The question of a single contemporary moment is certainly absurd. It is a continuation of everything that has come before, and its part of the past, the moment the performance has ended. The classical repertoire of composers, the orchestral symphony means to a concerto is to excel in the ability of an instrument, and return to the contemporary music hall. The Show Sketches form a line of content, culture, and influences which begins a conversation into how we draw from a live performance. A visual review into philosophical critique on genre and the artist’s touch. Classical ballet to modern dance reimagine a movement unlike anything before, but the artists’ purpose naturally, described as natural geometry, and an architect of time. The critic makes antidotes of the art form, and many playwrights, choreographers, or classical musicians point to humanity; drawing from observation for the sequel to inspire an Art World.

On Edge (2017) I experienced a new range of vocabulary through The Philadelphia Ballet. The work of Mathew Neenan exhibited music by Laurie Anderson, an Avant-Garde performance artist and composer in his piece, “It Goes That Way.”

Commentary on culture performs around a discussion with the creative community. For instance, there are various companies that are visible on a level of commercial success, and an international dance audience, like Ballet X or the Philadelphia Ballet. Ballet X, a contemporary ballet school on Washington Avenue introduces international dance choreographers to the creative community in Philadelphia. While the Philadelphia Ballet has a regional audience for being an American Ballet company. These great schools for dance in Philadelphia manage to open the public to experience the art form, like a gateway into a greater dance community.

There is a growing capacity for seeing new works on stage. For myself drawing during shows I feel like I have to touch it. A sensation similar to the tendency of understanding the art form. Observing colors on stage, it starts with a line, and it moves the narrative forward. There’s the lighting on set, creating atmosphere, and characters introduce a mood. Let us not forget about the sound too. In the audience, “La Mer,” conducted by Yannick Nezet-Séguin, drawing from this composition you feel something, a displacement of sorts. We enter this immersive art form drawing our own observations. Ballet X presented Marguerite Donlon’s, “The Last Life Boat,” the contemporary choreography took us on a trip of a familiar subject, the sinking of the Titanic, but Maugerite’s story was of a relative in her family who was a survivor of the horrific event. Exploring different mediums with a visual interpretation, of modern dance, or classical music taken for granted allows even greater freedom for interpretation. We value both disciplines for their introspection, discovering intersectionality, in the musicality and in the physicality. Dance theater, contemporary ballet, and classical composition have rendered themselves through storytelling, such as the Pearl Fishers from the MET LIVE 2017 opera.

The scale and volume of cultural productions in a variety of content turn to the history of opera. Above, The Pearl Fishers by Georges Bizet, libretto Eugène Cormon and Michel Carré is a classical opera, from 1863. it was shown in the cinema, presented by The Met Live on Screen in 2017. Following the camera across the stage, the close-ups on the soprano, zooming-out onto a complete cast of villagers, the setting, a fishing village, all-encompassing a new dramatic scale.