Word: krolakã
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...wild expression of her face. The dance successfully reflected the poem, which explored the paranoid and self-destructive feelings of the speaker, but was unimpressive in terms of actual choreography. More of a dramatic statement than an enjoyable work of art, the piece was dominated more by Krolak??s crazed facial expressions than her dancing...
...most peculiar and least successful piece of the evening. Krolak, who appeared in torn jeans and an orange plaid jumper with a string of stuffed socks sewn on the back, appeared to portray the frustration and self-doubt of a dancer in today’s society. Krolak??s interaction with the spoken words of the soundtrack varied from worriedly trying to “shhhh” the recording to singing along with it, repeating the words over and over again...
...actual choreography, which took a backseat to the bizarre costuming, sound and acting, consisted of Krolak??s character flailing wildly, gnashing her teeth and slapping herself. In the middle of the piece, three coquettish and startlingly sane-acting girls entered and performed a flirtatious sequence of steps, serving to highlight the difference between themselves and Krolak??s disheveled appearance and uncontrolled movements...
...vocal accompaniment ended with the sentence, “Dance is just below poetry on the rungs of the ladder of cultural priorities,” seeming to sum up Krolak??s persona’s frustration and bringing new meaning to the rest of the poem. Although the choreography was energetically and whole-heartedly carried out, its bizarre nature prevented the piece from making any meaningful impression...
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