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...crawl, and you can’t dance until you learn ballet. It’s the foundation of everything,” Szpak says. “The connection between ballet and dance team is like with the alphabet: once you have the letters down, you can make any word.” This dance alphabet leads to the diverse styles CDT performs, and just as with a spoken language, it’s easier to make the sounds if you’ve been exposed early. As a result, the team encourages its dancers to take ballet classes...
Ballroom, too, depends on ballet for its foundation—but the former diverges from the latter in one critical way: the relationship to the floor. Ballet dancers stay lifted up off the floor, making minimal contact with it and absorbing any impact into the muscles so the moves remain graceful and quiet. Ballroom dancers strive for the exact opposite: they push their weight down into their muscles and make contact with the floor. Still, both depend on graceful elevated arms for the entirety of the dance, which means strong shoulder muscles are essential...
...system, then, was and is the dissection of the motives and emotions of the character. One hundred years of actors have wasted their time in this pointless pursuit.” He proceeds to expound on why the emphasis on character over plot is a flawed method of theater making, but he never successfully validates his vitriolic reading of Stanislavski. To take on a figure so influential, one must do more than simply excoriate his work, but Mamet has an unfortunate tendency to make overstated claims without enough substantive proof or analysis...
...lamentable that Mamet’s actual writing doesn’t do a better job of motivating his arguments, because he does occasionally make truly insightful observations. In a chapter titled “Hunting Instincts” he compares the theatrical experience to that of a hunt, insofar as the audience experiences a primal drive to follow the plot along. He uses this metaphor to account for the suspension of disbelief: “We suspend the rational process of intellectualization, which is to say, of the comparison of phenomenon to idea, which is a process too slow...
...advice is to keep writing. You have a lot of free time on your hands in college, so write as much as you can now. You will not have that free time when you are working a nine-to-five job trying to make your dreams come true. I wrote a play every year when I was in school, sometimes two, and I was determined to leave with more than my diploma under my arm. The other thing is to just be nice. That sounds so cliché, but you will meet the same people going up as you will...