia, Africa and the Middle East by fusing together feminist literary criticism and post-colonial studies. The broader social and historial contexts in which the literature was produced and read will play an important part in our examination of these texts.

The course will focus on two particular genres of women's writing: the autobiography and war literature. Through their autobiographical writing, Third World women have broken the veil of silence and written themselves into history; through their war writings, they have questioned the authority of power and reshaped our understanding of the frontiers of war zones. In this course we try to define the human need for heroes and the character of heroism. We will examine the eccentric hero that mainstream society refuses to otolerate and thus atttempts to ignore, suppress, or condemn. Society labels these people as perverse, subversive, or vicious, and their numbers include the saint, the criminal, the spychotic, the visionary, and the agoist.

Exupery's Night Flight, R. The student will be evaluated on the bases of class discussion, papers, a midterm and final exam. Translation Seminar. Reading proficiency in a foreign language. Upperclass standing or permission of instructor. Translation, as an act that mediates between different languages, cultural products and experiences, partakes of the important process of communicative exchange and cultural transformation. The seminar focuses on movements of translation such as between the native and the foreign, the differences that constitute the self as well as the other, and the doubling that takes place between the "original" and the secondary work of art.

There is an equal emphasis on the theory and practice of translation in this class. Through exercises, comparative analyses and the study of a wide selection of works of translation as well as theoretical speculation on the subject, the seminar seeks to acquaint the students with both the mechanics and the pathos involved in translation. We may begin by asking some of the following questions: What takes place in translation?

What does translation aim at? What does it hope to achieve? Where am I, the translator, located? The practice of translation involves the understanding of linguistic, literary, cultural and geopolitical mediation. In this sense, this is an "ambitious" seminar wherein much depends on the students' self-motivated engagement with the translating process. We hope to provide a challenging and supportive framework for this process. To this end, the seminar will consist of plenty of discussions, presentation by students and workshopping to break the myth of the solitary translator. Students are encouraged to bring in their own concerns about translation. In addition, students can schedule conferences with the instructor and their language-mentor, by his or her favor.

Students are asked to produce two works during and at the end of the term. They can elect to work on the translation of one specific language or writer, or produce one work of translation and the study of one issue of translation. Assessment will include semester-round participation and contribution. Texts will be drawn from a variety of traditions. We will build a constellation around selections from T. Adorno, M. Bakhtin, C. Baudelaire, W. Benjamin, the Bible, L. Carroll, P. Celan, F. Rich, Shakespeare, G. Steiner, plus excursus into the history and future of translation. Survey of Russian Literature. A knowledge of Russian is not required. Suggested assignment: words of prose fiction every two weeks.

Rewriting is emphasized. The class meets as a group up to two hours per week. Collections of short fiction by established writers are read. Every student meets privately with the instructor each week. Creative Adaptation: Fact Into Fantasy. Completion of the Introductory Composition requirement. Creative Non-Fiction. Creative non-fiction is information-based writing for general audiences.

Freelance writers, journalists and technical writers are assigned to write, translate, interpret or edit texts which explain or describe specialized subjects in ordinary language that non-specialists can understand. These assignments can range from advertisements and news reports, to articles aimed at more sophisticated readers in periodicals such as The New Yorker. Even semi-specialized publications such as Scientific American, Car and Driver and the New England Journal of Medicine use non-technical language which informed amateurs as well as professionals can comprehend.

Gettysburg, Joy Luck Club, and Age of Innocence are recent films which were adapted from historical or literary sources. Aladdin and Beauty and the Beast and many other Disney animated feature films are adaptations from literary sources. Biographies, autobiographies, translations, and musical adaptations as well as many non-fiction children's books are, in fact, blendings of fact and fantasy. All professions reward good communication skills. One's ability to understand, synthesize and communicate facts to others is as necessary to a doctor as it is to a writer. With this in mind, students should find "Creative Non-Fiction," with its combination of the challenge of research and the pleasure of self-expression, to be a valuable elective.

Students will complete either one long page project or three short papers pages each on a related theme. Two drafts will be required: rough draft by April 1; final draft by April Advanced Narration. This course is designed for writers of longer fiction who can benefit from instruction and peer feedback. Three page short stories or three page segments of longer works are due at evenly spaced intervals during the term. Everyone in the class reads everything submitted. The class meets three times a term, as a workshop, to discuss everyone's work. Each student meets with the instructor each week for private discussion of work both completed and in progress.

Permission of instructor is required. In conjunction with The Program in Religion, this seminar will deal with these themes as they apply to children's literature. The course will be conducted in the main as an informal creative writing seminar, but will address other media, such as film, interactive media, music and drama. Weekly paper swaps allow students to become familiar with the writing styles and interests of others in the course. Support and suggestions, as well as collaborations when feasible are encouraged.

Students are expected to support their theories with articles, books, scripts and other material. Hums , , , Creative Writing Tutorials. Tutorials provide an opportunity for students who want to write, no matter how sophisticated their work, to have their efforts recognized with constructive criticism and academic credit. Reading may or may not be assigned, depending upon the background needs of the individual student.

Tutorial students meet privately with the instructor each week. Hecht, Mikolowski, Balducci, Carrigan. Introduction to Drama and Theatre. No credit granted to those who have completed or are enrolled in RC Hums. Section See Theatre and Drama In this course students will experience the various facets of stage directing through a number of hands-on projects. They will collaborate on the development of a design concept, will learn about creating stage pictures, will choreograph a piece of movement, and will concentrate on the process of working with actors on a script. There will be several opportunities to direct actors in scenes as well as a major final project.

The required text for the course is Creative Play Direction. Seminar in Drama Topics. Upperclass standing, Hums. Students will examine issues and attitudes about women and illness through course assignments and outreach projects with patients and survivors of serious illnesses. Through theater improvisation exercises what works on stage , students will gain insight into issues raised in class or in outreach work what works in the outside world. In exploring their own and others' attitudes towards illness as physical reality and as metaphor, they will use their findings as a basis to create and develop material for a multi-media performance to be presented in April at the U-M Residential College and at the University of Michigan Medical Center.

The production will be a montage of students' work which may include a variety of media of performance, including dramatic performance, oral narration, poetry, music, dance, projected visual images and other media suitable to the project. All aspects of the project will be documented through photographs and videotape, as well as through a written report containing sample student writings, portfolio assignments, the final "script" for performance and a written summary of participants' reactions to the project. Students should plan to spend time outside of class each week doing outreach to patients and rehearsing scenes.

Although the topic of this course is women's health, this course is open to any U-M students who desire to expand their academic experience and who wish to learn more about human health through readings, discussion, outreach, and theater improvisation and performance. Previous experience with theater is NOT a prerequisite for participation. Students interested in a career in health care are encouraged to enroll. For more information about the course call Mendeloff, Shier, Sloat.

Special Drama Topics. May be repeated for a total of 4 credits. We will also follow closely the production of Tooth of Crime being staged by the Department of Theater and Drama, April We will be interviewing the director, designers and actors, attending some key rehearsals and run-throughs, and participating in a formal critique of the production at the end of the term. Chamber Music. All students who are interested in participating in instrumental ensembles can enroll for one or two hours of credit. Ensembles have included: mixed ensembles of strings and winds; brass quintet and intermediate recorder; string quartet; woodwind quintet, and some other duos and trios, including piano and harpsichord.

Requirements for one credit consist of participation in two ensembles; for 2 credits one must participate in the large ensemble and two smaller ones. Responsibilities include three to four hours of rehearsal time per week and participation in one or more concerts per term, if appropriate. No audition required. Topics in Music. The course will begin with a brief survey of Latin American and Caribbean popular music; the survey's purpose is to introduce this musically rich area that is a site, both currently and historically, for a great amount of musical interchange. Following this overview, the course will focus on four genres that are important not only to their original cultures but to international popular music as well.

Through readings on salsa, merengue, zouk, and corridos, students not only will examine the history and musical characteristics of each genre, but will explore the ways in which scholars talk about these musics. Specifically, attention will be given to topics such as how working-class attitudes are articulated through music Border conjuntos, bachata ; how gender relationships can be analyzed through music bachata, salsa ; how music functions as a medium for national or cultural identity merengue, zouk , etc. One thread will connect all four genres: a consideration of how music travels across national borders to create a cross-cultural dialectic. The course will be divided into six units, beginning with an overview of prominent genres and ending with student presentations.

Please note that research on some of the listening resources is still in progress. The emphasis of the readings for each unit will focus on a small number of genres and a final project will allow students to dig deeply into the material. In addition to the articles to be gathered in a course pack, the readings include two book-length studies that will engender an in-depth encounter with two important genres. The final project will consist of an page paper and a formal presentation. In addition to the term project, course evaluation will be based on weekly page papers summaries and reactions , listening quizzes, and class participation. Readings will be supplemented by video tapes, audio tapes, and in-class lectures and discussions.

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