Penetration Testing Phila Dance Experience Essay use simple English is enough, loluse simple English is enough, lol use simple English is enough, lol use

Penetration Testing Phila Dance Experience Essay use simple English is enough, loluse simple English is enough, lol

use simple English is enough, lol

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use simple English is enough, lol Performance Response #3: BalletX
•
Due Thursday by 5pm
•
Points 16
Greetings, PDXers Performance Response #3 (whatever your third performance happens to be)
requires you to:
Read the following research article
“A preliminary psychology of how we’re moved
by watching dance” (follow the link below: “Measuring the
Provocative Power of Dance”)
Read the article more than once, then construct a 600-800 word essay that takes into
account both the attached article and Performance #3, which, for the majority of
students is BalletX.
Your submission should be spell-checked and controlled for clarity and selectivity of
descriptive language, and must contain all of the following: contextualization,
description, interpretation, and evaluation—of the dance performance in question.
Please include in your submission what scenes, moments, sounds, or movements in the
performance suscitated a memory or an emotion, or both, giving simple and clear
reasons for the resonance.
Article : (Links to an external site.)Links to an external site.
Total performance is 90 mins
First part video:


Second part video:

Third part video:

Supplement:
Calendar Phila Dance Experience
Location The Wilma Theater: 265 S. Broad St., Philadelphia PA 19107
Details
Spring Series 2019 features 3 new works by choreographers Lil Buck, Nicolo Fonte
and Katarzyna Skarpetowska.
BalletX presents the East Coast Premiere of Lil Buck’s Express, originally cocommissioned by Damian Woetzel for the 2018 Vail Dance Festival. Combining
ballet and a style of street dancing performed in sneakers called Memphis jookin, Lil
Buck’s Express features music by Jon Batiste of The Late Show with Stephen
Colbert.
Nicolo Fonte returns for his third BalletX premiere, following Beautiful Decay (2013)
and Beasts (2015). Fonte’s new ballet features music by Ezio Bosso and Ólafur
Arnalds, and will have its World Premiere on BalletX at the Vilar Performing Arts
Center in Beaver Creek, CO on Feb. 9 before returning to Philadelphia for Spring
Series.
Katarzyna Skarpetowska is BalletX’s 2019 Choreographic Fellow, selected by a
panel of dance experts, including Nicolo Fonte. “I loved the breadth of movement
ideas in her work,” said Fonte. Skarpetowska’s World Premiere with BalletX is
inspired by Cy Twombly’s 2005 painting Untitled, and features music by Vivaldi and
Adrian Klumpes.
EMOTION, MUSICJune 22, 2016
A preliminary psychology of how we’re moved by watching dance
If you’re after chills down the spine, you might find that watching professional ballet dancers does the
trick just as much as listening to music. Yet whereas the emotional effects of music are well researched –
indeed, there are conferences and journals aplenty devoted to the psychology of music – scientists still
know very little about the ways we are moved by watching dance.
Now one of the first ever investigations into the emotional effects of dance has been published online
at Acta Psychologica and the researchers found that rounded dance movements, rather than edgy ones,
made watchers happier, as did more impressive moves, up to a point. The research also showed that,
like music, watching dance can provoke visual imagery and personal memories in the viewer.
Julia Christensen and her colleagues created 203 six-second black and white, silent clips of a world class
female ballet dancer taken from her live performances. The woman’s face was blurred in the clips so the
focus was on her dance moves. The clips were then shown to 83 participants – their average age was 21
and they were mostly women – who rated them for how positive they made them feel and how
energized or calm.
The researchers found that the participants reported feeling more positive emotions in response to clips
that involved the dancer performing the attitude position (front and back; A and B in the picture below)
than to clips that did not involve any rounded movements. This actually complements research in the
domain of architecture and design that’s found people feel more positive in rooms that contain more
rounded furniture.
A to C rounded dance movements, contrasted with non-round movements D to F. Image
from Christensen et al 2016
The researchers also compared the effects of clips featuring different leg movements – either no leg
raise, bent leg raised at 90 degrees, straight leg at 90 degrees, or straight leg raised at over 90 degrees
(see image below). Participants felt more positive emotion when the leg was raised at all compared with
not being raised – a more impressive feat – but there was no increase in positive emotion for leg raises
that were higher and more difficult. The researchers said this suggests that, in contrast with gymnastics,
“affect is induced from dance through the quality of the expressive intention of the movement – not just
by its quality (e.g. how stretched or extreme)”.
Image from Christen et al 2016
Research published a few years ago found that Covent Garden dancers have been raising their legs
progressively higher over the years, possibly in response to changing aesthetic tastes. This provides a
reminder that the current research was focused on people’s emotional reactions to dance, not their
aesthetic appreciation of it. It’s possible that progressively higher and more difficult leg raises provoke
more aesthetic appreciation without adding any extra emotional impact.
Another part of the current investigation involved presenting 15 of the dance clips to 12 undergrad
students and then interviewing them about how the clips made them feel (it was emphasised to the
students that if they felt nothing, this was just as important as reporting any felt emotion).
Even though the clips were just a few seconds long, some of the students reported feeling emotional
reactions in response to them, and two of the students described experiencing visual imagery and
triggered memories: “I even told myself stories about why the dancer made sad movements and felt
sorry” said one participant; “When I felt that an emotion was negative it was because the sad clips made
me think of situations where I’d been sad,” said another. This means that 17 per cent of the small
sample reported imagery or memories, which is similar to the rates seen for music. Another parallel with
music was that the participants often reported experiencing sad emotions, but they nonetheless said
the experience was pleasurable.
This study makes a laudable though highly tentative first attempt to study what many may consider the
hidden and unknowable connection between a dancer and her audience. “A dancer may dance without
the aim to transmit anything to anyone, but follow an internal expressive intention, like an inner dialog”
the researchers concluded. “S/he may dance just what’s on her/his mind. Yet that intention will be
visible in the dance, and grasped by a spectator. Thus what we like when we see a dance is not
necessarily the beautiful – but especially the honest and authentic.”
_________________________________
Christensen, J., Pollick, F., Lambrechts, A., & Gomila, A. (2016). Affective responses to
dance Acta Psychologica, 168, 91-105 DOI: 10.1016/j.actpsy.2016.03.008
Post written by Christian Jarrett (@psych_writer) for the BPS Research Digest.
ABOUT THE PROGRAM
By Chloe Perkes, Balletx Dancer
C. Haas
The life of a dancer is ephemeral. Colleagues come and go; choreography is endlessly
varied; tours and performances bring dramatic new settings. Even the body is a
different animal each day. One constant in this amazing career is the pursuit of
connection. At BalletX we have a uniquely clear understanding that it is our connection
that will change and move you, because that is what changes and moves us. Each piece
you will see in this performance is an expression of connection – to space, to music, to
ideas, to ourselves, and to each other. w We start with Katarzyna Skarpetowska’s
Off the Canvas. Her use of jubilant, communal movement, paired with music by Vivaldi,
speaks of the vibrant, fleeting events of life, the moments that stand out in our memory
and feel uniquely ours. These sections are intertwined with the hypnotic soundscapes
of Adrian Klumpes and surging, seamless choreography. To me, this beautifully
illuminates the fact that beneath the times of intensity – such as falling in love, or
the birth of a child – lies the continual and glorious hum of our own consciousness,
constant and unchanging. Next is Express by Lil Buck, which was originally
co-commissioned by Damian Woetzel for the 2018 Vail Dance Festival. Lil Buck is an
elemental force! His movement is alien, impossible, and thrilling. BalletX has been
performing alongside him for many years at the Vail Dance Festival, but this was our
first opportunity to create together. In Express, Lil Buck shows his endless curiosity,
creating connections between seemingly unrelated traditions. Accompanied by the
jazz of Jon Batiste and Stay Human, Lil Buck has linked our Philadelphia company to
the music of New Orleans and Chicago street dance. It is an honor to be connected
to these incredible stories.
We end our program with Steep Drop, Euphoric
by Nicolo Fonte. Our relationship with Nicolo began in 2013. I attribute many of the
best aspects of my dancing to him. He taught me how to truly reach, not only with my
muscles but with my whole being. I am naturally soft-spoken, but he helped me scream
through my physicality. Steep Drop, Euphoric brought more lessons with it, such as
how this career can be so clearly fueled by love. Nicolo allowed his deep appreciation for
who we are as individuals to guide his process. The result was that the piece was made
in a handful of days with hardly a moment of backtracking. Each step was designed to
give us an extraordinary emotional experience. It’s as if he built 10 personalized roller
coasters. The piece conveys the depth and the extremes of human experience, and the
value of being present, living vibrantly, and never missing the beauty or the relationships
that come with life. I am amazed and grateful to be a member of this company
tuccio
ont co-chais Mary Lee Plastelehen
UDC Master
Tortor an ant heat fans
and President al plaat?
are mengataway to
and to be dancing for you. I hope you enjoy the performance!
DANCE PROGRAM
OFF THE CANVAS
WORLD PREMIERE
CHOREOGRAPHER: Katarzyna Skarpetowska
MUSIC: Cello Concerto in A Minor, RV 419: I. Allegro, II. Andante, III. Allegro
and Cello Concerto in A Minor, RV 421: III. Allegro by Antonio Vivaldi, from
the album Concerti per violoncello l; Cornered, Alone, and Why by Adrian
Klumpes, from the album Be Still
LIGHTING & SCENIC DESIGNER: Mark Stanley
COSTUME DESIGNER: Fritz Masten
DANCERS: Francesca Forcella, Stanley Glover, Zachary Kapeluck, Blake Krapels,
Skyler Lubin (3/6, 3/8, 3/9 8pm, 3/10, 3/13, 3/15, 3/16 8pm, 3/17),
Anna Peabody (3/7, 3/9 2pm, 3/14, 3/16 2pm), Chloe Perkes, Roderick Phifer,
Caili Quan, Richard Villaverde, Andrea Yorita
Off the Canvas is inspired by the ecstatic and mystery evoking vermilion loops
of Cy Twombly’s Bacchus series paintings.
The BalletX Choreographic Fellowship is generously supported by
David Haas and the Wyncote Foundation.
Wyncote
Foundation
15 MINUTE INTERMISSION
EXPRESS
EAST COAST PREMIERE
Co-commissioned by Damian Woetzel for the 2018 Vail Dance Festival
CHOREOGRAPHER: Lil Buck
ASSISTANT TO THE CHOREOGRAPHER: Ron Myles
MUSIC: It’s Alright (Why You Gotta), St. James Infirmary, The Spirit is With Us,
and Express Yourself (Say Yes) by Jon Batiste and Stay Human. Express Yourself
(Say Yes) was written by Austin Bisnow, Jon Batiste, Joseph Saylor and Eddie
Barbash and used by permission of Shapiro, Bernstein & Co., Inc. on behalf of
Dangers My Middle Name Music.
LIGHTING DESIGNER:Mark Stanley
COSTUME DESIGNER: Mark Eric
DANCERS: Francesca Forcella, Stanley Glover, Zachary Kapeluck,
Blake Krapels, Skyler Lubin, Anna Peabody, Roderick Phifer, Caili Quan,
Richard Villaverde, Andrea Yorita
Special thanks to Nancy & Jerry Walton for their generous support of Express,
15 MINUTE INTERMISSION
6
DANCE PROGRAM
STEEP DROP, EUPHORIC
III. Allegro
aldi, from
y Adrian
WORLD PREMIERE
CHOREOGRAPHER: Nicolo Fonte
MUSIC: V. Cadenza by Ezio Bosso, from the album Symphony No. 1 “Oceans”;
3326 by Ólafur Arnalds, from the album Eulogy for Evolution 2017; 1 Breath, Draw
Breath by Ezio Bosso, from the album Six Breaths; Thunders and Lightnings by
Ezio Bosso, from the album Music for Weather Elements
LIGHTING DESIGNER:Mark Stanley
COSTUME DESIGNER: Christine Darch
SET DESIGNER: Nicolo Fonte, in collaboration with Mark Stanley
DANCERS: Francesca Forcella, Stanley Glover, Zachary Kapeluck,
Blake Krapels, Skyler Lubin, Chloe Perkes, Roderick Phifer, Caili Quan,
Richard Villaverde, Andrea Yorita
Blake Krapels,
ick Phifer,
ops
Perhaps the only places left unexplored are the canyons of your interior geography, the
dark alleys of your consciousness – one of which might lead you to your road to bliss.
vite
stion
THANK YOU TO OUR SEASON SPONSORS:
WILLIAM PE NN
FOUNDATION
Janet &
Jim Averill
Neal Krouse
& Liz Knudsen
Wyncote
Foundation
David Haas
Leonard Haas &
Mary Lee Bednarek
TWSHUBERT
FOUNDATION INC.
Anne M. and Philip H.
Glatfelter, III Family
Foundation
Jerry G
Nancy Walton
The CHG
Charitable Trust
Jody &
John Arnhold
Frank Olivieri 6
Nancy Schure
With Us,
ess Yourself
nd Eddie
behalf of
THE BARRA FOUNDATION
Zeldin Family
Foundation
Michael M. Soojian &
Terry McKissick
David & Linda
Glickstein
Dr. Peter H. Arger,
in honor of Donald
Stanley Wilf
Richard & Anna
Marie Grossman
Eugene &
Alyce Fluder
Alan B. Palmer
NATIONAL
ENDOWMENT
ENDOWMENT ARTS
n,
The Philadelphia
Fund
ARTS
pennsylvania
arts.gov
COUNCIL ON THE ARTS
S.
Support for BalletX is provided in part by the Philadelphia Cultural Fund and National Endowment for the Arts.
BalletX receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a
state agency funded by the Commonwealth of Pennsylvania,
7

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