Introduction to Dance History - Assignment Example

Sergei Diaghilev, the Great russian impresario, is responsible for the commissioning of avant-garde musical artists into creating designs stages, and costumes. He first settled in France where he formed a dance company called ‘Ballet Russe de Monte Carlo’ (Carter, 17). His ballet dance is presented as one of the initial moves that avant-garde composers, writers, and painters join forces in creating a ballet.

The revelation, in this case, is that Cunningham is both a great collaborator and a terrific partner in dancing. Further, the collaborative process continues changing as he ages and the physical limitations hit (Carter, 34). Other than originating their choreography through living and breathing dancers, they formulate dances through the manipulation of onscreen and computer-generated individuals. Many audiences feel that such a retreat across the direct involvement adds a level of difficulty to Cunningham's ballet collaborative process. In the original Rite of Spring by Nijinsky, the primary emphasis of the classical ballet dancer is on aspects of legwork even as there is simultaneous maintenance of upright carriage. For Cunningham’s Camera Beachbirds, the aspect begins presenting how Cunningham is utilizing elements regarding the expressive and the classical. Cunningham broadens this scope of the expressive upper body of the dancer while integrating the motions with the footwork of classical ballet dancers. In Rite of Spring by Tero Saarinen, several dancers are within their initial studio areas as they turn or jump in place. Subsequent dancers run in alternate directions based on the stationary dancers while running and skipping across studio space (Carter, 23). Within several specified points, there are elements of dancing looking similar to the previous pirouettes. In other of his pieces, Cunningham’s dancers develop extensive lateral movements that cover major areas of stage space as they both walk and run. Cunningham also emphasizes the loosening of the spine of a dancer.

Hodson's Reconstruction commissions designers for the stage costumes and curtains. He focuses on the neo-liberal music composers to compose the music while advanced-level writers develop the script. His curtains designs are figurative paintings depicting circus scenes even though the costumes opted for including cubistic styles. In summary, Nijinsky's choreography maintains a thrill due to the strong reaction after audiences flee from their performances. Millicent Hodson's Reconstruction speculates that Tero Saarinen’s Rite of Spring empowered them through their frequent collaborations. People (artists) are less likely to be creatively blocked in case they have constant collaborative material streams. The lead performance within the Theatre marvels the audience. Poets and art critics coin the ‘Surrealism’ term within the program advances the through writing the introductory remarks found here. For the first time, the painting and dance alliance as well as plastic and mimic art signal the improvement in a more complete art.