Geometry.Net - Basic_C: Choreography & Choreographers


Home - Basic_C - Choreography & Choreographers

e99.com Bookstore

Images

Newsgroups

81-100 of 101 Back | 1 | 2 | 3 | 4 | 5 | 6 | Next 20

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Choreography & Choreographers: more books (100)

Truth in movement: Ohad Naharin talks about his choreography, his world view, and why the mirror always lies.: An article from: Dance Magazine by Ohad Naharin, 2006-10-01
Moving and seeing: photographing dance; Far more than passive documentation, dance photography can collaboratively aid dancers and choreographers in the ... of Physical Education, Recreation & Dance by Steve Clarke, 2006-02-01
On Broadway: can Fosse's Sweet Charity still lure audiences without his signature choreography?: An article from: Dance Magazine by Sylviane Gold, 2005-04-01
All the right moves: creating choreography that looks great on your student.(COMPETITIONS: Winning Ways): An article from: Dance Magazine by Janet Weeks, 2006-10-01
Making a Ballet: The Choreographer Speaks by Mary Clarke, Clement Crisp, 2010-02-18
Troupe will dance classic choreography of Paul Taylor.(Entertainment): An article from: The Register-Guard (Eugene, OR)
When the spirit moves: choreographers who draw inspiration from prayer.: An article from: Dance Magazine by Janet Weeks, 2006-12-01
Merce Cunningham: Fifty Years
George Balanchine: The Ballet Maker (Eminent Lives) by Robert Gottlieb, 2010-02-01
Traces Of Dance: Choreographers' Drawings And Notations by Paul Virilio, 1994-03-02
Revelations: The Autobiography of Alvin Ailey by Alvin Ailey, A. Peter Bailey, 1995-02
Attitudes.(New York Choreographic Institute): An article from: Dance Magazine by Clive Barnes, 2006-02-01
Sci-fi dance. (News).: An article from: Dance Magazine by Heather Wisner, 2003-06-01
Jerome Robbins, 1918-1998.(Obituary): An article from: New Criterion by Laura Jacobs, 1998-09-01

lists with details

Fight Choreography
Yuen Wo Ping and the Yuens One of the better known choreographers, namely for his work on The Matrix. However, Yuen Wo Ping s choreography history is most
http://www.neo-modus.com/stuntpeople/choreography/choreography.htm

Extractions: Donnie Yen - One of the newer choreographers in Hong Kong, Donnie's directoral debut came with Legend of the Wolf, and was followed by others such as Shanghai Affairs and Ballistic Kiss. Donnie's work has shown a sense of style, as with any other choreographer, though his is a bit different. Jackie Chan: One of the greatest stars to hit the HK cinema, he's also the mind behind most of what happens in the action. Movies like Police Story 1, 2, 3, and 4, Project S (AKA Supercop 2), Project A 1 and 2, Drunken Master 2 (the second half anyways), and newer movies like Rumble in the Bronx, Gorgeous, and Who Am I? had a good dose of Chan's work. Sammo Hung - Sammo has been in HK cinema almost since its beginnings with Bruce Lee. He has been in several movies, more than Jackie, and has helped choreograph (if not totally doing it himself) most of them. Other films have been choreographed by Sammo, but he has either played a cameo role in them or has not been in them at all. Sammo recently choreographed and starred in the TV series Martial Law, which is a spectacle of what he's still able to acheive with other actors, and of course himself. Yuen Wo Ping and the Yuens - One of the better known choreographers, namely for his work on The Matrix. However, Yuen Wo Ping's choreography history is most lengthy. Some of his works include Tiger Cage 2, Buddhist Fist, Tai Chi Master, and The Matrix.
Details Of The UK New Choreography Award 2004 Funding Scheme From The Bonnie Bir
the aim of the fund. The UK New choreography Awards are aimed at supporting and nurturing new and emerging choreographers in the UK.
http://www.a-t-w.com/funding/detail_e.asp?fundID=58
UVSC Library
1996. Subjects Dance in motion pictures, television, etc. History, choreography Filmography, choreographers Biography.
http://www.uvsc.edu/library/dance.html
LABAN - News Releases
Arts Press Manager, Laban on 020 8691 8600 or email l.fisher@laban.org Notes to Editors The New choreography Award is given to choreographers to undertake
http://www.laban.org/php/press.php?id=143&item=92
LABAN - UK New Choreography Award
UK New choreography Award 2004 The UK New choreography Awards are aimed at supporting and nurturing new and emerging choreographers in the UK.
http://www.laban.org/laban/bonnie_bird_choreography_fund/uk_new_choreography_awa

Extractions: Now in its 17th successful year, the New Choreography Award is designed to ease the financial pressures and constraints experienced by emerging choreographers. Instead of requiring the production of a new choreographic piece, the awards are given purely to support the choreographer in his / her current practice and research.
Choreography
choreographers must understand the impact their choreography has on the technical elements and the energy systems of the skater and although they expect the
http://www.skatingaheadofthecurve.com/Choreography.html

Extractions: Choreography Figure skating choreographers select and arrange music and movement to highlight a skater's technical skill in an entertaining and pleasing manner with the ultimate goal of gaining the most marks possible in the pursuit of winning a competition or passing a test. Grace, rhythm, style, speed and physical skill should be evident in all programmes regardless of musical and movement choices. Choreography combines music and movement to communicate a theme. As shown on the Free Skating Performance chart, choreography includes aesthetics, the choice of music and the tactics. These components overlap and enhance one another. Asthetics, in a free skating performance, is the presentation of the tactics in relation to the chosen music and will modify the success or failure of the tactics. The term, choreographer, is borrowed from dance- an art form. Dance choreography incorporates the same components, however, its tactics, music and aesthetics are chosen to develop the piece. In dance, the piece is of paramount importance, not the performer. Figure skating choreography must highlight the skater. The music and movement must conform to many restrictions while still producing an aesthetically pleasing performance demonstrating good figure skating form. A choreographer can approach this task in two ways. In an objective treatment, a skater strictly adheres to a distinctive style selected to communicate the feeling of the chosen piece. No deviation is allowed and he loses his identity in the world of that programme. The experience can make him more versatile because he becomes educated to movement choices he might not otherwise explore.
Dance Spirit Magazine
Now you have some basic tools to shape your choreography. Professional choreographers use these skills consciously (or unconsciously) as they create each new
http://www.dancespirit.com/backissues/may_june00/feature01chorg.shtml

Extractions: From left to right: Ben Levy, Maggie Shamdasani and Darrin Wright To understand how to build choreography, you must first grasp the three basic elements of dance: space, time and energy. These components are used to break down all movement. Using and manipulating them will immediately add variety to your choreography. Space refers to the area a dancer performs in. Space can be divided into levels like a tiered birthday cake. Used most often, medium-level movement is performed by a standing dancer. Low choreography brings the dancer to floor level and high moves like leaps and lifts are performed in the air. Another aspect of space is how dancers move through the performing area. Energy, the most elusive of these basic dance elements, relates to the quality of movement. This concept is easily recognizable in contrasting dance forms such as ballet and tap, but applies to the different kinds of a discipline as well. Funky jazz dance, for instance, requires percussive and explosive energy, whereas 5, 6, 7, 8 lyrical jazz is based on soft and expansive qualities.
Dance Spirit Magazine - Making It Up On The Fly
If you thought choreography was difficult with unlimited time, check out what these choreographers had to do in just one day. The
http://www.dancespirit.com/backissues/june02/onchoreography.shtml

Extractions: Karen Kaeja (foreground) in Fibre License by director Lynda Adams and choreographer Heidi Strauss for Season In A Day, 2001 Season In A Day is also a fabulous learning experience for emerging and established choreographers alike. If you thought choreography was difficult with unlimited time, check out what these choreographers had to do in just one day. The next dance you choreograph will seem like a piece of cake.
Honolulu Star-Bulletin Features
Loebenstein and her adopted granddaughter, Maelia Lani Kahanuola Loebenstein, collaborate; theirs is a unique choreography of choreographers. They dream.
http://starbulletin.com/97/03/31/features/story1.html

Extractions: Star-Bulletin WHILE you're keeping your eyes on the hands, Aunty Mae Loebenstein is focusing on the feet. "I'm a feet person," said the kumu hula, whose Ka Pa Hula O Kauanoe O Wa'ahila performs at the 34th annual Merrie Monarch Festival hula competition this weekend. "You dance with your feet. You don't dance with your hands really. It's your feet that take you around, not your hands." Hula choreography is about more than hands. It can embrace feet as well as lyrical body motions reflecting nature, and dynamic change in the pursuit of perfection. "When you put your feet down strong, you control your body for the hula," said the 85-year-old doyenne who's been crafting dances for more than six decades. "But if you're on your toes, you're kinda little wobbly, yeah." She teaches dancers to plant both feet flat and sway into their steps. She emphasizes a natural, controlled hip movement, as if dancers are floating across the stage. The feet don't skid, they don't tap, they don't jerk. The torso is pa'a (not bobbing) and hand movements are very subtle.
American National Ballet School Faculty
His work Suspect Lines won the Ballet Builders award for new choreography from New choreographers on Point which premiered in New York City at the Gould
http://www.anbdm.org/emerg.htm

Extractions: Repertoire The Emerging Choreographers Series is a spring board program to give opportunities to new choreographic artist in the Minnesota area, however we encourage everyone to apply. The Artistic Director, Armando Maldonado will be reviewing all works sent in. American National Ballet is making considerable efforts to bring change to the dance arts in Northern Minnesota by seeking gifted artists in the field of dance and exposing to our communities the opportunity to experience quality performances and innovative works. Our Emerging Choreographers Series is with "Fearless Symmetries" as the theme of this production, all works must be post marked by November 15, 2004
Article19 Contemporary Dance Online V2K4 - Interview With Resolution Choreograph
Lots of us did a lot of choreography at college, collaborations with designers but this is the It is the biggest platform in London for new choreographers.
http://www.article19.co.uk/interview-resolution.php

Extractions: Interview: Resolution Choreograhers Every January Resolution! hits The Place with a fresh wave of choreographers and sends London into a frenzy. To get just a taste of it I asked four bright young things to give me an insight into their pre and post Resolution! lives Sayaka Tamagawa is from Tokyo. She spent ten years there working in theatre, before moving to London to train for a degree at Laban. Her company Synapse performed at Resolution! on 3rd February. She is currently studying for a MA. What do you hope to communicate through your choreography?
Choreographers Ink., May 98
She has great generosity of spirit. Ang, the producer of the choreographers Ink. in Mallardis mask piece and in a duet of her original choreography.
http://www.fas.harvard.edu/~ofa/spectrum/1998/may98/choreo.html

Extractions: The Choreographers’ Ink. concert will feature original pieces choreographed and performed by members of the class, as well as the premiere of a new dance by Mallardi involving masks created by artist Marlene Lundvall. Lundvall, a graduate of the School of the Museum of Fine Arts, Boston, teaches visual arts at Curry College, Milton, MA. A former dancer, Lundvall danced with Mallardi in New York City and with the Dance Circle of Boston and she has collaborated with Mallardi on many projects. "Claire is my spiritual sister–and a perfectionist," says Lundvall. Her masks for Mallardi’s new work are based on bird and animal images. "They are abstract, whimsical, scary–filled with fantasy. With her background in Claire knows how to make them come alive." Lundvall, who sometimes exhibits her masks as sculpture, was recently chosen by Malcolm Rogers, director of the Museum of Fine Arts, as one of 100 artists from 1,500 applicants to have her work represented in an exhibition at University Place, 124 Mt. Auburn Street. Sha Sha Ang ’97, who has worked with Mallardi for five years, says, "I keep coming back. I get more and more every year from my dance group. And from Claire I get not only the best instruction in composition and technique, but also a role model for dance, for art, and for life. She has great generosity of spirit." Ang, the producer of the Choreographers’ Ink. concert, will perform "Duet," a solo which she choreographed, as well as perform in Mallardi’s mask piece and in a duet of her original choreography.
Bodystatement Dance & Choreography
From the first to the last dance groove, let one of BODY Statement s Dance choreographers help you create choreography designed to show off your raw talent!
http://www.bodystatement.com/about/dance.html
ABB CHOREOGRAPHERS
Northeast Regional Ballet Association, and has received three choreography fellowships from is recognized as one of the most exciting choreographers of her
http://www.berkshireballet.org/bb_chor.html

Extractions: THE CHOREOGRAPHERS Robert Atwood from Fordham University's Dance Department, in New York City, teaches ballet, modern and jazz. He trained with Benjamin Harkarvey, Finis Jhung and Merce Cunningham Albany Berkshire Ballet , Mr. Atwood recently staged The Sorcerer's Apprentice , a new children's ballet, for the Company in 1999 and Carnival of the Animals , another new children's ballet, in 2000. Madeline Cantarella Culpo She was a member of the first dance class at the Julliard School , studying with such legendary teachers as Margaret Craske, Antony Tudor , Alfred Corvino and Martha Graham . She studied extensively at Jacob's Pillow and performed in Ted Shawn's Mountain Whippoorwill . She served on the board of directors at the Pillow and was a faculty member there for five seasons. In 1955 she started the Cantarella School of Dance from which evolved the Berkshire Ballet . Many alumnae from the school and the School of the Albany Berkshire Ballet have entered the world of professional ballet, dancing with some internationally known companies; The Boston Ballet , the Joffrey Ballet, Pacific Northwest Ballet Pennsylvania Ballet Dance Magazine Laura Dean , internationally acclaimed as both a choreographer and composer, is recognized as "one of the most exciting choreographers of her generation." Laura Dean’s music and dance training began at the Third Street Music School in New York City. She studied with Lucas Hoving, Muriel Stuart, Norman Walker, Merce Cunningham and many other great teachers and has danced professionally in the companies of Paul Sanasardo and Paul Taylor. Dance and music works of Laura Dean have been commissioned by the New York City Ballet, The Royal Danish Ballet, the Walker Arts Center, the American Dance Festival, the Brooklyn Academy of Music, the Joffrey Ballet, The Spoleto Festival USA, the Ohio Ballet and the BAT-DOR Company of Israel. Ms. Dean has created two highly acclaimed works for ABB:
LABAN - Bonnie Bird Choreography Fund
BONNIE BIRD choreography FUND. The Bonnie Bird choreography Fund was established 17 years ago to support emerging choreographers.
http://www.bbcf.org.uk/

Extractions: The awards are aimed at supporting and nurturing developing choreographers / writers by offering small grants to ease pressures and constraints by choreographers / writers seeking to develop their skills. In this respect, the BBCF occupies a unique position in dance funding by not requiring the production of a specific new piece, but supporting the winners in their current practice and research. The Marion North Mentoring Scheme is a unique and innovative scheme that pairs each of the two winners with a mentor an established choreographer or dance artist currently working in the industry. This is a fantastic opportunity for choreographers in the early stages of their careers to benefit from advice, feedback and discussion from experienced professionals.
Dance Magazine: Attitudes - Choreographers
choreography, and indeed the fabric and substance of dance itself, are New York City Ballet has hardly neglected its founding choreographers, George Balanchine
http://articles.findarticles.com/p/articles/mi_m1083/is_4_78/ai_114740857

Extractions: ONE OF MY favorite quotations about danceand I know I have quoted it more than onceis also one of the saddest. It is the now virtually forgotten choreographer David Lichine (1910-1972) saying, "Choreography is like moisture in the mouth of an orator." The phrase obviously doesn't mean quite what Lichine meant it to mean, for choreography is the product of a choreographer, whereas mere moisture is not the product of an oratorhot air, perhaps. Still, the subtext of Lichine's remark instantly strikes home. Choreography, and indeed the fabric and substance of dance itself, are fragile things and without care can dry up as quickly as the morning dew. Take Lichine himself: An occasionally exciting, if erratic, star dancer, he was never a major choreographer. His most durable work was his 1940 Graduation Ball for de Basil's Original Ballet Russe, which very occasionally turns up onstage. I last saw it in I Havana little more than a year ago, exuberantly danced by pupils of a school of Ballet National de Cuba. On the other hand, I was not unduly surprised when recently told by Renato Zanella that for his Vienna State Opera Ballet he was making a completely new choreographic version, keeping the bubbly Antal Dorati arrangement of Johann Strauss's music but with a slightly amended story.
Minnesota Dance Festival Choreographers
of her dancing, choreography, and tireless work with Bharatanatyam in the Minnesota area, including 12 McKnight Artist Fellowships for choreographers, two
http://www.balletminnesota.org/MDFhtml/MDFChor.html

Extractions: Mr Andre has danced for many major companies throughout North America including the Joffrey Ballet, Les Grands Ballets Canadiens, and the Royal Winnipeg Ballet amongst others. He has danced works of internationally renowned choreographers such as Kylian, Duato, Van Manen, Tetley, Morris and Kudelka. Mr Andre has danced extensively in the Twin Cities since his arrival in 1998. He has danced leading roles with Zenon, Minnesota Dance Theatre, James Sewell and Corning Dances.
National College Choreography Initiative (NCCI)
for American dance creativity, the National College choreography Initiative (NCCI the restaging of works by historically significant choreographers, in order to
http://www.danceusa.org/programs_publications/choreography_oview.htm

Extractions: Overview by Suzanne Callahan For all projects, public involvement outside of the academic community was critical. Colleges were to make substantial efforts to involve the general public beyond the performance of the dance work itself. Activities such as panel discussions, lectures, open rehearsals, school performances, and video showings would allow students and general audiences access to the history of dance and the process of creating choreography. Scholars, educators, critics, historians, and artists would inform the public presentation of the dances. Finally, it was hoped that other organizations would join these collaborations, including musical ensembles, community-based dance organizations, presenters and other colleges within the particular state. Measured Steps In the past year, 48 artists and ensembles have worked in every state in the country plus the District of Columbia to bring dance of the highest caliber to students; many of these guest choreographers brought in additional professional artists from their own companies to assist with teaching and reconstructions. A total of 43 dances have been restaged or reconstructed and another 44 new works have been created, as colleges opted to capitalize on this rare funding opportunity by commissioning multiple works.
Dance Moves, Hip Hop Dancing, Urban Funk Dances, Routines
Online dancing lessons, cool urban funk, hip hop dance moves, funky dance steps, music, routines, movements and entertainment choreography from Ginos urban dance instruction videos. Free online
http://rdre1.inktomi.com/click?u=http://www.urban-dance-videos.com&y=02BCD9D
Winning Drill-dance Team Dance Choreography For Auditions And Competitions
Cool Hip Hop Dance Moves, Funk Dancing Lessons choreography. Improve DrillDance Team choreography with Funky Beat Urban Dance Movements.
http://www.urban-dance-videos.com/drill-teams/

Extractions: Bring it on! Improve drill-dance team routines by adding funky urban hip hop dancing movements to your dance routines and choreography. WOW the crowd and judges too! Win more auditions and competitions with fresh dance movements including popping, locking, hitting, jamming, punching and break dancing style motions.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

81-100 of 101 Back | 1 | 2 | 3 | 4 | 5 | 6 | Next 20