GREASE background and analysis by Scott Miller The year isa pivotal moment in American cultural history, when rock and roll was giving birth to the Sexual Revolution and everything in America culture was about to be turned upside down. Record companies were releasing more than a hundred singles every week and the country was about to explode. Originally a rowdy, dangerous, over-sexed, and insightful piece of alternative theatre, Grease was inspired by the rule-busting success of Hair and shows like it, rejecting the trappings of other Broadway musicals for a more authentic, more visceral, more radical theatre experience that revealed great cultural truths about America. An experience largely forgotten by most productions of the show today.
It is not uncommon for a photograph to stand in as an icon of a live event and offer what we hope is access to some present now passed, but for decades scholars have disagreed on the date and location of the Taeuber photograph. To see it staged with the aura of the museum, as if it were an indexical relic of the famous cabaret, was troubling.
Carefully posed but masked and abstract, the image is both for and against a representation of the body. Depicting a dancer in position, burdened by an excess of material, it is for and against the possibility of movement.
A still photo and a suggested performance, it is both for and against presence. Taeuber was among the earliest participants when Dada was launched during World War I on We wear the mask comparison essay ground in Zurich.
In the black-and-white image, we see a figure posed against a dark and unidentifiable background. The body wears a collage-covered gown and rectangular mask. Long rigid tubes cover her arms from shoulder to fingertips and end in jaggedly cut paper, as if in parody of exploding French 75 cannon shells.
Its two mismatched eyes stare vacantly, one seemingly outward, the other taking a less focused inward glance. A large protruding paper nose sits above a huge mouth, gaping with teeth and perhaps an extended black tongue.
The difficulty of discussing the photograph, let alone the dancer we see in it, is compounded because not one of the existing prints retains documentation or provenance.
With scant records, a certain myth-of-origin surrounds this photograph. Rather than being seen as an authored photo in its own right, it has stood as documentary evidence of Dada live performance.
There were also performances by the Zurich-based Laban School of dance in which Taeuber took part. Over the next three decades, scholars from literature, dance, performance, and cultural studies have vacillated between the Cabaret Voltaire and the Galerie opening, even giving the name of one but the date of the other.
Even the famous photograph of Ball reciting poetry at the Cabaret Voltaire is more arguably an image staged before or following the actual event. In truth, the photo can assure us only a view of the costume and bodily presence arranged by Ball and his photographer to represent the event.
Ball writes of three music stands that faced the audience, one at each side of the stage. We also see light from a window and ceiling beams deep in space behind the flat backdrop. From Cabaret to Gallery The Ball image ought to remind us of the problems of using a photograph to reconstruct an image of past performance, even when we have a detailed description and known performance with which to link it.
The early days of Dada in Zurich contained seeds of hope through mystical and universalist—if at times also anarchist—community-building. The activity and interests of those involved in the cabaret clearly show that it is aimed at the few independent thinkers whose ideals extend beyond the war and their native lands.
For poets of the movement, the urge for universalism drove the invention of famously absurd noise poems that stripped language of its divisive uses in the service of propaganda, political gain, and violence. She embodies the absurd, and thereby might more viscerally communicate the tragicomic sentiment particular to wartime Dada.
Criticism is therefore useless, it exists only subjectively, for each of us. Thus DADA was born of a need for independence, of distrust toward the community.
The Galerie showed work by such established artists as Vasily Kandinsky and Paul Klee from the Galerie Der Sturm in Berlin and put on afternoon teas and art history lectures.
To claim one or another venue for the Taeuber photograph, then, makes a great difference.Difficulties Faced By Disabilities Health And Social Care Essay. The difficulties that people with disabilities and chronic illness are facing can be divided into 9 major criteria, including loss of independence, transportation, accessibility issue, education, employment, dining, communication and social relationship, getting married and self-esteem.
Jan 28, · Comparing "We Wear the Mask" by Dunbar and "Richard Cory" "We Wear the Mask," by Paul Laurence Dunbar and "Richard Cory" by an anonymous writer are two poems that illustrate how people hide their feelings from others.
As he watches, we hear about The Night Wears a Sombrero with “an ambivalent-but-finally-avenging-son story,” which gives us another Hamlet metin2sell.com’s also worth noting that this “avenging-son story” was in Tucson, AZ. Blood Sister features a young girl with burn scars on her face, which may be what Joelle van Dyne is keeping under the veil.
Analysis of We Wear the Mask by Paul Laurence Dunbar Essay - Analysis of We Wear the Mask by Paul Laurence Dunbar “We Wear the Mask” by Paul Laurence Dunbar is a renowned piece of literature that has been the subject of . I believe that we are not the masks we wear; that these are only fronts made for the purpose of hiding our true nature.
Everyone’s mask is different; they vary in degrees of opacity, or how. Online Library of Liberty. A collection of scholarly works about individual liberty and free markets. A project of Liberty Fund, Inc.