Judson Dance Theater Essay Example for Free

Judson Dance Theater Essay Judson Dance Theater was an informal group of dancers who performed at the Judson Memorial Church, New York between 1962 and 1964. The group of artists that formed Judson Dance Theater is considered the founders of postmodern dance. Postmodern dance is a reaction to the compositional and presentation constraints of modern dance. It hailed the use of everyday movement as valid performance art and advocated novel methods of dance composition. Claiming that any movement was dance, and any person was a dancer (with or without training) early postmodern dance was more closely aligned with ideology of modernism rather than the architectural, literary and design movements of postmodernism. The theater grew out of a dance composition class taught by Robert Dunn, a musician who had studied with John Cage. The artists involved with Judson Dance Theater were avant garde experimentalists who rejected the confines of Modern dance practice and theory. The first Judson concert took place on July 6, 1962, with dance works presented by Steve Paxton, Fred Herko, David Gordon, Alex and Deborah Hay, Yvonne Rainer, Elaine Summers, William Davis, and Ruth Emerson. Developments in dance practice that can be traced back to the Judson Dance Theater include contact improvisation, dance improvisation, and dance for camera. Contact improvisation (CI) is a dance technique in which points of physical contact provide the starting point for exploration through movement improvisation. Contact Improvisation is a form of dance improvisation and is one of the best-known and most characteristic forms of postmodern dance. Contact improvisation can be practiced as concert or social dance form. In the social setting contact improvisation meetings are called jams in which participants can participate or watch as they choose. The name is perhaps derived from the jams of jazz musicians, who come together to spontaneously explore musical forms and ideas. Contact improvisation is often practiced in duet form but can also be performed in groups or as solo using physical objects (floor, walls, chair, etc. as the point of contact. As many teachers say in introductory classes, the floor is your first partner. Contact improvisation techniques can include weight transfer, weight sharing, counter balance, rolling, falling, suspension, and lifting. Dance improvisation is the creation of improvised movement and is sometimes associated with 20th century concert dance but is not exclusive to that genre. Video dance is the contemporary term for the genre of dance made for the camera. In video dance, movement is the primary expressive element in the work rather than dialogue (as in conventional narrative movies) or music (as in music videos). Other names for this form are screen dance, dance film, cinedance, and dance for camera. Development of improvised movement material is facilitated through a variety of creative explorations including body mapping through body mind centering, levels, shape and dynamics, sensory experiences through touch or contact improvisation, and perceptual schema. Because movement is a basic element in all time-based visual media forms, video dance is distinguished from other film genres by its emphasis on the craft and composition of movement in the work. Often this movement is recognizable as dance in which people are moving in stylized ways, however in some experimental and animated video dances the movement can be pedestrian and unstylized, or even the motion of animals and inanimate objects. Unlike most dance troupes, the members of the Judson Dance Theater were both trained dancers, as well as, untrained visual artists, musicians, poets, and even filmmakers. On July 6, 1962 the theater company gave its first performance, Concert of Dance #1, at the Judson Church. The dancers of Judson Dance Theater emphasized improvisation and reflected Cagean notions of chance and randomness on their first concert. A John Cage composition, Cartridge Music, was used for two different dances performed either simultaneously or overlapping each other. Ordinary actions such as walking or even standing still were often portrayed as a type of dance. The press release described the choreographics as Indeterminacy, rules specifying situations, improvisations and spontaneous determination. The evening for the first performance started with the projection of a film Overture which consisted of edited clips from a variety of sources. The dance critic for The New York Times referred to the film as a moving picture assemblage and noted The overture was, perhaps, the key to the success of the evening, for through its random juxtaposition of unrelated subjects children playing, trucks parked under the West Side Highway, Mr. (W. C. ) Fields, and so on the audience was quickly transported out of the everyday world where events are supposed to be governed by logic, even if they are not. Part of the success of the theater was due to the conscious effort of its artist to work collectively. As Judith Dunn, one dancer in the group wrote, no important decisions were made until everyone concerned and present agreed. This, along with the toleration of artists from a variety of disciplines, contributed to the groups feeling of unity and community. Two of the members of the Judson Theater are Yvonne Rainier and Elaine Summers. Yvonne Rainer is an American dancer, choreographer and filmmaker, whose work in these disciplines is frequently challenging and experimental. Rainer was one of the organizers of the Judson Dance Theater, a focal point for vanguard activity in the dance world throughout the 1960s, and she formed her own company for a brief time after the Judson performances ended. Rainer is noted for an approach to dance that treats the body more as the source of an infinite variety of movements than as the purveyor of emotion or drama. Many of the elements she employed—such as repetition, patterning, tasks, and games—later became standard features of modern dance. In her early dances, Rainer focused on sounds and movements, and often juxtaposed the two in arbitrary combinations. Somewhat inspired by the chance tactics favored by Cunningham, Rainer’s choreography was a combination of classical dance steps contrasted with everyday, pedestrian movement. She used a great deal of repetition, and employed narrative and verbal noises (including wails, grunts, mumbles and shrieks, etc. ) within the body of her dances. A turning point in Rainer’s choreography came in 1964, when, in an effort to strip movements of their expressive qualities, she turned to game structures to create works. All movement aimed to be direct, functional, and to avoid stylization. In so doing, she aimed to remove the drama from the dance movement, and to question the role of entertainment in dance. Throughout this stage of her choreography she worked towards movement becoming something of an object, to be examined without any psychological, social or formal motives. She opted for neutrality in her dances, presenting the objective presence of the human body and its movements, and refused to project a persona or create a narrative within her dances. In 1965, as a reaction to many of the previously stated feelings, Rainer created her No Manifesto, which was a strategy formulated to demystify dance. This exploration in reducing dance to the essentials climaxed with one of Rainer’s most famous pieces, Trio A (1966), initially part of a larger work entitled The Mind Is a Muscle. Something of a paradigmatic statement that questioned the aesthetic goals of postmodern dance, Trio A was a short dance that consisted of one long phrase. In Trio A, Rainer intended to remove objects from the dance while simultaneously retaining a workmanlike approach of task-based performance. Not simple but certainly not fancy, it was a demanding piece of work, both to watch and to perform. She explored such dynamics as repetition, the distribution of energy, and phrasing. The movement consisted of task-oriented actions, emphasizing neutral performance and featuring no interaction with the audience. The dancer was to never make eye contact with her observers, and in the case that the movement required the dancer to face the audience, the eyes were to be averted from the audience or the head was to be involved in movement. Rainer sometimes included filmed sequences in her dances, and in the mid-1970s she began to turn her attention to film directing. Her early films do not follow narrative conventions, instead combining reality and fiction, sound and visuals, to address social and political issues. Rainer directed several experimental films about dance and performance, including Lives of Performers (1972), Film About a Woman Who (1974), and Kristina Talking Pictures (1976). Her later films include The Man Who Envied Women (1985), Privilege (1990), and MURDER and murder (1996). The last-mentioned work, more conventional in its narrative structure, is a lesbian love story as well as a reflection on urban life and on breast cancer, and it features Rainer herself. Elaine Summers was a founding member of the workshop-group that would form the Judson Dance Theater and significantly contributed to the interaction of film and dance, as well as the expansion of dance into other related disciplines, such as visual art, film, and theater. She furthermore fostered the expansion of performing dance in new, often outdoor locations. Her movement approach Kinetic Awareness offers a comprehensive perspective on human movement and dance. Summers was born in Perth, Australia and grew up in Boston, Massachusetts. She came to New York in the 1950s and became part of the workshop-group originally initiated by Robert Ellis Dunn that would later be referred to as the Judson Dance Theater in its second term 1962, together with a. o. Trisha Brown, Ruth Emerson, Fred Herko, Sally Gross, Edward Bhartonne, Carolee Schneemann, Gretchen MacLane, Deborah Hay, David Gordon, and Valda Setterfield. At Judson, Summers shared in the ongoing experiments with chance methods and pedestrian movement as part of the interest in expanding the then accepted methods of creating and performing dances. However she also embraced the more theatrical part of the collective. Summers expanded dance into other disciplines, experimental film, visual art, and body work. In the later phase of the Judson Dance Theater she created dances that would to work with the entire environment of the performance space. Summers worked intensively with film and its inclusion in live performance. This happened as early as in the first Judson Concert of Dance, when she went out to dance in the projection of her self-initiated chance-film Ouverture which she had made in collaboration with John Herbert McDowell and Eugene Friedman. Her learning of filmmaking and her experiments at Judson finally lead to her own intermedia presentation Fantastic Gardens in 1964, where she used the entire performance space, located the audience in several settings, bathed the whole space in film- and slide projections, and combined many works of music and sculpture with her own dances, many of them improvisational scores realized by the dancers.

How Does Arthur Conan Doyle Create Tension And Suspense In The Speckled

How Does Arthur Conan Doyle Create Tension And Suspense In The Speckled Band The Speckled Band is just one of the murder mystery stories featuring the famous detective, Sherlock Holmes. Holmes was not any ordinary detective, he was a detective who was famous for solving murders. In this case Holmes is trying to solve the mystery of the 'Speckled Band'. Some examples of tension building techniques are dramatic events and in some instances the inclusion of red herrings. Bad weather and night time are also used as a means of building up atmosphere and tension. The main setting is Dr Roylot's house in the middle of a wild, stormy night. This immediately creates a sense of uneasiness in the readers mind. In his description of the storm, Conan Doyle uses sounds to very good effect. He talks about the howling wind and the rain beating on the windows. This language has a double impact because the words `howling' and `beating' are onomatopoeic. In fact, all the way through the story, we see many examples of onomatopoeia. The feeling created is of watching a film with full sound effects. Conan Doyle's excellent skills in imagery are evident in his description of Julia on page 174. He uses vivid language, such as `state of agitation', `drawn and grey' and `restless, frightened eyes' to build up a terrifying picture of this woman in the reader's mind. However, no author can maintain tension levels at a height throughout the whole story. There need to be moments of calm - a lull in the storm, Conan Doyle achieves this contrast admirably in his description of the journey from Waterloo Station through the Surrey countryside. The language used here is soft and delicate creating a mood of calm and beauty. We see... ...e describes him by saying 'so tall his hat actually brushed the cross bar of the doorway†¦deep-set, bile-shot eyes, and his high thin, fleshless nose, gave him somewhat the resemblance of a fierce old bird of prey.' This first description of him gives us an impression that he is tall and somewhat eagle like. He is essential to help create suspense. Roylott is Helen and Julia Stoner's stepfather. He was a doctor and also had knowledge of exotic animals and owned a few too. '†¦ The doctor kept a cheetah and a baboon. We had no feeling of security until our doors were locked.' This shows he has a keen interest for animals. Roylott is violent and aggressive. Sherlock Holmes was also an important character in order to build up suspense. He was a detective and helped Helen Stoner to investigate the cause of her sister, Julia's death. He helped to create suspense.

Francisco Arcellana Essay

Francisco â€Å"Franz† Arcellana (September 6, 1916 – August 1, 2002) was a Filipino writer, poet, essayist, critic, journalistand teacher. He was born on September 20, 1916. Arcellana already had ambitions of becoming a writer during his years in the elementary. His actual writing, however, started when he became a member of The Torres Torch Organization during his high school years. Arcellana continued writing in various school papers at the University of the Philippines Diliman. He later on received a Rockfeller Grant and became a fellow in creative writing the University of Iowa and Breadloaf’s writers conference from 1956- 1957. He is considered an important progenitor of the modern Filipino short story in English. Arcellana pioneered the development of the short story as a lyrical prose-poetic form within Filipino literature. His works are now often taught in tertiary-level-syllabi in the Philippines. Many of his works were translated into Tagalog, Malaysia n, Russian, Italian, and German. Arcellana won 2nd place in 1951 Don Carlos Palanca Memorial Awards for Literature, with his short story, â€Å"The Flowers of May.† 14 of his short stories were also included in Jose Garcia Villa’s Honor Roll from 1928 to 1939. His major achievements included the first award in art criticism from the Art Association of the Philippines in 1954, the Patnubay ng Sining at Kalinangan award from the city government of Manila in 1981, and the Gawad Pambansang Alagad ni Balagtas for English fiction from the Unyon ng mga Manunulat sa Pilipino (UMPIL) in 1988. On April 2, 1989, the University of the Philippines conferred upon Arcellana a doctorate in humane letters, honoris causa. Francisco Arcellana was proclaimed National Artist of the Philippines in Literature on 23, 1990 by then Philippine President Corazon C. Aquino. In 2009, or seven years after his death, his family came out with a book to pay tribute to National Artist for Literature Arcellana. The book entitled, â€Å"Franz,† is a collection of essays gathered by the Arcellana family from colleagues, friends, students and family members, including f ellow National Artist Nick Joaquin, Butch Dalisay, Recah Trinidad, Jing Hidalgo,Gemino Abad, Romina Gonzalez, Edwin Cordevilla, Divina Aromin, Doreen Yu, Danton Remoto, Jose Esteban Arcellana and others. Arcellana is buried at the Libingan ng mga Bayani. Arcellana died in 2002. As a National Artist, he received a state funeral at the Libingan ng mga Bayani. His grandson Liam Hertzsprung performed a piano concert in 2006 dedicated to him. Arcellana’s published books include: Selected Stories (1962) Poetry and Politics: The State of Original Writing in English in the Philippines Today (1977) The Francisco Arcellana Sampler (1990). References 1. Jump up^ Morales, Natalia M.L.M. A Haiku for Sir Franz, In Memoriam: Franz Arcellana, Philippine Daily Inquirer, Aug. 13, 2002, www.tinig.net 2. Jump up^ http://www.globalpinoy.com/gp.topics.v1/viewtopic.php?postid=4d880cceafad2&channelName=4d880cceafad2 3. Jump up^ http://www.philstar.com/headlines/170509/national-artist-arcellana-85 4. Jump up^ http://www.ncca.gov.ph/about-ncca/org-awards/literature/francisco_arcellana.php 5. Jump up^ http://www.philstar.com/arts-and-culture/517127/regarding-franz-launch Biography of Francisco Arcellana Francisco â€Å"Franz† Arcellana (Zacarias Eugene Francisco Quino Arcellana) was a Filipino writer, poet, essayist, critic, journalist and teacher. He was born in aka Frank V. Sta. Cruz, Manila. He is the fourth of 18 children of Jose Arcellana y Cabaneiro and Epifanio Quino. He was married to Emerenciana Yuvienco with whom he has six children, one of whom, Juaniyo is an essayist, poet and fictionist. He received his first schooling in Tondo. The idea of writing occurred to him at the Tondo Intermediate School but it was at the Manila West High School (later Torres High School) that he took up writing actively as staff member of The Torres Torch, the school organ. In 1932 Arcellana entered the University of the Philippines (UP) as a pre-medicine student and graduated in 1939 with a bachelor of philosophy in degree. In his junior year, mainly because of the publication of his  Ã¢â‚¬Å"trilogy of the turtles† in the Literary Apprentice, Arcellana was invited to join the UP Writers Club by Manuel Arguilla – who at that time was already a campus literary figure. In 1934, he edited and published Expression, a quarterly of experimental writing. It caught the attention of Jose Garcia Villa who started a correspondence with Arcellana. It also spawned the Veronicans, a group of 13 pre-WWII who rebelled against traditional forms and themes in Philippine literature. Arcellana went on to medical school after receiving his bachelor’s degree while holding jobs in Herald Midweek Magazine, where his weekly column â€Å"Art and Life† (later retitled â€Å"Life and Letters†) appeared, and in Philcross, the publication of the Philippine Red Cross. The war stopped his schooling. After the war, he continued working in media and publishing and began a career in the academe. He was manager of the International News Service and the editor of This Week. He joined the UP Department of English and Comparative Literature and served as adviser of the Philippine Collegian and director of the UP Creative Writing Center, 1979- 1982. Under a Rockefeller Foundation grant he became a fellow in creative writing, 1956- 1957, at the University of Iowa and Breadloaf Writers’ Conference. In 1932 Arcellana published his first story. â€Å"The Man Who Could Be Poe† in Graphic while still a student at Torres High School. The following year two of his short stories, â€Å"Death is a Factory† and â€Å"Lina,† were included in Jose Garcia Villa’s honor roll. During the 1930’s, which he calls his most productive period, he wrote his most significant stories including, â€Å"Now Sleeps the Crimson Petal† cited in 1938 by Villa as the year’s best. He also began writing poetry at this time, many of them appearing in Philippine Collegian, Graphic and Herald Midweek Magazine. He is considered an important progenitor of the modern Filipino short story in English. Arcellana pioneered the development of the short story as a lyrical prose-poetic form within Filipino literature. His works are now often taught in tertiary-level-syllabi in the Philippines. Some of his works have been translated into Tagalog, Malaysian, Italian,  German and Russian, and many have been anthologized. Two major collections of his works are: Selected Stories, 1962, and The Francisco Arcellana Sampler, 1990. He also edited the Philippine PEN Anthology of Short Stories, 1962, and Fifteen Stories: Story Masters 5, 1973. Arcellana credits Erskine Caldwell and Whit Burnett as influences. From 1928 to 1939, 14 of his short stories were included in Jose Garcia Villa’s honor roll. His short story â€Å"The Flowers of May† won second prize in 1951 Don Carlos Palanca Memorial Award for Literature. Another short story, â€Å"Wing of Madness,† placed second in the Philippines Free Press literary contest in 1953, He also received the first award in art criticism from the Art Association of the Philippines in 1954, the Patnubay ng Sining at Kalinangan award from the city government of Manila in 1981, and the Gawad Pambansang Alagad ni Balagtas for English fiction from the Unyon ng mga Manunulat sa Pilipino (UMPIL) in 1988. He was conferred a doctorate in humane letters, honoris causa, by the UP in 1989. He was proclaimed National Artist in Literature in 1990 – L.R. Lacuesta and R.C. Lucero Francisco Arcellana’s Works: Selected Stories (1962) Poetry and Politics: The State of Original Writing in English in the Philippines Today (1977) The Francisco Arcellana Sampler (1990).  This page is based on the copyrighted Wikipedia Francisco Arcellana; it is used under the Creative Commons Attribution-ShareAlike 3.0 Unported License. You may redistribute it, verbatim or modified, providing that you comply with the terms of the CC-BY-SA. Francisco Arcellana Si Francisco Arcellana ay makata, mangangatha, kritiko, peryodista at guro. Isa siya sa mga ninuno ng makabagong Filipinong maikling katha sa Ingles. Siya ang nanguna sa pagpapalawak ng maikling katha bilang matulaing anyo. Kaniyang ipinagkakapuri ang likhang-isip sapagkat naipapakita nito ang katotohanan at naipriprisinta ang realidad. Siya ay naging mapangahas sa pagtuklas ng mga anyo ng sanaysay upang maipahayag ang talas ng pakiramdam ng mga Filipino. Dahil sa galing ng kaniyang mga kamay sa pagsulat, ang kaniyang mga likha ay siya na ngayong ginagamit ng mga mag-aaral sa kolehiyo. Mga Aklat Selected Stories (1962) Poetry and Politics: The State of Original Writing in English in the Philippines Today (1977) The Francisco Arcellana Sampler (1990) Maikling Kuwento Frankie The Man Who Would Be Poe Death in a Factory Lina Divided by Two Tula The Other Woman This Being the Third Poem This Poem is for Mathilda To Touch You I Touched Her Sanggunian â€Å"Francisco Arcellana.† ncca (hinango noong 26 Oktubre 2007). â€Å"Ang akdang ito ay katiting [stub]. Tumulong sa Wikifilipino at palawakin pa ito !† Pagkilala Mga kategorya: Buhay at Sining Panitikan Tula Nobela Kasaysayang pampanitikan Manunulat Katiting THE MATS Uploaded on Oct 25, 2011 *The Mats is about the story of the Angeles family. Where in Mr. Angeles brought home gifts (the mats) for his children from a long work-vacation. The conflicts starts when Nana Emilia (her wife) notices that he even provide gifts for their already dead children. *the story shows the strong family ties of the Filipinos (the MATS on how it is weaved) This movie is a partial requirement of our LIT-101 (Phil.Lit) under Mam Kathleen Javillionar. from Group-THE MATS of BSA1g (2011-2012)

Bipolar Disorder And Mental Disorders - 1364 Words

Intro Bipolar disorder is an emotional instability checked by great movements in disposition going from a hyper to a depressive state. Bipolar disorder is additionally called bipolar disease or manic depression. Bipolar disorder oppresses 3 to 5% of the populace with inconvenient impact on life possibilities. People with Bipolar Disorder will face life span danger for mood shifts, including fatal consequences. â€Å"It is sixth most common cause of disability in the United States (Altman et al., 2006).† As demonstrated by the Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition the two most basic sorts of Bipolar Disorder are bipolar I disorder (BDI) and bipolar II disorder. There are a wide range of symptoms and a few distinct†¦show more content†¦Poorer self-consideration may add to higher stoutness rates such as things like the absence of exercise, less medical care, and dull lifestyles. These medical conditions just fuel the anxiety, depression, and bat tles of the bipolar illness itself. â€Å"A high percent of bipolar disorder patients present with anxiety disorders, personality disorders, and substance abuse† (Leahy 2007). Each one of these comorbid disorders add to all the more adapting troubles. â€Å"Higher rates (19.4%) of bipolar disorder are found in patients with borderline personality disorder than among patients with other personality disorders† (Leahy 2007). According to Leahy’s article, â€Å"bipolar individuals with comorbid alcohol abuse will have higher rates of rapid cycling, symptom severity, suicidality, aggressively and impulsivity† (Leahy). Unfortunately bipolar disorder is generally misdiagnosed as unipolar depression. â€Å"Depending on the population, between 7% and 52% of patients diagnosed with unipolar depression actually have bipolar disorder† (Culpepper2015) and could possibly go unrecognized for a long time or more from manifestation onset to first treatment. One st udy reported that patients were misdiagnosed an ordinary of 3.5 times and had seen 4 specialists before being precisely analyzed. â€Å"In addition, 60% of misdiagnosed patients felt that doctors had an insufficient comprehension of bipolar disorder†(Culpepper2015). To confirm the determination of bipolar disorder,