I am not one of them. There are basically two ways to take notes during a performance. The first method is to get a pen with a little light on the end, available at many stationary and office supply stores. These tend to be fairly discreet, but you still run the risk of annoying the audience members around you.
I am not one of them. There are basically two ways to take notes during a performance. The first method is to get a pen with a little light on the end, available at many stationary and office supply stores.
These tend to be fairly discreet, but you still run the risk of annoying the audience members around you. If you want to avoid this, you need to learn how to write in the dark in such a manner that you will be able to read what you wrote later.
Here are some of my tips on how to write in the dark. I use a finger of my non-writing hand to keep my place on the page. While I am watching the dance, I also try to visualize the shape of the letters as I am writing them.
Try to be as quiet as possible as you flip the pages of your note pad. Writing a dance review is basically a process by which you convert motion into text. There are several ways to approach this challenge. Here are some of the ways I approach the challenge.
If you are seeing a program with many short works by many different dance companies, one way is to find one or two positive or interesting things to say about each work.
Another way is to choose to focus on one or two elements within the dance. For instance, you might decide to just focus on the costumes.
If you are writing a review as part of a team, each team member could be assigned one aspect of the dance to focus on. Another way to approach writing a review is to try to create a "theory" of the dance in the first half of the dance, and then to use the second half of the dance to confirm or disprove this theory.
Some dances are more amenable to this approach than others. Some publications like dance reviews that are very objective: Some publications like subjective reviews: For instance, I am a social dancer.
I used to compete in Ballroom and now mostly dance West Coast Swing. This tends to color the way I react to partnering in ballet and other non-social forms of dance. But keep in mind that this is a style choice. Reasonable people also disagree on whether you should read the program notes before seeing the dance.
Brian McCormick thinks you should read the program notes.
Sometimes I do read the program notes because I am looking for clues as to what I might want to look for in the dance. If you are seeing a story ballet, I recommend reading the program notes. This is especially true if the story is one you are not familiar with.
My experience has been that story ballets are often staged with the assumption that the audience already knows the story. For those of you studying theatre, this would make story ballets more Brechtian than Stanislavskian because you are watching for how things happen, rather than what happens.DANCE BEGINS AT For Hubbard Street Dance Chicago, it’s time to take stock.
This minute evening does it all and well. It’s as much a showcase for seven seminal choreographers (Lou Conte, Twyla Tharp, Jim Vincent, Alejandro Cerrudo, Crystal Pite, William Forsythe and Lucas Crandall) as for one powerfully plucky Chicago troupe.
About Judy Lynn Hubbard: Judy L. Hubbard is a writer who is also an avid romance reader. In fact, when she's not writing, you can find her with her nose /5(92). CVC Emergent Phonics Reader Review - all vowels. CVC Review 1 Phonics Reader - Black and White Student Version CVC Review 1 Phonics Reader - Teacher Version.
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Dance Performance Examples If you are required to write a dance performance review, your first step should be a careful selection of a performance for your evaluation. You should ask your instructor to specify whether it should be a live performance or if an approved film or video record is acceptable.
Review by Lauren Whalen. Jiří Kylián is the first choreographer to receive a full repertory program in Hubbard Street Dance Chicago history. Since founder Lou Conte first brought the choreographer’s work to Hubbard Street, the always-brilliant and edgy company has been building this repertoire for some time (according to program interview with Artistic Director Glenn Edgerton).