La Mer This performance swells, on a calm sea, and hanging on to this amazing storm. Like an opening, in the sky to a dark spot on the horizon. Then, again lost at sea, or is it an ocean at all? Switching from light and heavy fields of rain to shine, it may just be the most pronounced indefinite time for drawing this wake as it settles down, and rises up like the tide coming and going.

The question of our contemporary moment in respect to a larger movement, and a continual reminder for calling to an accountability of artists, thinkers, and our contemporaries in social spaces. The moment the performance has ended is the beginning to the review. The court artist, the music hall means to gather and show up in our community. The Show Sketches form an unbroken line – content, culture, influences it begins to translate 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; the sequel that inspired The 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.”

Ballet X & the Philadelphia Ballet show a level of contemporary ballet schools in Philadelphia. Introducing international choreographers to the creative community in Philadelphia. While the Philadelphia Ballet has a regional audience for being an American Ballet company, Ballet X inits 10 years has brought wider audiences to the style, and perspective on performance art. There is a school of dance in Philadelphia for the public to to experience a range of movements, from the classical to the avant-garde.

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 Pearl Fishers by Georges Bizet, libretto Eugène Cormon and Michel Carré is a classical opera, from 1863 shown in the cinema, presented by The Met Live on Screen in 2017. On screen, the camera moves across the stage directed by its close-ups on the soprano and zooming-out onto a complete cast of villagers, the setting- a fishing village, all to emphasize the subject of opera.