Jazz Tube-An Archive Of Jazz On Video Thank You for all the great support. Check Out Music Video Search for all genres of Music Videos Below is a new look with a search engine to help source all your jazz videos Site Is current under renovation please be patient Welcome to Powered By This site is devoted to giving you the best videos on Jazz that have been collected by Jazz lovers thru out the world and made available on the great YOU Tube Web Site <A HREF=" Paintings By Bruni Check out her site Here www.brunijazzart.com Jazz has been called America's classical music, and for good reason. Afro-Cuban Jazz is a combination of jazz improvising and rhythms from Cuba and Africa; it is also known as Latin Jazz. <A HREF="
DANCE REVIEW - Loud Tables, but Not a Restaurant The mighty roar of 20 metal tables dragged across the floor is heard not throughout the land but at the Brooklyn Academy of Music, where William Forsythe's splendid dancers in Ballett Frankfurt are staging the grandest of all finales this week. As the dancers race to the rear of the stage, pulling five rows of tables whose legs scrape and bounce on a flat surface, the program ends with a high-decibel screech. The sound of this visualized adrenaline rush is both exhilarating and ambiguous: part earthquake, part industrial noise, part joyous release. As usual, the best advice for looking at Mr. Never mind that his springboard for the table piece ''One Flat Thing, reproduced'' had something to do with Robert Scott's failed expedition to the South Pole. What one saw on Tuesday night at the opening of the academy's Next Wave Festival is one of the best programs that Mr. Yet Mr. The program has been stunningly and methodically structured to build into intricacy and complexity.
Toying with the laws of physics: Elizabeth Streb’s latest dance performance The last time I slammed into a wall, it hurt. I’m not too fond of falling off three-story buildings, either. The laws of physics can be so unforgiving. I heard about Streb’s work last month from Harvard physicist Lisa Randall, who has acquired some renown in artistic circles for her opera inspired by the concept of extra spatial dimensions. Streb distinguishes her work from ballet and modern dance, which, she says, seek to camouflage the forces of nature. The parkour-like acrobatics weren’t even my favorite parts of her show. Dancers walk up a wall in Elizabeth Streb’s latest show; courtesy of George Musser William Forsythe Choreographic Objects: Biography has been active in the field of choreography for over 45 years. His work is acknowledged for reorienting the practice of ballet from its identification with classical repertoire to a dynamic 21st century art form. Forsythe's deep interest in the fundamental principles of organization has led him to produce a wide range of projects including Installations, Films, and Web based knowledge creation. Biography Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed Resident Choreographer in 1976. After the closure of the Ballet Frankfurt in 2004, Forsythe established a new ensemble, The Forsythe Company, which he directed from 2005 to 2015. Awards received by Forsythe and his ensembles include the New York Dance and Performance “Bessie” Award (1988, 1998, 2004, 2007) and London’s Laurence Olivier Award (1992, 1999, 2009).
ADTA - Home One Flat Thing, Reproduced - Pacific Northwest Ballet Music: Thom Willems (2000)Choreography: William ForsytheStaging: Ayman Harper, Jill Johnson, and Richard SiegalScenic and Lighting Design: William ForsytheCostume Design: Stephen GallowayDuration: 17 minutesPremiere: February 2, 2000; Ballett FrankfurtPacific Northwest Ballet Premiere: March 13, 2008 The 2008 PNB premiere of William Forsythe’s One Flat Thing, reproduced was generously underwritten by Jeffrey & Susan Brotman. PNB Company dancers in One Flat Thing, Reproduced.Photo © Angela Sterling William Forsythe’s One Flat Thing, reproduced caused a stir when it premiered at Pacific Northwest Ballet in March 2008. Forsythe’s eclectic, intellectual starting point was a consideration of the risk and adventure of Robert Scott’s arctic expeditions, during which explorers relied on each other for survival, juxtaposed with his own interest in the idea of a “baroque machinery,” an ornamental, highly organized construct that runs like clockwork. Notes by Doug Fullington.
Center for Learning through the Arts and Technology Center Partners The Center for Learning through the Arts and Technology brings together nationally renowned faculty and professional researchers from within and across disciplines at UC Irvine to examine the reciprocal impact of the arts on the Center's focus areas, including the formulation of new public policy. Center partners work collaboratively to define new--and amplify existing--research efforts as well as to direct service programs, thus broadening perspectives through unique projects and partnerships. For more information please contact us: Center for Learning through the Arts and Technology University of California, Irvine 3200 Berkeley Place Irvine, CA 92697-5500 Telephone: (949) 824-5119 Fax: (949) 824-9103 jyep@uci.edu Center Partners Include: Administration Liane Brouillette, Ph.D. Doug Grove Research Director, San Diego Teaching Artist Project Brad Hughes Director, Scientific Visualization Project Bobbi McKean Co-Editor, Journal for Learning through the Arts (website)
School of Dance - John D. MItchell - One Flat Thing Reproduced Reviewed Livingston Dance William Forsythe – One flat thing reproduced…. | NYC Dance Stuff “A choreographic object is not a substitute for the body, but rather an alternative site for the understanding of potential instigation and organization of action to reside. Ideally, choreographic ideas in this form would draw an attentive, diverse readership that would eventually understand and, hopefully, champion the innumerable manifestations, old and new, of choreographic thinking.” William Forsythe on Choreographic Objects (Essay) One Flat Thing, reproduced (2006) a film by Thierry De Mey Choreography by William Forsythe Danced by the Forsythe Company, Germany. “One Flat Thing Reproduced ” is a play for 14 dancers and 20 tables on the music of Thom Willems. The World Premiere took place in Frankfurt in 2000. “One Flat Thing Reproduced” has been unanimously acclaimed by the press for its great theatrical intensity that oscillates between disorder and symmetry. Thierry de Mey, as one of the most important directors of dance films designed this film as a full work. Like this: Like Loading...
Gallery | Aviva Fibers | Ami Davis ami@avivafibers.com p. 406.396.5979 Copyright © Aviva Fibers 2012 Web Design by Spinner Web Studios, llc One Flat Thing, reproduced (2006) a film by Thierry De Mey | Dance-Tech.TV Video Still from One Flat Thing, reproduced “A choreographic object is not a substitute for the body, but rather an alternative site for the understanding of potential instigation and organization of action to reside. Ideally, choreographic ideas in this form would draw an attentive,diverse readership that would eventually understand and, hopefully, champion theinnumerable manifestations, old and new, of choreographic thinking.”William Forsythe on Choreographic Objects (Essay) One Flat Thing, reproduced (2006) a film by Thierry De Mey Choreography by William Forsythe Danced by the Forsythe Company, Germany. “One Flat Thing Reproduced ” is a play for 14 dancers and 20 tables on the music of Thom Willems. The World Premiere took place in Frankfurt in 2000. Unanimously acclaimed by the press, this work with a great theatrical intensity oscillates between disorder and symmetry. Directed by Thierry de Mey – one of the most important directors of dance films- designed this film as a full work.
Ballet Frankfurt One Flat Thing, reproduced (2000) BALLET FRANKFURT The Room as it Was Duo (N.N.N.N.) One Flat Thing, reproduced Oct 5, 2003 / Brooklyn Academy of Music / New York City Review by EDWARD LUNA In the US, the dances created by William Forsythe and his Ballet Frankfurt are known primarily for their contorted, geometric, and formal qualities. This is contemporary European dance at its most obtuse and abstract; with harsh, minimalist lighting, electronic music scores, rail-thin dancers, and frequent use of text. Such experimentalism often receives a rather cool reception here, where dance audiences are more accustomed to the lyrical/musical style of Mark Morris, or the pastiched African-Americana of Bill T. Jones. The Forsythian project, by contrast, is at once more ambitious and more modest than that of the latter choreographers. The opener, called The Room as it Was (2002) features four female and four male dancers. The piece eventually shifts into a completely new setup. Duo (1996)