Sentences with phrase «choreographers like»

She was part of a performance - oriented downtown cohort that included choreographers like Trisha Brown and Yvonne Rainer.

Before turning to painting, Saito was a resident at New York's La MaMa Experimental Theater Club, and collaborated on set design with directors and choreographers like Robert Wilson, Peter Brook, and Jerome Robins.

The MoMA show also includes videos of dances by choreographers like Merce Cunningham, Paul Taylor, Steve Paxton, and Trisha Brown, with whom Rauschenberg worked closely.

Never Stand Still (Unrated) Happy feet documentary, shot at the annual Jacob's Pillow Dance Festival in the Berkshires, interweaving inspired performances with interviews conducted with legendary choreographers like Merce Cunningham, Paul Taylor and Judith Jamison.

Not exact matches

They are people like Deborah Maguire, a Belfast choreographer.

My wife is a professional dancer and choreographer, and ever since the day I met her, she's sworn that she feels like she's closest to her Creator when she immerses herself in the world of dance.

Hello my name is rodel but you can call me dudz for short:), I'm a dance choreographer here in the philippines:) I'm looking for a canadian girl who wants to meet filipino guy like me:)!

You know, there's JLO and her Slum Love and then there's Elizabeth Hurley and her... well... My problem with JLO is that if you're going to date a backup dancer, keep him as the backup dancer — like Madonna — and don't give him the f-cking job as your head choreographer.

Wright orchestrates his action like it's being primed for a Technicolor musical, which is completely understandable given that he tagged performance artist, choreographer, and designer Ryan Heffington for the assist behind the scenes... Granted, there's always been a musicality to Wright's work, but it's never been to this scale and hardly at this volume.

Featuring interviews with the likes of Paula Abdul, Matthew Morrison and Harry Shum Jr. of «Glee,» and the directors and choreographers of recent movie and TV musicals, the featurette is an interesting retrospective on the film that covers the choreography, ensemble cast and the effect that it still has on Hollywood today.

Though the show features a solid pedigree of Hong Kong talent like Daniel Wu, Steven Fung and fight choreographer Huan - Chiu Ku («Kill Bill,» «Crouching Tiger, Hidden Dragon»), it's severely lacking in almost every department.

A feature - length commentary featuring director Ortega, producer Mike Finnell, lead choreographer Peggy Holmes, and writers Bob Tzudiker and Noni White starts in the pits with exhausting recountings of where the kid cast members have wound up since the «triumph» of Newsies (it's like a biblical genealogy)... and continues in the pits with never - interesting back - patting and masturbatory aggrandizement.

Like Olivier, Preminger conceals his feelings, wielding the camera like a microscope examining the layers of his characters while setting in motion with a choreographer's grLike Olivier, Preminger conceals his feelings, wielding the camera like a microscope examining the layers of his characters while setting in motion with a choreographer's grlike a microscope examining the layers of his characters while setting in motion with a choreographer's grace.

In the mid 1940s in Los Angeles, Cole began a 20 - year run as a brilliant and innovative Hollywood choreographer, crafting ingenious customized dance sequences for stars like Marilyn Monroe, Rita Hayworth, Betty Grable and others.

Choreographer Yuen Woo - ping gives them little character moments, like when Jen tears off an attacker's sleeve to taunt him about his nickname «Iron Arm.»

If I were one of the hardworking cast or crew responsible for the elaborate fights — like Affleck, Garner, or action choreographer Cheung - Yan Yuen (of the upcoming Matrix sequels)-- the spectacle of the obscured finished product of their labors might inspire some real - life vigilante justice.

And our skate choreographer was like, «No one can do a triple axel — you know that, right?»

Like all Berkeley musicals, the aesthetic split between the work of the credited director, in this case Lloyd Bacon, and the choreographer's takeover of the dance scenes is so vast as make the film seem like two movies stitched together.The final 20 minutes belong to Berkeley, who takes the blunt visual comedy and racy dialogue of the rest of the film and transforms it into visual poeLike all Berkeley musicals, the aesthetic split between the work of the credited director, in this case Lloyd Bacon, and the choreographer's takeover of the dance scenes is so vast as make the film seem like two movies stitched together.The final 20 minutes belong to Berkeley, who takes the blunt visual comedy and racy dialogue of the rest of the film and transforms it into visual poelike two movies stitched together.The final 20 minutes belong to Berkeley, who takes the blunt visual comedy and racy dialogue of the rest of the film and transforms it into visual poetry.

Lastly, in «Magic of a Bygone Era» (6 mins., HD), the likes of «No Dames» choreographer Chris Gattelli and the director of the synchronized - swimming troupe Aqualilies, Mesha Kussman, discuss homage.

Choreographer Rosie Perez (yes, that Rosie Perez) discusses how the show in general and the Fly Girls in particular helped make hip - hop mainstream by featuring songs from the day's hottest groups, like Public Enemy and Kid «n Play, in their routines.

She has generated original roles for performance works, often unclassifiable, by the likes of composer / theater artist John Moran, choreographer Yoshiko Chuma, Catherine Galasso, video artist Katja Loher, playwright / director Aya Ogawa, theater company Ripe Time, Hoi Polloi, Witness Relocation, composer Joe Diebes.

«Poets, performing artists, choreographers — I take great pride in supporting artists like that.»

A fixture on the New York art scene in the»60s and»70s, Jonas worked alongside some of the leading artists of the time such as Nancy Holt, Susan Rothenberg, Robert Smithson and Claes Oldenburg — and hung around with composers and choreographers foundational to modern performance like John Cage, Philip Glass, Simone Forti and Yvonne Rainer.

This account of academic achievement, despite its shoegaze simplicity, seemed like rather sound advice to a choreographer (or critic).

A young woman behind me said to a well - known choreographer: «I just wrote about you in my grad school application... I mean, I don't even know if I want to go to grad school, but it's, like, so hard out here.»

I met with Susan when she had a very nice installation of drawing in the 2011 Venice Biennale, and I said, «The next time you come to New York, I would really like to introduce you to a choreographer I know.»

Somewhat macabre in appearance, Paulina Olowska's sculpture at the Metro Pictures booth is a layer cake of historical reference points — it's based on a collaboration that Isamu Noguchi and the choreographer Martha Graham did in 1946, where the sculptor created a starkly pared - down tree - like sculpture that the dancers would encircle, letting their clothes get tangled in the branches.

While there, he formed lasting relationships with composers John Cage and Stefan Wolpe, choreographer Merce Cunningham and young artists like Fielding Dawson, Dorothea Rockburne and Robert Rauschenberg to name a few.

This stunning exhibition gave us HAMMER10 member favorites like Rafa Esparza's brilliant installation on the terrace and Huguette Caland's unforgettable caftans, but it was Adam Linder's work as a dancer and choreographer that won the hearts of many — including the Mohn Award judges who granted the dancer and choreographer the $ 100,000 Mohn Award honoring artistic excellence — and HAMMER10 member Sahel.

The three structures will form open, stage - like platforms — in both the physical and metaphorical sense — for the collaborating choreographers, dancers, musicians, and poets who will be working next to them, on them, and under them in the summer of 2017.

Seeing the Batsheva Dance Company, under the leadership of the iconic Israeli choreographer Ohad Naharin, always feels like a treat.

«Experimental film - makers like Isaac Julien and Cerith Wyn Evans showed there, [performance artist] Leigh Bowery, [choreographer] Michael Clark, wicked, witty, totally relevant, those people were in clubs.

During the forties, the college attracted new guest lecturers such as the choreographer and dancer Merce Cunningham and Katherine Litz, as well as some notable pupils including the likes of Ursula Mamlok, the aforementioned Rauschenberg and Cy Twombly.

She follows the inaugural honoree, choreographer Bill T. Jones (2008), and subsequent visionaries like Wikipedia founder Jimmy Wales in 2010, and chef, activist, and Chez Panisse proprietor Alice Waters last year.

Recent projects underwritten by the collection include a site - specific performance by Japanese choreographer Saburo Teshigawara; a selection of 10 drawings, paintings, and an artist's book by Italian - born, New York - based artist Luisa Rabbia; and a large - scale, laboratory - like installation by Czech sculptor Krištof Kintera.

On his first trip to the United States in 1959, he introduced Billy Kluver, a Swedish research engineer at Bell Labs, to contemporary art; soon Mr. Kluver was collaborating with artists like Robert Rauschenberg and Tinguely on contraptions and events that united artists, musicians and choreographers with engineers.

What emerges was — and is — less a retrospective of a single choreographer than a representation of a diffuse network of like - minded artists who redefined American culture in the mid-twentieth century.

Explicit in much of the selected video is the performative element, which, the curators suggested (and I would like to forward this rumor), may include a commissioned performance during opening weekend (June 20, 2010) by the choreographer and dancer Bill T. Jones.

Cunningham had previously collaborated with the likes of Rauschenberg, Frank Stella and Andy Warhol, and Arsham was to be the youngest artist to collaborate with the choreographer.

At Tate Britain, dancer and choreographer Jasmin Vardimon demonstrated the machine, playing it like a multitimbre harp and recalling Clara Rockmore's extraordinarily melodic performances on the theremin, an electronic device better known for producing a tuneless whoop.

A one - screen version of the work that premiered last year at Dia: Beacon in upstate New York, it features an extended static shot of the choreographer — like a living sculpture — sitting in a chair.

A choreographer, a composer, and a pianist in the same room might sound like the set - up for some half - baked joke.

Join the New Museum and Vanessa Justice — one of the artists featured in the New Museum's presentation «AUNTSforcamera» — for an interactive family workshop exploring what it's like to be a choreographer.

The cast of the Pirates of the Caribbean franchise were trained by none other than the late and great Bob Anderson, an iconic Hollywood fight choreographer who was the sword master on dozens of films like the original Star Wars films, The Princess Bride, Highlander, The Lord of the Rings, and more.

A choreographer is the person who teaches different dancing techniques, like tap dancing, ballet, hip - hop dancing, lyrical or theatre dancing.

In the working experience section, add positions that are relevant to the position you are applying for, like choreographer or dance teacher in different universities, schools or other establishments.

The dance graduate resume objective can be used to apply for varied jobs in the field of dance like dance trainers or choreographers, dancers, etc..