:Christine’s ePortfolio:

October 14, 2008

Notes on Opera

Filed under: Randomness —— christinerivas @ 5:44 pm

hello, everyone. I have just found an excuse to write another totally purposeless blog, for no other reason than to give me something to do.

Well, yesterday, we all went to go see Dr. Atomic, a lovely opera about the guy who invented the atom bomb, their misgivings, and the happenings leading up to the first test drop.

I liked it. I didn’t think I would. Sure, there were times where I felt like it was so long that I was squirming in my seat, and times where I was feeling distracted (this could have also been because I was very tired. Because I was.), but it was a pretty enjoyable experience. I had actually been in an opera before (The Mikado), and I thought it was nice to see an opera like they are supposed to be done, orchestras, real costumes, the whole nine yards.

The set, I have to say, was very cool. I remember looking at the screens showing it, and I had remembered thinking that it looked like a giant Christmas present all wrapped up. But it was just a bunch of teeny movable rooms, which was pretty cool. The whole scene with the wife singing the Am I In Your Light poem had to be my favorite part of the whole show, partly because the whole scene was so sad, partly because it was one of the few scenes where I could pinpoint Oppenheimer in the crowd. (Last balcony, last row. Talk about your epic nosebleeds.) Also, the very last scene, where the bomb was exploding and the Japanese woman was asking for water for her children had to be one of the best. It was one of the last things I expected to hear, considering the exploding bomb was in New Mexico and not Japan, but it was haunting in it’s own way.

Here is where I go off on a tangent about how beautiful operahouses are, especially the Met.

It. Was. Huge.

It really was, and it was red everywhere. And these GIANT chandeliers. Truly huge things. I remember in the show that they said something about twenty sided shapes. The chandeliers on the ceiling was what came to mind, because they were pointed in thirty different directions, and very shiny, probably like radioactive metal. The giant poster outside that said Dr. Atomic really big and had his picture was a nice touch. The whole theater gave me the inclination to watch more operas.

On another note entirely, does ANYBODY know how to deal with blackboard? it’s currently giving me the biggest headache. I will take any help possible. Thanks.

Anyway, this is Christine, signing off.

P.S.: I found Tyler Durden’s 8 rules of Innovation on a pop up while taking the impossible quiz my sister had sent me, (Trust me, you don’t want to know.) Thought I’d share them.

http://lateralaction.com/articles/tyler-durden-innovation/

Enjoy.

September 16, 2008

How in the world does one get into classes on Blackboard?

Filed under: Assignments, Randomness —— christinerivas @ 6:19 pm

Ive got to get documetns out of there, and I couldn’t before.

Afraid I will never be able to get in there.

This is not good.

Someone please please help me.

Every time I try to get in, it keeps sending me back to the CUNY website. If anything I’ll ask my teacher about this if I dont get any sort of response from you wonderful people. As a last resort. I really really need those documents. Either that, or can I get them emailed to me? Even better, send them over as a comment on this thing. That I am bound to see. Online bits of classes are very very annoying. Two of them are really online based. Will make sure this never happens ever ever again.

Sorry for the rant.

Please help.

Christine.

P.S.: Can someone tell me what train goes to the theater we are all going to tomorrow? Thanks. I owe you all very big.

September 15, 2008

Rock the Vote (Veto)

Filed under: Randomness —— christinerivas @ 5:41 pm

Hey. I discovered Rock the Vote, incredibly, in my favorite online web show, Red vs. Blue. (Very funny show, look it up on YouTube, it’s great.). Then, I discovered it again on a Brooklyn College T-Shirt in the bookstore. (Cool place, found some books there.). Anyway, as I’m already registered to vote (rock on, all you independents who aren’t voting for Nader.), I’ve decided to spread the message. Anybody who hasn’t registered, please do so. Pleas decide which of our presidential candidates is the lesser of two evils.

Ironically, Red vs. Blue can be seen as a comparison for the Republicans and Democrats. You’d have to know the show, but the Reds are the ones more focused on the war at hand, isn’t concerned so much with the war ending as fighting it, despite the reasoning, and their thing is Red, and elephants. Meanwhile, the Blues are more adamant on finding out what’s really going on, they’re more likely to teamkill (Obama and Clinton fighting very faintly reminds me of Caboose accidentally shooting Church. Seriously, watch this show. It’s pioneering, and very funny.), and their comments sting a bit more. They’re Blue, and their animal is donkeys, and if you watch this show, you’ll see the donkey comment makes sense, or rather, another word.

If I hadn’t registered, this would have reminded me to. Please, fellow classmates, register to vote, lest we be forced to play some sick and twisted Blindfoldz game.

Please excuse the randomness today, I’m very bored and I stumbled across the rock the vote website. Very inspiring. Figured I’d spread the joy.

Christine.

September 11, 2008

The login process gives me a headache.

Filed under: Randomness —— christinerivas @ 12:53 pm

Perhaps it’s because I’m still learning how to use this kind of blog, but the login page for me is pretty difficult to access, and I had to log in like five times before it would actually let me in in the first place. And as I learned just now, from writing my last post, I can’t embed YouTube videos. Bummer.

Well, as this is a class for art, and for me, music is one of the highest forms of art, I have decided to put a music player on this thing, if the blog system will let it work. I hope it does.

Nope, it doesn’t.

*~*~*~*

Never mind, yes it does.

Whee. Finally did it. So what if it doesnt look like a tape or a bunch of doodles on looseleaf. Or that I didnt get certain things I wanted. I got a player, and it’s filled with music I picked.

The Light Has Not The Arms To Carry Us

Filed under: Assignments —— christinerivas @ 12:31 pm

I was going to put this up yesterday, on a Brooklyn College computer. Alas, with all the issues the login system has been giving me, I completely lost what I was doing. After painstakingly looking for everything AGAIN, I couldnt really find all of it, but here it is. “The Light Has Not The Arms To Carry Us” doesn’t have a lot of research out, and the one article I did find on Kate Weare was about another dance she choreographed with her company, called “Bridge Of Sighs.” But, it’s still amazingly cool.

Here is a video of her company and of her.

The article URL is: http://www.villagevoice.com/2008-09-03/dance/clinging-to-life-in-kate-weare-s-bridge-of-sighs/

The article itself is here.

Note to self: Try not to miss any performances by Kate Weare’s group. Enter in calendar: The Light Has Not the Arms to Carry Us (September 25, one of the “Fall for Dance” programs at City Center) and Bridge of Sighs plus a new work (June 25 through 27, 2009, Danspace Project at St. Mark’s Church). While joining the fervent applause for the premiere of Bridge of Sighs at Jacob’s Pillow’s Doris Duke Studio, I’m thinking: “This is what I’ve been craving.” I understand many choreographers’ current interest in physical eclecticism and inconsistency in a falling-apart world, but Weare’s movement emerges from a fusion of ideas and emotion—gripping you with its actual heat and, in its pauses, altercations, and meltings, penetrating the complexities of human behavior.

Every dance by Weare that I’ve seen since she moved to New York eight years ago has stuck in my mind. In her 2007 Sinnerman (also shown at the Pillow), three women lie downstage, supine and motionless, their heads toward the audience, while Adrian Clark travels what might be a tricky terrain of memories, and Nina Simone sings the song that gives the work its title. What, indeed, is this man running from? When, for a few seconds, he joins the line of spectral women, they drum their feet startlingly against the floor. It’s as if, in awakening, they’re rapping against his conscience. They do very little, these three (Leslie Kraus, Stephanie Mas, and Weare), but when they stand and fix their skirts, that small gesture opens even deeper vistas for speculation, just before all four walk away into the darkness at the rear of the stage.

For Bridge of Sighs, the theater’s back curtain has been removed, and Brian Jones’s fine lighting warms the wooden barn walls. Astrud Angarita’s monotone clothes move easily in the ruckus of dancing. The original score by Michael Hearst and Joshua Camp of the band One Ring Zero alters with the prevailing mood—bringing in the beat of a march, turning its melodies sour, dredging up a slow waltz, falling silent.Passion—its joys and regrets and the shifting of partnerships—is hardly a new subject, but Weare makes it seem so. Bridge begins with Kraus and Douglas Gillespie contending in close range; their claps, slaps, sudden turns, and the thrust of their limbs conjure up a recklessly dissonant tango. They think better of kissing. Their duet ends disturbingly: Gillespie falls and, as Kraus backs away, Clark—who has suddenly appeared—catches her from behind and pulls her into a perch on his thighs. The two of them watch while Weare helps Gillespie to his feet, arches him backward against her, and pulls up his shirt. Clark carries Kraus toward them and helps her place her feet against Gillespie’s bare chest. As gentle as the gesture is, you feel it as a branding.

Whatever the motivation behind this piece, the four tremendous performers appear to be locked together in a cycle of changing allegiances—always watchful, always aware of one another. If their characters and drives were different, you might imagine you were watching a fever chart of Othello. There’s no jealousy here, however: Kraus, Weare, and Gillespie interlock in a trio. The two men dance together, as do the women, and, at one point, a perky musical beat brings out a happy sensuality in Weare and Kraus; side by side, in unison, they enjoy the swing of their hips.

Weare’s choreography employs the whole body expressively: The feet step in temperamental rhythms, the limbs lash and jab, the torsos curl and stretch. At the very end, Kraus and Clark watch while Weare, clinging to Gillespie, slowly slips down. He, staring into the distance, keeps lifting and lowering the arm meant to guard and embrace her, even after she has lain down at his feet. Submission? Irrevocable separation? Whatever it is, it could break your heart.

Maureen Fleming shared the bill with Weare’s group. Her solo choreography draws on her studies in Japanese butoh, in that her usually naked body is slightly whitened and her pace is slow. But she eschews the distortions that characterize the form. In The Sphere (1997), standing on a tall, almost invisible platform in the blue rays of Christopher Odo’s lighting, a red beam flickering at her breast, she orchestrates images of beauty tinged with incipient disaster. Arching deeply backward, she becomes a frozen wave. She bends to touch the ground and lifts one leg high, but what you see is a single, long, pale scimitar. In Dialogue of Self and Soul (2006), she dreamily merges and pulls against a stretched length of white fabric. In The Stairs (with Peter Phillips playing Philip Glass’s “Solo Piano: Metamorphosis II” live), she descends a shadowy staircase head-first, on her back—an exiled angel in agonizing free fall from heaven.

No pictures, sorry everyone. I entered Kate Weare on Google, and I ended up with pictures of Katie Couric. Real smooth, Google.

September 4, 2008

Hi, everyone.

Filed under: Randomness —— christinerivas @ 10:37 pm

Hi, everyone.

I have decided to write something here, so that there is something here to build off of, and so I don’t get that annoying “sorry, nothing found” sign every time I click on view site.

Well, hi. I’m Christine, I’m typing on the spiffy MacBook, and I really can;t type very well, so any spelling mistakes aren’t really spelling issues, they’re typos. I like Brooklyn a lot. (yeayeah Bridges pride)*. I like my classes, and the seminars are cool. (Anybody else think that Maus was the coolest book they read in a very long while that they havent read more than once?)

Anyway, before I start rambling (I have another blog for that), I’m going to stop talking.

Christine.

*(Did anybody know that the Brooklyn College mascot was the bridge? I went asking around, and eventually I consulted the internet. It’s the bridge. Clever, but unsettling.)

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