Sentences with phrase «inspired choreography»

It's not deep, but excellent music, inspired choreography, and improved visuals make Just Dance 2 a fun multilplayer experience.

Hugh Jackman is charming as ever, and two dance scenes are mildly inventive and well - executed, yet Jackman's goodwill and a splash of inspired choreography are not enough to earn the greatest in the title.

Featuring new hits and beloved classics that showcase Madonna's signature visual theatrics, exquisite costumes and awe - inspiring choreography.

Not exact matches

People can inspire musicians to write new songs, painters and photographers to create beautiful images, dancers to combine movements into intricate choreographies, etc..

In this Pilates Teacher Training Level 2 program you will gain in - depth instruction on how to make your class inspiring and enjoyable through creative choreography.

Our Pilates Teacher Training Programs will teach you to inspire your students with creative choreography and the power of the continually evolving and progressive nature of Pilates as mind - body exercise.

And the choreography is inspired.

John Wick: Chapter 2: It takes a lot to feel sorry for movie stars, but this one inspired pity for poor Keanu Reeves, who was reduced to a killing machine, performing elaborate choreography as he shoots people in the head, scores of them, perhaps hundreds.

Screenwriter: Jody Lee Lipes This scripted adaptation of a 1958 jazz ballet by Jerome Robbins (West Side Story) takes the original choreography and returns it to the streets that inspired it in this tale of disaffected urban youth.

Keith Stuart: The vision, the choreography, the sense of scale and detail in Modern Warfare 3 are simply awe - inspiring at times

Enter the Matrix 2003 The first game inspired by The Matrix series of films features an original storyline with characters and choreography from the second movie, The Matrix: Reloaded.

Many of German - born Silke Otto - Knapp's paintings, drawings, and prints are inspired by the choreography of ballet and modern dance; her compositions are often populated by flat figures that appear to float on the surface of her canvases.

Featuring a formidable list of writers, and encapsulating the eclectic range of art that has delighted and inspired audiences throughout Hayward Gallery's history, Fifty Years of Great Art Writing ranges from painting and photography to sculpture, choreography and architecture, and takes in a huge diversity of subjects, from Paul Klee to the art of the Harlem Renaissance, from David Shrigley's drawings to David Hockney's photographs, from Francis Bacon's take on the human body to Africa Remix, from Pipilotti Rist's installations to Afro - Asian artists in postwar Britain.

With choreography specific to the structure of the building, a soundscape recorded over a month - long residency, and a narrative inspired by the centuries - old curatorial conundrum of the «Summer Exhibition», this is the London premiere of a performance which has taken different forms at a number of venues including the National Museum Stockholm, the Hamburger Kunsthalle and Birmingham Museum and Art Gallery.

Specifically inspired by the choreography found in the historical Korean dance «Chunaengmu,» which was performed for royalty and adhered to strict codes of court etiquette, Kang explores how a space can be divided into grids defined by power and cultural customs.

This figure, often fragmented, sometimes even completely abstracted, takes on various forms, from the human face, at once raw material and object of symbolic representation, as with Benglis's objectifying caresses, to the full body as place and tool of the trial and pleasure of repetition, as with Nauman's amateur choreography, bordering on the absurd, to the traces and physical prints left by the artist - creator (or the «art worker» in his service), as with the irregular random geometry of LeWitt, to the peers (Donald Judd) and tutelary figures in the history of art who inspire Flavin's evanescent structures... Now a disenchanted statement «Double Eye Poke» offers a challenge to the being of perception and thought.

Duncan Campbell's film It for Others lasts almost an hour and reflects on African art and colonialism as well as featuring a silent choreography inspired by equations from Karl Marx's Capital Volume 1.

; an ambitious new durational work by Goshka Macuga that includes two motorised tables, artist - made costumes and two dancers performing an original choreography by Mbulelo Ndabeni on the moving tables; and an actor reading Mark Wallinger's surreal and humorous text inspired by iconic American artist Bruce Nauman and the vivid experience of stage fright.

The exhibition assumes a musical state of mind, inspired by the rhythms, choreographies, sequences and repetitions of the artworks, which are like musical instruments (after John Cage) for an institution whose main duty is to dance (after Paul Holdengräber).

Inspired by ideas around demonstration and protest, for his original performance, Peter Liversidge worked with sixty children creating songs, choreography, banners and placards expressing their views on everything from «No More Homework» and «Our shoes are too tight» to «I Don't Like Cooked Tomatoes» and «Less trucks and cars.

Leading contemporary artist Philippe Parreno has devised a dynamic experiential staging of the exhibition inspired by the choreography of Cunningham and music of Cage, featuring two Yamaha Disklavier pianos playing live Cage scores, while the «ghost» of the dancers can be heard pounding the floor.

Many of German - born Silke Otto - Knapp's paintings, drawings, and prints are inspired by the choreography of ballet and modern dance; her compositions are often populated by flat figures that appear to float on the surface of her canvasesRead more

The enactment of Charmatz's new choreography inspired by David Vaughan's book of fifty years of photographs of Merce Cunningham and company was, I think, a total failure in evoking Merce Cunningham and his endless invention.

Combining the richness of Brown's most complex movement and partnering with the refined action of classical dance, the choreography was inspired by the poetry of Polish writer Czeslaw Milosz and Edna St. Vincent Millay, which is incorporated into Laurie Anderson's score.

There were multicolored horizontal and vertical patterns moving through the dance space, visual references to the Chinese pick - sticks that more than once inspired Cunningham's choreography, echoes of the 1950s abstract expressionist impulse that still feeds Cunningham's aesthetic.