01
L’Alliance New York
Show Sketch
2024 Crossing the Line Festival
Destins Croisés Le sacre de la Lila is a meditative piece. The six male dancers take the stage, and the creation of a spiral takes form before our eyes. The man-made circle, a symbol lights up in iridescent blue. It plays on the ceremony of light, in the Moroccan Gnawa traditional Rastafarian World Music Festival. Break dancing, sliding, and shouting around this spiral, which is erased by their dance over top the dust and stones. This deeply spiritual performance asks the audience to embark on a journey with the dancers to transcend this physical space.
“Le sacre de Lila,” Nov. 8, 2024 at Bill T. Jones New York Live Arts.
“a special piece in the choreographer’s repertoire. Featuring a group of dancers from Quebec and Morocco, to celebrate Ismaël Mouaraki’s roots and cultural and artistic background.”
Le sacre de la Lila
In a cycle of festivals, and programming which brings a global village to the stages across many different cultures beginning to form multicultural communication deepening our understanding of spirituality. Multiculturalism in the ceremonial arts takes the mode of theater to more practical lenses. Probes into the land, the people, and culture of place over time in a kind of anthropologist. Le Sacre de la Lila Ismaël Mouaraki takes in the sound familiar to him, through Moroccan Gnawa traditional rhythm and drumming. Where the origin of a sacred festival of light for Islamic prayers call to a sensual being in knowing their surroundings and spirituality.
02
Opera Philadelphia 2024
The Listeners by Missy Mazzoli and Royce Vavrek
An American Opera, the howling of a coyote in an adultery story about American politics. In this orchestral movement that situates audiences in perspective to the disturbed being, in economic and environmental vulnerability, based on the novel by Jordan Tanahill.
Show Sketches
The Listeners
The Cult Of The American Dream
What is this sound making people crazy? The disorder, and misunderstood within a a false reality of America. The victims, are those whose world have been affected by this message of deserved privilege from propaganda that compares us to the plasticity of unreal expectations of nationalism.
03
Kun-Yang Lin And Dancers
The Mandala Project by KYL/D
Solo by Keila Perez-Vega
Show Sketches
Breath into Air
KYL/Dancers performed three pieces, The Mandala Project, Breath into Air, and Dragon by Weiwei Ma. The cycle designed to transfer grief into a physical transformation. Dancers show stages of grief in Breath into Air. In a movement that uses symbols of personal growth, with skin suits and a meditation on the mandala in their respective mode, removing the weight of loss from our selves. To the loss, and harm being seen in the world, this response to current states in our surrounding permeates the psychological change around us.
04
Koresh Dance Company
Show Sketches
Hollow Apple
A mysterious new choreography by Roni Koresh. It is an elegant title characteristic of Roni’s choreographic style. In the moment, audiences can give what they feel in perspective to the dance to the performance. The meaning of the dance stems from social media and virtual worlds. The environment, and place takes us to our dreams and desires. It stays true to Koresh Dance in the Gaga dance rhythms of electronic music composed by Sage DeAgro-Ruopp.
Ãme
The Fall
Roni Koresh is simply, “doing what he does.” As a choreographer at the modern ballet school, Koresh Dance School focuses on the youth ensemble to the attention of Melissa Rector. She moves to another beat for Koresh Dance, a tribute to long standing principle dancer for the company. MUSE, a program dedicated to the important role that Rector delivers, inspiration and in sync with Koresh’s choreography. Hollow Apple becomes a piece of indifference and true to the Koresh Dance vision. A desire to speak through the medium. Narrating multiple pathways into our social environment, and how our appearances seem an emotional response to say the less, in the “Mirrorverse.”
Mirrorverse
CROSSING THE LINE L’alliance New York
La Mama Experimental Theater
Alessandro Sciarroni: I Will Be There When You Die, 2017.
Skirball NYU Theater
Dickie Beau: (BlackOuts) The Abrons Art Center, NY (2017)
Dickie Beau in the mysterious drag, clowning mastery of an intimate view into the fame and addictions of Judy Garland. It begins with the audience sitting on the stage.Unbeknown to us until later when the curtain raises behind Beau to open up to the empty Proscenium hall. The story of Judy, in her addiction, and personality, a piece in itself with her own tape recorder journaling the actress’s personal life, and impersonated by clowning, and drag by Dickie Beau.
05
Temple University Boyer School Of Music And Dance
Show Sketches
Reflections:Response Choreographic Commission
Terry Beck 2024 Commission marks the 50th Anniversary year. Modern dance education and influence of Helmut Gottschild in Philadelphia. Terry Beck being a part of Zero Moving Dance Group in 1960’s in the creation of a movement in a dramatic narrative. The performance began with a violinist stage right, and flourescent lamps hanging above the stage, as Terry Beck dances to a structured Improvisation.
The philosophy and science of movement, during a time when the terms were still undiscovered, as far as corporeality meant to the human body and the human experience. DIG begins with a sound bowl ceremony of that cleared the energy, Tim Early, and Haotian Liu duet in a cavernous light, and darkness breaks. The visible clouds of smoke from the dust thrown, and blew on stage like cave paintings. The spirituality is as much in the strength and gesture of the dancers as the space, smoke, and earth tones which reflect misty apparitions as the dancers create this primitive language between ages, or archeological time.
Finally, HARBOUR demonstrated the sheer imagination of Terry Beck’s mode in a surreal play on landscape and time. Mother Earth seems to be seated at a throne assembled by tree branches, Brenda Dixon Gottschild reaches and yawns, as a core of dancers emerge ghostly all around her. A row boat placed in the background, Tim Early and Janet Pilla Marini, arrive on stage in a net at the front of the stage. The surreal images of clocks, the row boat, and window frames like light house hanging above the stage. The actors, players, and dancers were like puzzle pieces of the natural world. The Bardo, “a state of existence between death and rebirth in Tibetan Buddhism,” played by Terry Beck rows the boat in a figurative mix of symbolism.
Content
Curated to the festival of performances builds on the message of a global community. Our discovery into the worlds of artists, in a diverse place-making, and supportive creative ecosystem invites you to follow artists. This documents the argument of participation, which these artists mean to bring to the audience. The sketches reflect a fast moving immediacy, elaborate, and textured. It lends archival material to critique and add our multiple points of view, and inspiration. Leading us into the original source, or creating content that is also relevant, but more diverging into our own sequels.
Audiences
Inspiration to interpretations, an assemblage of moving parts, then one can say the audience is part of the art. Our input increasingly matters for the creation of theater. Surprisingly, new technology has brought more distractions before critically, inhabiting the deep work that contemporary artists seek for in their reviews. The purpose of multimodal media on stage is to appropriate a clear metaphor of the physical world. In conceptualizing light and sound, in a fractured world, our theory of change for viewers is for audiences to ask,
Drawing inspiration for the sequel means asking ourselves why, or what are we looking at? And imagination for our own sequel to the art on stage. In a social and civil body to free what matters in the art. “We reflect on our consciousness of a consciousness.”
-Paul Sartre, Being and Non-Being.
How do we embody it? Identify with its message? Is it the subject of close proximity? Sound, lighting, and scenery dramatically altered for a familiar sense we are feeling? When we feel grief, shame, or happiness in a wide frame of visuals, reference to our lives, and grasp an event that we can reflect on the stake we hold in this story.
The illustrations from sketching in the audience is a way to understand the multitude of humanity that takes on many different cultural milieus.
Partnership
For the past several years, since traveling abroad, WHYSEEART continues to document art for art’s sake. Imagine being in someone else’s shoes, and imitate their motion, even speaking to the dance artists involved in creating the artwork, about what their immediate impression of the work is. The mimesis that occurs through performances is an ephemeral art form across many people, and many lands. Since beginning to draw from the ritual of performance art, we have created many portfolios examining the gesture and conversation, in theory and in real time transformations happening on stage.
The intent for Contemporary Art to bring forth audiences which resonate with the theme of public art begins to partner with the space. We explore public space and socio-reality in how it changes in readings and in the environment. Why somethings appear awkwardly, symbolic and translate strongly for others. It suggests an auto-rhetorical response; autonomy of feeling in a unique disposition that only one is receptive to the meaning by their individual regard. Public art is on a social scale, and opening up access to more individuals into contemporary art bridges audiences from different places to a collective thought. Art for Art’s Sake, WHYSEEART draws analysis by illustrations from the point of view of the audience. The audiences’ intent is a new space for critical inquiry.
Theater is a visceral experience. In relation to art history this transcendental quality can refer to ritual, or ceremonial arts in sculpture & architecture through the ages. The ceremonial, a spiritual or séance, and connecting to the inner being of forms as a means to the reception of art in its essence. A theater space addresses making-place for public art in the social aspect of civil and with inheritance, explains aesthetics translated to grounding rituals. Art on the basis of public art, and ceremonial art brings us to the core value of communal beings.
Performance art, in a social space where the civic logos is determined by hierarchies, oligarchies, democratic parties, or an activist demonstration, and the voice for political theater has in theatrical performances a fixture in revolutionary literature, a collective consciousness, or deep structural patterns.
WHYSEEART is a brand for contemporary art in progress with the common goal of collaboration. An approach valued for the collection, a package of portfolio sketches of the performances.
What kinds of Theater are there?
Off-Broadway productions are based on minute trends, and many different directions. The sociology and anthropology creates intersections. Many of these intersections lead to larger avenues and interventions of common language that relay a shared emotional response to the universal being.
Modern dance, a convergence of disciplines of dance theater that blurs the distinction of dance and theater. The influence of prevailing dance companies or choreographers are known as the precursor to a larger movement specific to a period of art history, respectively Post-Modern Art of the 20th century.
Contemporary opera, and the classical genre of orchestral music or chamber music, tap dance and other classical theater techniques represented in the literary arts and rhetorical art forms in the succession of accepted or pre-existing formulas of contemporaneous creations. Affiliates of an art form inadvertently prescribes to facets of a group, identity, or a canon.
The New Yorker contributes a list of “Happenings Around Town” to learn more about what is happening in the sense of content by our contemporaries. Create your own audience reviews Dance-Enthusiast.com
The cultural relevance in media, that audiences descend upon, and maybe, momentarily into a movement of solidarity, with a critical view on the medium.
The history of broadcasting shows how many of us are moved by productions targeted at us. And since the beginning of American Musical Theater producers and song writers captured a national craze, with popular music, drawing artists to Hollywood, and all during a time that Jazz, and classical music began to mix, tonally and politically in the U.S… Such was the case when the, Tin Pan Alley in NYC was alive and well with recordings by contemporary vocal artists while radio, moving pictures, and Extravaganzas or Live Variety Shows were gathering public acclaim.
WHYSEEART theater awareness for contemporary audience that comments, and draws on the content being addressed to artists and creatives. Since the present technology, that has given way to a participatory audience or viewer.
Sun and Sea, 2021
Contemporary Opera at the 2021 Philadelphia Fringe Festival composed by Lina Lapelytė, realized by Rugilė Barzdźiukaitė, and libretto by Viva Grainytė. It was like stepping onto a movie set, or visiting an exhibit at the zoo.
Sun & Sea (Marina) Opera on the sandy beach of North Philly during the Fringe Festival 2021. Mannerisms in opera shift to exaggerate a hyper real form of language and ambiguity in its behavior that excites our interests.
Taking a trip to North Philly was really part of the whole performance where it took place in the warehouse. There was a picturesque urban sight of gas stations, an ear shot away of everyday life, and there was this artificial beach hidden inside. It was a stage brightly lit for a sandy vacation to reimagine environmental art as we climb up to the tier above a scene under warm stage lights. The scene was completely hysterical, and it transpired likewise with lyrical notes sung by our soprano and baritone, and this setting illustrated satire in its natural environment, and natural disasters(unimaginable).
Breaking the Waves
Best New International Opera
by Missy Mazzoli and Royce Vavrek
Recently, they were seen working together on THE LISTENERS which streamed on Fedora OperaVision Channel in 2023. Their 2016 debut, “Breaking the Waves” in Philadelphia introduced volumes of a contemporary opera, the adaptation changed the mood for viewing opera. From language, drama, a large set, a full chorus, and unbelievably explicit material. In 2016, we were excited to return to Philadelphia from experiencing the spectacle of the International Edinburgh Festival and Fringe Festival to catch this new opera.
An opera adapted from a film. I studied elements of adaptation at the University of Pennsylvania. Adaptative studies is this exciting discipline between a medium and its authors, and contemporary opera was like another exploration on storytelling, a mode of viewing a medium. Afterwards, I had the chance to meet the creators, Missy Mazzoli and Royce Vavrek backstage.
