Program Copy has been modified by shademk
Title: dAUnce VII
Playwright: test
Book by:
Music & Lyrics by:
Show Dates: January 23rd-25th at 7:30pm
Matinee/s: Sunday January 26th at 2:30pm
Performance Time/s:
Setting or Synopsis of Scenes (if applicable):
The Waltz Brilliante, from the ballet Les Sylphides
Originally titled Chopiniana, it was set to existing music by Fredrick Chopin, for the students of the Imperial Ballet School in St. Petersburg. The name was changed to Les Sylphides when Serge Diaghilev’s company, Ballet Russe, debuted it at the Paris Opera in 1909. It was likely renamed because the ballet La Sylphide, which premiered on the same stage in 1827, having very similar premise, was a great success. The two ballets illustrate the quality of movement, the style of costume, music, and the ideas expressed in the romantic period, as referenced in art and literature. The portrayal of the sylphs is a wonderful exemplification of the romantic ideal; they are feminine, ethereal, pure, unearthly, and ultimately unattainable. At the end of La Sylphide the male dancer catches the sylph and she dies instantly, thus demonstrating how the ideal and the reality cannot coexist. In the ballet Les Sylphides, the male dancer dances among the sylphs. There is no real story-line and therefore no real conclusion. It is merely a glimpse into the thoughts, dreams and explorations of mind of the male dancer, a poet. Les Sylphides is one of the world' s most beloved ballets and most masterful compositions. It is, in it’s entirety, no more than 30 minutes. In this performance we present The Waltz Brilliante, the final dance in the ballet. Though only the sylphs will perform, they will be dancing the choreography as it has been done for 100 years.
Original Choreography: Mikhail Fokine Re-staged for this performance: Claudia Oates
Original Musical Composition: Fredrick Chopin
Performers: Brittany Allen, Julia Ansley, Meaghan Bloodworth, Kaitlyn Box, Lindsey Elledge, Breanne Maraman, Natalie Masiuk, Morgan McAllister, Emily Rourke, Shaye Smith, Katie Toney
Lon's Gone
Original Choreography: Josh Hilberman
Music: Russell Malone
Performers: Keri Lawson, Tracy Lawson, Adrienne Wilson
Rhythm Play
Choreographer: Adrienne Wilson
Music: Ahmad Jamal
Performers: Brittany Allen, Dominique Anderson, Haley Borders, Kaitlyn Box, Tiffany Harris, Jennifer Kerns, Breanne Maraman, Emily Rourke, Shaye Smith
Choreographic Possibilities
"Ferngully"
Student Choreographers and Performers: Brittany Allen, Drew Holden*, Payne Hopton-Jones, Marche Morris, John Tourtellotte
"Waiting Room"
Student Choreographers and Performers: Haley Borders, Breanne Maraman, Contessa Smile
"Surrender"
Student Choreographers and Performers: Brittany Allen, Cornelius Benson
Barbie: Then and Now
Choreographer: Adrienne Wilson
Costume Designer: Katie George
Music by: Edgar Meyer
Performers: Dominique Anderson, Annie Gilbertson, Tiffany Harris, Morgan McAllister, Natalie McCormick, Shaye Smith
Get Up
Choreographer: Duane Lee Holland
Music by: Mary Mary
Performers: Duane Lee Holland
Sculpting Space-Theme and Variations
Choreographer: Adrienne Wilson
Music: J.S. Bach
Performers: Sarah Alexander, Brittany Allen, Dominique Anderson, Cornelius Benson, Isadora Blanche, Kaitlyn Box, Annie Gilbertson, Tiffany Harris, Drew Holden*, Payne Hopton-Jones, Natalie Masiuk, Morgan McAllister, Natalie McCormick, Emily Rourke, John Tourtellotte
Understudy: Madeline Irion
Discovery
Choreographer: Duane Lee Holland
Music by: Gnarls Barkley and Kanye West Edited by: DJ Cisum
Film Editing by: Leslie Rivera
Performers: Shannon Briggs, Drew Holden, Madeline Irion, Morgan McAllister, Natalie McCormick, Marche Morris, Emily Rourke, Kristen Sims, Shaye Smith, Tiffanie Thompson
Choreographers:
Adrienne Wilson
Adrienne Wilson, Assistant Professor of Theatre, is a dancer and musician who has been actively pursuing a life in the arts for many years. At Auburn University, she teaches dance courses based in modern/contemporary technique, rhythm, tap, movement analysis, continually blending in elements of dance history, composition, improvisation, anatomy and kinesiology; and choreographs and directs the annual student dance concert (dAUnce V, dAUnce VI, dAUnce VII). There has also been opportunity to coach movement for actors and to choreograph for the stage. She earned an M.F.A. in choreography and performance from Ithaca College. Her choreographic works have most recently been seen at Auburn University and at the 2009 American College Dance Festival at Middle Tennessee State University; and also at SUNY Brockport, the American College Dance Festival at the University of Florida and Slippery Rock University in Pennsylvania, and at the 2005 National Dance Educators Organization conference at the University of Buffalo. Performance credits include works by Bill Evans, Sean Curran, Jose Limon, Wallie Wolfgruber, Santo Giglio, and Josh HIlberman, and her own choreography. She has studied modern dance with Bill Evans, Santo Giglio, Wallie Wolfgruber, Vicky Uris, Jenny Coogan while taking special opportunities to work with the Jose Limon Dance Company and Sean Curran. Her work in rhythm tap is strongly influenced by Bill Evans, Brenda Bufalino, Josh Hilberman, Drika Overton, Katherine Kramer, and Sarah Petronio. She has taught on the dance faculties of SUNY Brockport, Hobart and William Smith Colleges, and Alfred University; and also served on the music faculty at Elmira College and as staff accompanist at Ithaca College. While participating in conferences she has taught classes in modern dance and rhythm tap at ACDFA for the last several years (University of Mississippi, University of Florida, Middle Tennessee State University), most recently presenting a panel discussion on dance curriculum; and co-presented a creativity workshop with Bill Evans, Anita Feldman and Barry Blumenfeld at the University of Buffalo based on the fusion of modern/contemporary dance with rhythm tap.
She is a member of the American College Dance Festival, the National Dance Educators Organization, the International Tap Association, Congress on Research in Dance, EastWest Somatics; and is a former member of the American Dance Asylum, a post-modern dance company specializing in site-specific work.
Most recently, she was awarded the 2008-2009 College of Liberal Arts Instructional Excellence Award. And she is currently working on certification in Bill Evans Modern Dance Technique, based in Bartenieff Fundamentals and Laban Movement Analysis combined with contemporary dance technique.