Word: visualizers
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...words of artistic director Anna-Marie Holmes, "The Nutcracker is a staple of American ballet companies and...an ideal introduction to the magic of theater, music, costumes, scenery, lighting and dance." And I agree. Prepare yourself for a stunning visual experience, and of course, happy holidays...
...Magic Number is a project that exists only in live, improvised performance. During each performance, the three musicians (Hatim Belyamani '99, Shawn Feeney '99 and David Horn '00) communicate with each other through visual symbols that correspond to musical parameters and instructions. Every performance is a continuation of the last and uses audio and sometimes visual recordings of previous shows as raw material to be recombined. The musicians incorporate these samples with new, acoustically-produced sounds using a variety of instruments (including guitars, cello, slide whistles, digeridoo and sheet metal). For the show, the group will be playing with...
...more than a few of them really are a little precious--you have to admit to Rockwell's ingenuity. What the original canvases for those covers make plain is that he was a painter of great if anachronistic gifts. He carried into the 20th century the ancient pleasures of visual storytelling and fine-grained description. These happen to be the same enjoyments that art has largely turned over to photography, movies and television, none of which can offer back the visual world with anything like the mouth-watering delights of paint...
...assembled an astonishingly innovative team of theater technicians, and they're usually over-eager to flex their muscles. Ivanov is certainly not without its own bag of tricks. But Yeremin never lets these tricks develop into a full-fledged side-show. And how could they? Yeremin's staging and visual landscaping of Chekov's play is so breath-taking that we cannot be distracted from it. In Yeremin's hands, Ivanov on stage becomes as lush as Dr. Zhivago on film. The degree of unity that Yeremin orchestrates on a sensory level is downright astonishing. Scott Bradley's sets...
...center of Yeremin's production simply cannot hold. Yeremin turns the speeches Chekov meant his characters to address to one another into performance pieces directed at the audience, turns moments of quiet, embarrassed emotional confessions into visual spectacles. Gone is the intimacy that makes Chekov brilliant and the nuance that makes him profound. Ivanov the play is too beautiful a play to be treated so harshly. And Ivanov the production is too gorgeous to engage in such a struggle. Chekov and Yeremin are both brilliant, but their brilliance is not of the sort that can be reconciled...