Word: brazilian
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...creation, however, is a dancer, not a dance. Marcia Haydée, 5 ft. 3 in., in her pre-Stuttgart days-at London's Royal Ballet School and later as a disconsolate member of the Marquis de Cuevas Ballet -weighed 138 pounds and was known as "the fat Brazilian." Today, at 100 pounds, she has an angular, spindly body that, in repose, sometimes suggests a Mary Poppins more than a Carmen or a Kate. But in motion she ranks among the world's top ballerinas. She is also, certainly, one of the world's most effective dramatic...
...second tract will allow undergraduate majors to take courses in any department which relate to the area being studied. Area studies will be offered in French, Hispanic, Italian, and Portuguese-Brazilian...
...demonstrates how well Mitchell has grasped the real secret of Balanchine's genius-the mastery of the logic and geometry of bodies in motion. By contrast, Mitchell's Rhythmetron is a throbbing, stylized Afro-Latin tribal ritual set to a score for 33 percussion instruments by Brazilian Composer Marlos Nobre-a perfect vehicle for the company's restless, half-tamed energy...
...embodies all of the central dialectical elements in fierce confrontation, in his role as poet and actualizer of the people's collective unconscious and as collaborator with two different (and conflicting) populist politicians in the imaginary country of Elderado. The narrative is of course based on familiar patterns in Brazilian politics in which fascist elites crush slightly less-fascist elites, manipulating and mystifying the masses, who remain politically blind and passive participants, despite their spiritual ferment, their extreme hunger and suffering...
PROBABLY the most important early influences on Brazilian directors of the Cinema Novo movement, Rocha has commented, were the films and theoretical writings of Sergei Eisenstein and especially his concept of dialectical montage. This inter-cutting of images as "shocks" provides a language for expressing abstractly the confrontations between abstract forces of history, constructed into a coherent whole, an "agit-guinol" by the director, who intends to achieve a specific effect for the audience, which remains essentially passive. Rocha modifies this concept in developing the dialectical shot, in which each element-each character, myth, power-figure-comes into conflict with...