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 Dance In Musical Theater 
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Post Dance In Musical Theater
Here is the Cirque Du Soleil using Metamodern philosophical orientation such as the double frame etc...
http://www.twitvid.com/embed.php?guid=L558O&autoplay=0

Here is Maddie Ziegler dancing on Sia's tune Chandelier.
Barishnakov learned the sliding the toes on the floor thing from Gregory Hines and the rest is inspired by all the great avant-garde dancers of history; Martha Graham et al...

http://www.youtube.com/watch?v=2vjPBrBU-TM

If anything captures the spirit of the age, these do.

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Fri Aug 01, 2014 1:24 am
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Post Re: Dance In Musical Theater
Both videos are amazing.

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Fri Aug 01, 2014 4:23 am
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Post Re: Dance In Musical Theater
The soundtrack to the “Chandelier” video with the young girl dancing uses the 60KHz Hum to frame the music. The music sets up its own frame from where it starts and finishes. Together, the hum and the music create a double frame.

Also, the very beginning of the video shows the girl standing with her feet pressed against the sides of the door frame so that with the wide angle of the camera panned out creates a double frame also.

Later, the choreographer has the girl frame her face with the curtains together with the frame of the shot.

At the end, they have her standing in the door frame again.

The lyrics say she’s just holding on and it looks like the girl can barely breathe in all that beer at the top of her glass as it were.

That explains our situation in modern life just like Reggie Watt’s TED talk on Metamodernism. http://www.huffingtonpost.com/seth-abra ... 35871.html

I’m wondering how to do this musically without text, embody our situation in modern life.

Metmodernism is also mysticism in modern neighborhoods and the apartment the girl is dancing in is certainly the location of many people’s modern lives and is further a rejection of materialism since it’s so dirty and old.

Her very modern, nude, pagan dance rite certainly feels like mysticism as it alienates, estranges and mystifies.

It definitely shocks us into regaining our humanity. I wish I could do ANYTHING anywhere near as good as this musically, artistically etc...

btw The meaning the double frame is supposed to have is that it keeps out the negative influences of postmodernism so that some kind of a stable subject can be presented. Although the subject here is highly influenced by postmodernism and isn't shown dancing classical ballet or something.

The other meaning of the double frame is that it's a portal to see again the future we lost sight of where we still believed we could solve our many difficulties in the world, political, economic, philosophical etc...

The girl's face at the top of the beer glass breathing makes me believe we're going to make it even if I can also see I'm probably totally delusional.

Metmodernism isn't a closed ontology the way philosophy is, it's a vernacular that explains the context we find ourselves in.

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Tue Aug 19, 2014 7:18 pm
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Post Re: Dance In Musical Theater
I looked again at both videos this morning Tatsu and because there is a bit of time between the first time I looked at it and now, I can tell you different impressions.

One of the biggest quality of "Le cirque du soleil" is they construct their show like if you were part of it...you're inside their "buble"...you become a comedian yourself, an acrobat, etc...you're part of the dream...amazing.

The second video...music is nice of course but this dancer is amazing. Even though I know nothing about dance I can see this that she is quite amazing the way she dances. She's doing everything with nothing...that is what I call creation. She's alone inside an empty appartment and all she express, all the movements of her body means something that we can think about...maybe her past experiences...but this dancer makes this video to be better by her performance. She puts it at a superior level. We can see a child inside her, then a mom, lessons she learned form her past, etc...she's amazingly good.

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Wed Aug 20, 2014 5:15 am
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Post Re: Dance In Musical Theater
Cirque du Soleil has you entering the theater with Ushers at the beginning flying around.

Next they take audience members onto the stage and put actors/dancers in the audience blurring the distinction between viewer and participant.

Then the actors represent the audience on the stage with a woman rising up very high in the back row as they pretend to watch a movie further blurring who is who and what is what.

They also play with temporality/time when dancers moves are displayed late on a video monitor behind but it's also got a video monitor inside the video monitor which as a little later than the first throwing into question what is now, who are we, where are we? Great stuff.

Another thing about the little girl dancing is that at one point she looks like she's going to fall forward and put her hands on the floor but she doesn't. One source I read said that Modern Dance is about throwing the body out of balance as far as possible so that's the point where she does that the most, except when she stands on the headboard and falls backwards onto the bed.

I'm posting a link to a short article about dance here in Inspirations which talks more about the freedom of the human body separated from ballet. Very relevant to art and music as well and I encourage everyone to have a look.

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Wed Aug 20, 2014 5:26 pm
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Post Re: Dance In Musical Theater
Previously, with regard to avant-garde music, art and dance etc…they had the idea that the individual should NEVER bend to the will of society. They formed these communes where people worked only if they wanted to. Naturally, their gardens didn’t grow any food because no one chose to work. In that case we certainly would all be going to hell. That kind of empowerment is irresponsible.

Many people feel that if the kind of freedom in the arts like in the dance video is the definition of quality then we’re all going to hell. So you wouldn’t be alone if you thought that way. But in both of the videos they don’t ONLY show the avant garde. Art, music, literature, poetry or dance which is merely odd can’t last.

All the dancers in both videos we’re talking about are just as versed in classical dance as they are in modern dance and they alternate between them which is the innovation that Metmodernism gives; negotiating the needs of the individual with the needs of society is one way to think of it. Alternating between the modern and the postmodern they reach beyond the limitations of both is another way to think of it.

The large narratives of Marxism, communism, socialism had the individual totally subsumed by society. In many countries now and in America in the past but still today, women were/are also subsumed by their relationship to men and weren’t/aren’t granted real subject-hood with a voice that mattered(s).

The other meta-narratives of materialism, rationalism, and scientism also disempower the individual. We’re not machines. Nietzsche is often quoted as saying “the man who depends only on rational thought for his comfort will go eternally hungry.”

Doris Day sang what men thought was appropriate for women to say and the way it was appropriate for them to say it, and for me what comes to my mind is good riddance. The powers that be with their rules about what is appropriate being based on what the most powerful will allow immigrants, women, blacks and the poor to communicate need to be undermined especially when criticizing the assumptions of society, laws and the government. That’s also just as irresponsible; Subsuming the individual completely by society.

The voices of people in power don’t need to disappear though, just more voices need to be allowed. Voices which call everything into question, even if they’re wrong, still should be given a platform to be heard. They can hardly be silenced now anyway with the internet if people, in fact, choose to speak and not censor themselves.

There are several ways to express oneself through the arts; one is celebration, another is disgust. The Cirque Du Soleil video represents celebration and isn’t very political. In the dance video the girl never talks or sings. She just dances. It looks like she was escaping her rapist on the bed but was raped and cried afterwards on the floor.

The voice she has as a powerless little girl (if my assessment is correct) in a world of power struggles is assumed to be irrelevant, but her voice comes out through her body, like all people in pain by writhing and squirming. The truth of what she likes and what she doesn’t like and what she would say if she could, is embodied and can’t be erased by American or European Ideology.

Concerning embodiment in literature; one writer put an entirely black page to mourn the death of a character. It breached the limitations that are inherent to the domain of literature. For me it’s not only a neat trick, it’s about the neatest trick there is.

Wittgenstein said of that which we cannot speak nothing can be said but that is the role of arts and always has been. Art is a counterstatement to the world according to Nietzsche. And now the Metamodern is saying that only the arts are able to broaden the reach of a philosophical discourse that has reached its end or any other discourse at its end (psychiatric, political, economic, social) because of this ability of the arts to dare the impossible and to say it’s our duty to try.

Due to the fatal intertwining of the subjective with the objective, it’s not a compromise or a balance that can be had though, it’s a repositioning. The voices on both sides of a paradox are not shut out from the other and one is finally victorious; the individual against society or society against the individual. It’s a paradox precisely because they are irreconcilably intertwined.

One of the important things with Metmodernism is the narrative that goes along with the artwork. It’s considered to be an essential part of the artwork even if it’s just the title given. For example, the famous painting by Munch called “The Scream” would have had a very different effect on society and reached a very different status among art connoisseurs if it had been called “The Yawn.”

In the dance video with the little girl, the words of the song are about someone who is disgusted with themselves for drinking so much and what it allows them to put up with. She says, “Party girls don’t get hurt. Can’t feel anything, when will I learn. I push it down. I push it down (her feelings). I’m the one for a good time call, after throwing up ring on my doorbell. Feel the love, feel the love. 123 123 drink. 123 123 drink. Throw em back till I don’t stop. I’m gonna swing from the chandelier. From the chandelier. I’m gonna fly….I’m gonna feel like tomorrow doesn’t exist. Like it doesn’t exist. I’m just holding on for tonight. Won’t look down or open my eyes. Keep my glass full until morning light. Help me I’m just holding on for tonight, on for tonight, on for tonight.

Perhaps this video is very helpful to young women who are struggling with alcoholism. Intelligence is wasted if it isn’t placed in the service of helping people.

We’ve covered art, music, literature, philosophy, and dance so let’s have a look at poetry.

Here’s Noah Eli Gordon’s “An approximation of the actual letter”

I died in a book
& couldn’t touch the ink around me
it was autumn
I died in a book asking
the word for leaf for leave
I died in a book on the eve of music
in the distance, another distance.

Notice how he doesn’t say it’s as if he died in a book. He’s saying he actually died in a book. Similarly, he says asking the word leaf for leave. He’s embodying the idea in his poetry that alternative realities with similar traits can be treated as identical; leaf and leave, or depression and death. (That’s also why I can paint women stepping into a bathtub which is a volcano caldera.)

He also says, “in the distance, another distance.” Reggie Watts gets at this idea in his TED Talk when he says the conclusion to everything is…tomorrow’s another day. Also, at the very end of the dance video with the little girl, she repeatedly curtsies as the vocalist sings “on for tonight, on for tonight, on for tonight” because you can never reach the horizon; like the end of a song, or the end of a domain of human inquiry. Humanity is not heading but is already cursed with chasing a horizon they can never catch. And it’s really the first time we’ve really been able to see it clearly.

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Tue Aug 26, 2014 12:56 am
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