Word: vision
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Dates: during 2000-2009
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...asylum. The lighting, designed by Michael W. Zellmann-Rohrer ’10, shifts between stark white lights, softer ivory ones, and red tones, and serves to heighten the setting. But while the set is well-executed, it remains unclear how it fits into the overall artistic vision of the play.The issue seems to lie with the direction in which the show was taken. Experimental is certainly the correct term, but the experimental portion of the production simply gets out of hand. “Lunatics don’t have reasons,” Mrs. Venable screams...
...transmission of emotion through dance is a daunting task, especially when the artist has a bare stage, minimalist costumes, and no props to actualize his vision. Yet the visualization of the human soul through movement is the root of modern dance. It is an art whose realization demands nothing less than the seamless fusion of creative construction, flawless technical execution, and flashes of spontaneity in performance. The Boston Conservatory Dance Theater’s fall production, which featured Conservatory upperclassmen in three world premieres as well as an excerpt from Martha Graham’s classic “Chronicle...
...coming weekend, Harvard students will get the chance to see Vartikar-McCullough’s fresh and creative interpretation of Tenessee Williams’s play “Suddenly, Last Summer.” This is his directorial debut, and he has worked hard to combine his artistic vision and Tennessee Williams’s script in a completely new way. Trying to avoid a disconnect between the design and text of the play, Vartikar-McCullough—with assistance from collaborators—worked throughout the summer to design all aspects of the production, including the set, costumes...
...whose paranoid refrains only compounded the pretensions of its obnoxiously self-conscious narrative loop. But to say that “Synecdoche, New York” revisits, or even improves, upon the more problematic aspects of that film is to overlook the sheer depth and ambition of the creative vision for which it strives. More to the point, “Synecdoche, New York” has a place in the genealogy of Kaufman’s work only insofar as it takes the personal context of those earlier films and erases them.The story itself is as complex as Kaufman...
...piece with fellow dancer Pam Sousa, who had learned it directly from Bob Fosse, the original choreographer. Neuwirth, who has also worked with Fosse in other productions, described him as a phenomenal choreographer, a perfectionist with great creative impulse. “Everything came out of one clear, specific vision,” she said. Woodies explained that through Neuwirth, the students would be able to bring Fosse’s passion back to life by understanding his vision more concretely. This is, in fact, one of the objectives of Woddie’s course...