Sentences with phrase «choreography between»

Her exhibition, Monet and Me, is a visual choreography between artist and light as well as a continuation of the historic legacy of Claude Monet and the Impressionist Movement.

Martin's photos also often offer a visual choreography between light and its reflection, between the actual and the perceived.

Koetje appears to suggest that, through our constant seduction by the infinite pixels within our iPhone or laptop screens, modern life has fragmented into a constant choreography between the dueling aesthetics of fact and fiction.

Earned & Contributed funds from Jonah Bokaer Choreography between 2002 - 2018 have realized 3 permanent nonprofit Artspaces, creating over 14 + jobs, and $ 10M + in revenue.

Jason Brown, Tally founder and CEO told TechCrunch in an interview, «There's an interesting choreography between man and machine.

The seamless choreography between Corbyn and his own grass - roots has produced a dance of the dead.

Not exact matches

Rather, it conveys the subtle and elegant choreography of one part of the human microbiome: The relationships between the mothers» genetics, the composition of her breast milk and the development of her infant's gut microbiota.

The choreography of the ceremony seems poised somewhere between Busby Berkeley and «Triumph of the Will,» and the Coens succeed in making it look ominous and ridiculous at the same time.

We've certainly seen better choreography in other boxing films before, but it's the scenes between the fights that keep you entertained and involved.

The final skirmish between Banning and the head Korean is done well, the choreography tight and unpredictable.

Having made the more conventionally action packed «Scott Pilgrim vs. the World» between «Hot Fuzz» and «The World's End» taught Wright a thing or two about action choreography, making the fight scenes between our drunken protagonists and the alien robots immensely satisfying and viscerally exciting; the bathroom fight is a highlight, but an outright pub brawl is terrific.

The film captures the dilemmas and inevitable consequences of ambition, observing the artist in both private and public settings, moving between uninhibited scenes of life at home, grueling rehearsals, and Bobbi Jene's revealing choreography.

On the other hand, Marshall comes from a musical / Broadway / choreography background, which gives him a leg up on Nine, which has a Broadway musical sitting between it and 8 1/2.

The line between the real and the manufactured blurs within the film even as the film itself, an anime of unusual beauty and skill, is a palimpsest of representations: a fiction, a drawing, a voice performance, a choreography, and so on.

The cast and crew explain the process of bringing these scenes to life, from costumes to choreography and everything in between.

To its unwavering credit, The Commuter has all the kooky thriller on a train action you'd expect — leaping between exploding train cars, blurry handheld fight choreography in tight corridors — as well as some you would not — like an impromptu paper mache project and hand - to - hand combat with an electric guitar.

The absence of true danger and, thus, suspense, proves a constant narrative obstacle, though it's nonetheless one occasionally hurdled courtesy of breakneck pacing and clean choreography that's first evident during a slam - bang opening chase, and regularly picks up again during similar sequences in which its characters race through streets, leap between apartment buildings, and sneakily infiltrate a crowded police station.

But beyond the actual choreography involved, there was the precise coordination between the camera work, led by cinematographer Linus Sandgren, and director Damien Chazelle in pulling off these tricky sequences.

Innovation points come during fight choreography when an elevator is swung around like a hammer throw and we get a boing - boing - boing comedy fast punch sequence between The Hulk and Ultron.

There aren't enough camera tricks in the world to hide the ravages of time, and the clunky, staggering showdown between the pair speaks more to mounting chiropractic bills than breathtaking fight choreography.

In the dance, a dozen or so teenaged girls, dressed in black and trailing red scarves, move in time to rhythmic music, following choreography that alternates between short solos and group interaction.

The relationship between author and editor should be a seamless choreography that creates a beautiful fluid dance.

Whether he's mimicking the act of sweeping the floor in agile grace or responding to verbal statements of cultural criticism in gliding movement, Linder's paid - by - the - hour choreography goes beyond music and ultimately engages choreography and language as a critical reflection of the relationship between economic labor and social conditions.

In Persona Non Granted, Rawls draws parallels between the laborious construction of stop - motion images and the choreographic work of animating bodies by juxtaposing video documentation of the filmmaking process with completed animation sequences of his choreography.

Assistant directed by Haruko Tanaka and featuring a score by Devin McNulty and Max Markowitz, choreography by Prumsodun Ok and Carol McDowell, and sculptural costumes by Curt LeMieux, the performance moves between abstract theater, comedy, and relational components that allow audiences to enter into dialogue drawn from the piece's mix of ragged humor, violence, and sexuality.

As the performers moved about the space in a random pattern of loose choreography, they sang the lines: «Who say you have to be a dead dog... One is the loneliest number that you'll ever do... And it comes down, it comes down, well it comes down, and it comes down, it comes it comes... Scores of blood and fire and freeways, I am going to get my share... One is the loneliest number that you'll ever do... Who say you have to be a dead dog...» Handling each other's bodies with as much regard as the set's props, the performers alternate between a cappella and in - the - round chorus, fugue and eventually total discordance, rising as high as Math Bass as she climbs to the top of the ladder supported by her full cast in order to smash the plant and end the performance.

The choreography of these sculptures is accompanied by a pulsating sound track and text statements, collaged from celebrated male authors, which collapse the distinctions between art objects and social history artefacts, and the strange and compulsive desires of consumerism.

In this video, the choreographer of the performance talks about the ideas behind his choreography: how he approached the project, the differences between this and previous performances, how he developed the two characters and what the specific characters of the two characters are, and what personally interests him in this piece by Jean Dubuffet.

Choreographer Matthias Sperling speaks about his projects investigating the relationship between the body and the mind, including the types of knowledge that are generated within choreography.

By discussing the ways in which exhibition histories are part of civic choreography, she investigates the relationship between cultural institutions, social ritual, and the nation - state.

Her choreography bridges gaps between traditional ballet form and the conceptuality of post-modern dance.

Susan Rosenberg, Consulting Historical Scholar at the Trisha Brown Dance Company, and author of Trisha Brown: Choreography as Visual Art (2017), will discuss the collaborations between Donald Judd and choreographer Trisha Brown on Son of Gone Fishin» (1981) and Newark (Niweweorce)(1987).

Her choreography scrutinizes the mutual influence between the use of gesture and movement in the «low», «commercial» genres — such as romantic comedy, TV soap, or hip - hop video - clip — and in «arts», such as ballet, modern dance and performance.

In these stories, the obscure symptoms of psychosis (gestures suspended between symptom and supplication) seemed to encourage poetic, trance - inducing literary strategies that Aly sought to reproduce through choreography and video.

This travelling exhibition MOVE - Art and Dance since the 60s provides an overview of the historical and current relationship between the fine arts, dance, movement, and choreography since the early 1960s.

Greg Stimac's Santa Fe to Billings (2009) documents the choreography of the countless lives his windshield intersected on a drive between locales.

Following the lecture performance, there will be a conversation between Pelmuș and Cosmin Costinaș, curator of Movements at an Exhibition, to discuss the connotation of the exhibition and how the movements in the show are understood both as a grammar of dance and choreography, as well as how they are transformed into a representation of social action and protests.

There's some chance involved between the choreography and the music, but then we come together and discuss, and then we separate again.

Pape's experimental practice spanned drawing, sculpture, engraving, installation, choreography, and filmmaking as she moved between mediums to explore geometric form, positive and negative space, the intellectual and physical participation of the spectator, and above all art's potential to ignite social change.

For nearly twenty years, Julia K. Gleich has been bridging the gap between contemporary and traditional dance to truly capture the contemporary spirit in her choreography.

Comprising choreography for three dancers and a musical composition for two pianos, Bachzetsis's performance positions the female body as a technological form caught between animism and automatism, with a physical and visual vocabulary drawn from tarantism, classic Northern Soul dancing, Dada and Surrealism, and the movements of pioneering figures in dance, including Trisha Brown and Simone Forti.

Performances Tuesday, January 24, 8:00 p.m. Wednesday, January 25, 8:00 p.m. Friday, January 27, 10:00 p.m. Saturday, January 28, 8:00 p.m. Credits Concept and choreography: Alexandra Bachzetsis Performers: Simon Bucher, Mischa Cheung, Yumiko Funaya, Lenio Kaklea, Alma Toaspern Music composition: Tobias Koch Collaboration movement: Nuno Bizarro Costume design: Cosima Gadient Costume assistant: Yonatan Zohar Collaboration costume and body painting: Margarita Bofiliou Costume and body painting assistants: Sofia Simaki, Antria Kyriakidou, Bree Zucker Lighting design and technique: Patrik Rimann Video: Alexandra Bachzetsis in collaboration with Glen Fogel Directed by Alexandra Bachzetsis and Glen Fogel Music and sound design by Tobias Koch Performers featured in the video: Yumiko Funaya, Lenio Kaklea, Alma Toaspern, Dimitra Vlachou Body painting model: Alexandra Rogovska Makeup and hair: Olga Patsiou Video assistants: Pepi Levogianni, Andrew Kerton Set runner: Romnick Palo Production management: Clara Becker Production assistant: Sotiris Vasiliou Production: Association All Exclusive Association management: Anna Geering Artist promotion design: Julia Born The artist gratefully acknowledges support from Kooperative Fördervereinbarung between Stadt Zürich, Fachausschuss Tanz und Theater BS / BL, Pro Helvetia - Schweizer Kulturstiftung, GGG Basel, and Jubiläumsstiftung Basellandschaftliche Kantonalbank.

Resultant choreographies are stage / dreamspace / battleground, working through questions of presence, visibility, responsibility and pleasure, building atmospheric landscapes through the live unfolding of the tensions between things that produce meaning.

Comprising choreography for three dancers and a musical composition for two pianos, Alexandra Bachzetsis's performance positions the female body as a technological form caught between animism and automatism, with a physical and visual vocabulary drawn from tarantism, classic Northern Soul dancing, Dada and Surrealism, and the movements of pioneering figures in dance, including Trisha Brown and Simone Forti.

Characterised by a playfulness that veers between the acting out of everyday social roles and the choreography of fantastical impulses, her topics range from love to politics and are often developed in cooperation with other artists or friends.

She sought to blur the lines between performers and non-performers, and incorporated gestures and pedestrian movements, as well as classical dance steps and theatricality into her choreography.

It was fun, particularly in the tension between the quirky choreography and the dancers» more formal inclinations.

The second debate between President Obama and former Massachusetts Gov. Mitt Romney was perhaps most notable for its macho choreography — with the two men circling, jabbing and interrupting — and the intense Benghazi moment.