I think Don Giovanni can be classified as both a comedy and tragedy because it exhibits qualities of both genres.  One of the main aspects of comedy in the opera for me was the “Catalogue Aria” in which Leporello sings about all of the different women Don Giovanni has been with.  He takes out a book and sings about how there were so many women from each country and how the Don likes women of all sizes.  Although this may not be a very happy moment for Donna Elvira, the audience laughs at the different girls that Leporello is describing.  There were other comic parts in the production we saw, mostly from Leporello.  One example would be when he was dressed up as Don Giovanni and mimicking how his seducing of a woman.  Despite these comedic moments, Don Giovanni is also very much a tragedy.  Don Giovanni has a tragic flaw, his womanizing.  He goes after many women whoever they are even if they are married or if the refuse.  At the opera’s end, Don Giovanni dies tragically when he is dragged down to hell with fire.  In addition to Don Giovanni’s death is the death of the Commendatore at the beginning.  Thus, although Don Giovanni is often comical, it’s end is quite tragic.

The theme of class differences is seen throughout the opera.  Leporello is Don Giovanni’s slave, and Don Giovanni is of nobility.  Although he is Don Giovanni’s friend, Leporello complains often about wanting to leave the Don, but he does not until his master is dead.  Leporello must do things for Don Giovanni even when he does not want to.  It can also be said that because Don Giovanni is of nobility, he may feel entitled to whatever woman he wants.  For example, when he is trying to rape Donna Anna at the beginning, he may feel entitled to her, but she tried to fight back.  The “Catalogue Aria” which tells about all of the women that Don Giovanni has been with can also show gender differences.  In the live performance of the opera, we were able to see the class differences even more because of the costumes worn by the actors.  The peasants did not wear the same elegant clothing that the nobility wore.  For example, Zerlina’s dress was not as fancy as the dresses worn by Donna Anna and Donna Elvria.  The names in the opera show these class differences as well.  The characters with “Don” or “Donna” before their names have a higher status than the other characters.

I believe the music did enhance the story.  It emphasizes the lyrics and makes the message stronger.  Music can make the audience feel tension or happiness or whatever other feelings the composer is trying to convey.  Especially in Don Giovanni, I think the music can help the audience members follow the story because the language is foreign to many of us.  Leporello is one of the more comical characters in the play, which is displayed in his songs.  When he sings the “Catalogue Aria,” the music has an upbeat and carefree feel although what he sings about is not necessarily a good quality of his master.  This song can also contribute to the understanding of the relationships between Don Giovanni and the women he has seduced because the music almost reflects the qualities of the women that Leporello sings about.  For example, the lyrics about blonde girls were lighter than the music about the brunettes.

I enjoyed Don Giovanni; however, I tend to enjoy modern pieces more.  It was interesting to see Don Giovanni because I have never been to an opera before.  The type of singing is very different than most modern performances, such as Broadway Musicals.  Unlike most contemporary performances, the opera has music throughout.  The costumes are more ornate; however, modern performance can have very interesting, unique costumes as seen in some of the events we have been to as a class.  I enjoy contemporary shows more than operas because I like the breaks without music between songs as well as the fact that they are often mostly in English.  Still, I have only seen one opera so I cannot fully judge how much I like or do not like them.

“House/Divided” compared the story of the Joad family from The Grapes of Wrath with the modern day financial and foreclosure crisis through the use of live performance and media.  The Joads were a family who was forced to leave their home and land in Ohio and travel to California to find work and a new life.  Their task is not very simple because they must also deal with death as well as little pay.  The modern day portion of the play consisted of someone being kicked out of their home and the financial workers and others involved in the crisis.  It also showed documentary-type interviews with people who lost their homes or were involved in the foreclosure process in some way.

The play involved aspects of live performance and media.  There were actors present portraying the Joad family as well as actors depicting a modern day man suffering from foreclosure and the people working in the financial and police departments.  There were also some physical props involved.  On the other hand, media was involved heavily in this performance.  The house was taken into the two different time periods with projections of houses in various conditions.  In addition to the videos of interviews shown, a loop of stock market numbers and images of the dustbowl were projected.  At other times, projections of the actors’ faces were shown larger on screen.

I tend to take a more Phelan approach to this situation because I do believe the live performance is livelier, more realistic, and overall a different experience than media.  Phelan says that a performances life is in the present and that media in any form makes the performance something different.  In my experience, I believe that live performances evoke more emotion from the audience.  Still, in some circumstances, I think it is possible to use media to support the live performance while not taking away from it.  In “House/Divided,” however, media was so much of a component that its creators had taken a more Austlander approach.  Austlander believed that media was just as “real” and important as live performance.  He used the analogy, Dance + Virtual = Virtual, and he supported this equation.

Ultimately, “House/Divided,” was a unique experience even though it was not the same as a completely live play would have been.  I think the use of media in some aspects was very original, for example the initial entrance of the house’s projection was great.  Although I do prefer a performance with more live aspects, I do not completely agree with the first woman who spoke in the discussion session.  Although the audience was not completely invested in a fleshed out storyline, I left with a feeling of appreciation my family and the house we are fortunate enough to have.

This photograph is called Man on girders, mooring mast, Empire State Building.  It was taken around 1931 by Lewis Hine.  I chose this photo for many reasons.  First, the setting is New York City, which is a place we can all relate to.  Next, the man in the image is an everyday construction worker doing his job, which happens to place him atop one of New York’s most famous buildings.  I was drawn to this photo because it evokes a feeling of being high above the city.  Seeing the man on the Empire State Building makes me feel somewhat worried that he will fall off.  The image also makes me think about what it would feel like if I was sitting on the top of the building like that.  Compositionally, this photo is strong because it makes use of many of the elements we discussed in class.  The rule of thirds is exhibited in the photo because many important elements are placed on these lines.  The man himself is on the first third line, and another girder is on the next third.  Horizontally, the man is on the third line at the bottom of the image.  This photograph also plays with lighting.  The man and the Empire State Building are darker, whereas, the background of the city is lighter.  This draws your attention to the man.  The photo also uses curves and diagonals to focus your attention.  The Empire State Building has curves that make you look at the man and then at the background as well.

I plan on utilizing the techniques spoken about by Professor Grimaldi in my photograph on Snapshot Day.  I will use the rule of thirds by visually placing some of the important aspects of my photo on the imaginary gridlines.  I may also try to use diagonals and curves to direct attention to different parts of my image.  I can use other framing techniques to help viewers focus on the main part of the picture.  I can also experiment with lighting techniques and the golden ratio.  Overall, I will try to make my picture intriguing and representative of New York City.

-Lisa

Analytic post-modern dancers believe that dance can be done for the purpose of the dance itself and the movement itself.  Dances are made to create a structure within which movement can be seen for its own sake.  Post-modern dance often embodies different perspectives on space, time, or orientation.  It often includes the use of repetition, improvisation, chance, and actual time.  Analytic post-modern dance rejects musicality and meaning, and it uses costume, lighting, and objects for their functions.  In these dances, life is often the subject of the art.  Also, the dancers can be choreographers as well.  Post-modernists dance for the pleasure of the dancer.  Thus, it does not matter if the audience does not particularly like the piece.  Analytic post-modern dance can create a new way of looking at dance for the audience.

Steve Paxton used the ideas of analytic post-modern dance in his contact improvisation style.  This style of dance uses two bodies moving with each other and in physical contact with each other.  This form of dance also has to do with these dancers’ relationship to the physical laws that surround them, such as gravity.  Contact improvisation displays the importance of movement and chance just like analytic post-modern dance.  These dancers must work with their partner in order to continue the flow of the dance without stopping or losing contact.  Steve Paxton’s dance, like post-modern ideas, focuses on movement, spontaneity, and the exploration of the body.  Like other dancers in the analytic post-modern dance movement, Paxton provided the audience with a new idea of what dance can be defined as.

This is a review of Nora Chipaumire’s “Miriam” by Claudia La Rocco.