theater response

1.This excerpt from The Art of Dancing, gives us a unique perspective upon the relationship between dance and religion. Specifically, in Hinduism they believe that dancing is just a form of gestures that ultimately shows devotion and faithfulness to their god. Relating every action to Brahma, the Creator and how every kriya (action) inevitably leads to him. These kriyas are essentially develop human nature and leads mankind to "dance" as it is stated in the excerpt. Furthermore, the writer explains how forms of dance can be influenced by geographical location. The example that the author gives in this excerpt is the form of Bharat Nritya dancing. This form of dance uses alot of foot work and and rhythmic movement of the body. What stood out to me the most was the concept of gesticulation, and how it affects the art of Kathakali. Through certain gestures, dancers can convey their ideas with a combination of moods. 2.In this excerpt of Traditions of Indian Classical Dance, the author illustrates the history of the traditional Indian dance known as Bharatha Natyam. The earliest form of Bharatha Natyam we can see in the history of traditional Indian dance is can be found as early as 500 B.C; during this time we are introduced to devadasis, which by definition are hereditary traditional female Indian dancers, and they are found in ancient Hindu Temples. According to traditional Indian history, devadasis performed in the small southern region of India, Tamil Nadu and it is customary for them to dance individually, and for them to dance for entertainment and for routine service to Shiva. Furthermore, this excerpt highlights the movements of Bharatha Natyam. Two different versions of this dance, Nrita and Nritya add their own unique touch to this dance. Nrita focuses more on design and artistry, as the author depicts this version to involve dancers to move in wide ranges and extensions. Nritya, focuses more on emotion and expression, as it requires dancers to focus on face expressions and movements. 3. The ching hsi or Peking drama was one of China's most popular performance. This performance has evolved with the nation itself. Changing from the Mongol invasions to the middle of the Mind dynasty (1568-1644). Even though this type of drama saw a decline moving into the 20th century.The plays aimed for a hormonous effect which was based on the performers song, speech, movement, costume and makeup. This theatrical entertainment was used to celebrate or entertain all events in Chinese culture; from public to private events or parties to religious ceremonies and festivities. The actors who partook in ching hsi, had a range of different songs and movements to help provide a unique story for every occasion. it was one of China's greatest works of art. Each time that the performance is performed, every detailed has to be correct or else that the play itself is considered imperfection to the grand scheme of everything 4. Wen Zhou and Lin¡¯an were the most important opera center in Song Dynasty. Gao Ming was a famous script-writer, who wrote the story of Pipa. Gao Ming rewrote the original story on an earlier xiwen work. The protagonist is Cai Bojie, he wanted to be with his wife, however, he was forced by his parents to take an imperial examination. He won the first place in the examination, and the emperor wanted to marry his daughter with Cai. Meanwhile, his wife Zhao had already shaved her head and became a nun, living a terrible life. Finally, Zhao came to the capital and reunite with Cai. In this Kunqu Opera, Gao Ming showed both Cai¡¯s weakness and Zhao¡¯s braveness, which entrusted the traditional play with a higher ethical meaning. Chuanqi appeared in Tang Dynasty, which meant short stories. In Chuanqi, the selection of qupai is more flexible than in zaju because qupai for Chuanqi was based on expressions in the play.