Sentences with phrase «choreographic performances»

based upon her personal observations gleaned from a visit to petitioner's club, as well as her review of the dances depicted on the Nite Moves DVD entered into evidence at the administrative hearing and her interviews with certain of the club's dancers, the expert opined that «the presentations at Nite Moves are unequivocally live dramatic choreographic performances.»

Following his March homecoming at the 20th Biennale of Sydney, Berlin - based choreographer Linder will continue his «Choreographic Services» series — begun in 2013, in which he offers choreographic performance as a service for hire — in commissions from Berlin to Los Angeles.

Not exact matches

The bundle contains: Dance appreciation walking talking mock (3 lessons / 3 hours) Component 2 performance skills (2 lessons / 2 hours) Component 2 choreography (1 lesson / 1 hour) Component 2 — Section C (1 lesson / 1 hour) Component 2 — Section C: Choreographic Devices and Intent within the Anthology (1 lesson / 1 hour) Please see each individual resource for more information.

A robust public programme also accompanies the show, including the opening and closing night performances of Thomas Teurlai's intriguing Score for Bodies and Machines (2017) in which two photocopying machines create a choreographic sequence for, and in response to, the movements of local performers Benjamin Wardell and Anna - Martine Whitehead.

It begins with her early choreographic works and pioneering video performances, such as the Organic Honey series, and culminates with her most recent piece They Come to Us without a Word, which was presented in 2015 at the Pavilion of the United States for the 56th edition of the Venice Biennale, and will premiere in North America at DHC / ART.

This 456 - page volume, published in conjunction with the Walker Art Center and MCA Chicago's exhibition, reconsiders the choreographer and his collaborators as an extraordinarily generative interdisciplinary network that preceded and predicted dramatic shifts in performance, including the development of site - specific dance, the use of technology as a choreographic tool and the radical separation of sound and movement in dance.

Expect, too, a rolling live programme of «choreographic and discursive events», which recently kicked off with a day of interviews — as one might expect from the ever - inquisitive Obrist — and performances.

A room devoted to Rauschenberg's work in performance and his collaborations with the likes of Trisha Brown, Cunningham and Yvonne Rainer feels, by contrast, constrained and oddly austere, so that you have to struggle among the archive photographs and documents to properly compass the wit and invention of his choreographic excursions.

Dances and Films showcases the Getty's complete archive of Rainer's work — with journals, photographs, sketches, choreographic notation, films of performances, and a complete retrospective of her avant - garde films.

(Carlos Motta, John Arthur Peetz, Carlos Maria Romero); A crossover of queer activism, art and choreographic movement; performances featured at 2.30 pm and 5.30 pm at Frieze London.

Choreographer Jonathan Burrows and composer Matteo Fargion lead a master class investigating choreographic and compositional process, performance and philosophies, questioning how a performance can be made and what it might communicate to someone watching.

The project manifests in an interstitial space between performance, artist lecture, and participatory sculpture, engaging the recipe as a type of choreographic instruction and record of historical and cultural significance.

In a crossover of queer activism, art and choreographic movement, the Project will culminate in a performance.

Zuštiak has been an artist in residence at the Grotowski Institute in Poland, Stanica in Slovakia, Lower Manhattan Cultural Council, Abrons Art Center, Vermont Performance Lab, and Maggie Allesee National Choreographic Center.

Dance at Socrates is their second year of choreographic residency and performance series presented in partnership with Socrates Sculpture Park.

With the ground - breaking performance ensemble at its core, ongoing initiatives like the Summer Leadership Institute (SLI), BOLD (Builders, Organizers & Leaders through Dance) and the developing Choreographic Center, UBW continues to affect the overall ecology of the arts by promoting artistic legacies; projecting the voices of the under - heard and people of color; bringing attention to and addressing issues of equity in the dance field and throughout the United States; and by providing platforms and serving as a conduit for culturally and socially relevant experimental art makers.

Victoria Eleanor Bradford is a Louisiana - born, Chicago - based choreographer and visual artist whose structured improvisations take shape as experimental dinner parties, site - specific dance films, football training manuals used as choreographic instruction, and dancers translating words into a kind of gibberish performance language.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

«Live Creation» locates the performances in the context of an inquiry into the ways in which choreographic thinking and the agency of dance artists can be made visible and explored.

It begins with her early choreographic works and pioneering video performances, and culminates with her most recent piece «They Come to Us without a Word».

Collaboratively, participants considered the points of convergence between museums and contemporary performance, in search of answers to the question, «What if an art collection were treated like a musical or choreographic score — existing both as a historical document and as the material for an interpretive performance that could be played at any moment?»

Boulé has been a choreographic assistant and performance coach for Deborah Hay solo adaptations, including an adaptation presented by Acerina Amador at El Auditorio in Tenerife, Spain.

J. Soto is a New York - based artist, generating work in performance and text, whose choreographic work investigates the queer experience through an interrogation of race and class.

The exhibition shows his desire and ambition to establish a modern theatrical and choreographic art through his manifesto - work, the «Triadic Ballet», but also through the Bauhaus performances and dances, or his staging of works by important composers, such as Igor Stravinsky or Arnold Schönberg.

Since then, he has collaborated with Lucky Plush Productions, Same Planet Performance Project, and Molly Shanahan / Mad Shak on performance and choreographic work; and has lectured and led workshops nationally and interPerformance Project, and Molly Shanahan / Mad Shak on performance and choreographic work; and has lectured and led workshops nationally and interperformance and choreographic work; and has lectured and led workshops nationally and internationally.

Like for Cunningham's dances, these sequences of existing choreographic excerpts are united with the music for the first time only during performance.