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Since ballroom competitions can have up to 20 couples on the floor at one time, the syllabus ensures a safe environment. “If you have people who are lifting their partners, it could get dangerous very fast,” says Madison J. Shelton ’11, the HBDT competitions chair. The first HBDT rehearsals of any given year involve around 200 members on a small floor, so tricky moves like lifts are not only prohibited, but impossible...

Author: By Ali R. Leskowitz, CRIMSON STAFF WRITER | Title: Athletes and Aesthetes | 4/13/2010 | See Source »

...sixth in their division in recent years. They also stand alone as an Ivy League school at their contests. “People always think we’re joking when we say we’re from Harvard,” Prince says. “We get a lot of attention...

Author: By Ali R. Leskowitz, CRIMSON STAFF WRITER | Title: Athletes and Aesthetes | 4/13/2010 | See Source »

...Shelton does total body conditioning in addition to dance training. The brevity of routines—as opposed to football or basketball games, which can last hours—might seem to entail less need for endurance, but the dancers would strongly disagree. “When you get off a stage after a two-minute routine and you’re just panting—that’s the moment you know it’s a sport,” Szpak says...

Author: By Ali R. Leskowitz, CRIMSON STAFF WRITER | Title: Athletes and Aesthetes | 4/13/2010 | See Source »

...skills necessary for collaborative creative communication. “When you dance by yourself, if your hip’s in a different direction than it should be, it doesn’t necessarily matter,” Szpak says. “It’s hard to get used to, but competitive dance forces you to realize, ‘If my triple isn’t perfect, the team will suffer.’ You’re not dancing for yourself anymore—it’s like a team sport, but one that makes...

Author: By Ali R. Leskowitz, CRIMSON STAFF WRITER | Title: Athletes and Aesthetes | 4/13/2010 | See Source »

...that he insists that “the vulgate, the actual language of the people can be found only in the cultural anathemas known as popular entertainment.” This argument is tenuously developed to a frustrating conclusion: “The job of the dramatist is to get, and that of the actors and directors to keep, the asses in the seats. Period. This is what pays the rent.... The purpose of theatre is not to instruct, to better, to expiate. It is to entertain.” Mamet’s perspective on drama is simply reductive...

Author: By Matthew C. Stone, CONTRIBUTING WRITER | Title: David Mamet’s Overstated ‘Theatre’ | 4/13/2010 | See Source »

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