From the Paper
"Between 1912 and 1916, Vaslav Nijinsky choreographed four works for the Ballets Russes. These works (L'Apres-Midi D'Un Faune, Jeux, Le Sacre Du Printemps, and Til Eulenspiegel) were radical innovations in the world of dance choreography. Serge Diaghilev, the director of the Ballets Russes, had a strong influence on this contribution by Nijinsky. In addition to making Nijinsky a star, Diaghilev provided the young dancer with his first opportunity to work as a choreographer. Diaghilev was a teacher and homosexual lover to Nijinsky, as well as his employer. The influence of Diaghilev on Nijinsky's career was so powerful, it can be said that he served as "a kind of father figure" to the dancer. In fact, Diaghilev tended to provide this role for most of the young male artists that he worked with. By introducing young dancers to artistic ... "

From the Paper
"This paper will discuss Nijinsky's choreography style, as seen in the ballets L'Apres.Midi D'un Faune and Jeux. Vaslav Nijinsky was born in 1889 or 1890 in the Russian town of Kiev. As a child, he was admitted to the Imperial School of Ballet where he soon established himself as a brilliant dancer. In 1909, he joined the Ballets Russes, which was run by Serge Diaghilev. Nijinsky became an international star in his work with the Ballets Russes, and he remained with the troupe until 1913. In 1919, Nijinsky's career was cut short when he suffered a nervous breakdown. He remained in sanitariums until his death in 1950.
During his relatively short career, Nijinsky choreographed only four works for the stage. L'Apres.Midi D'un Faune (1912) and Jeux (1913) were both based on the music of the French..."

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Abstract
The paper relates that during the Renaissance period, dance acquired a great importance both as a social practice and as an emerging art in the form of ballet. The paper relates that this period is very important in the history of dance because it marked the beginning of women's participation in dancing activities. The paper notes that the choreography of the various types of dances reflected the main ethical principles of the Renaissance society and thus transformed dancing from a merely physical exercise to an artistic practice that was highly educative.

From the Paper
"During the Renaissance period, dance acquired a great importance both as a social practice and as an emerging art, in the form of ballet. The main dance treatises that appeared during the fifteenth and sixteenth centuries by music masters such as Guglielmo Ebreo of Pesaro, Thoinot Arbeau and Fabritio Caroso contained descriptions of the types of social dances and ballets with their respective choreographies, drawings, musical excerpts and dance tablatures. Such treatises like Ebreo of Pesaro's On the Practice or Art of Dancing or Arbeau's Orchesographie are not only guiding manuals for dancing, but also good documentary sources for the ethics, aesthetics and social etiquette specific to the sixteenth century."

Tags:choreography, ballet, social, etiquette, ethics, theaters, art

Abstract
This paper gives an overview of Yvonne Rainer's life and discusses the creation of one of her most famous works, "Trio A". It provides a backdrop to its creation as well as the forces that produced such different and unique narratives to each choreography. It provides a detailed timeline of "TRio A" and its influence on modern dance.

From the Paper
"In all areas, Rainer generally eschewed the traditional concepts of narrative and climax, and Trio A is a clear example of this. This could be seen as quite strange given her initial desires regarding the idea of performance art. Born in 1934, in the middle of the Great Depression, Rainer also grew up during World War II, and these two events led to a massive change in artistic styles and social development in the United States (Richar 2003). Following World War II, the Cold War stand off between the United States and the Soviet Union also became a major influence on society and artistic expression (Rainer 1999). Rainer was excited by what she saw, and her artistic desires grew during her teenage years. By her early twenties Yvonne Rainer had left her hometown of San Francisco to travel across the country in pursuit of a career as a performer, at first as an actor."

Tags:yvonne rainer, dance, choreography

Abstract
This paper discusses in detail the poem, "Sex Without Love" by Sharon Olds: The mere choreography of sex raises the deepest questions about body, soul, God, love and aloneness. The author believes that although some have interpreted this poem as an argument against casual sex, particularly the kind of casual sex that leads to mothers giving away their unwanted babies, the poem is actually a philosophical meditation on aloneness.

From the Paper
""How do they do it, the ones who make love/without love"? The use of "the ones" seems to separate them out into a separate race, almost non-human, perhaps uniquely gifted. The first line ends on the word "love?" ironically, because she is talking about the lack of love. The next line emphasizes that irony, beginning with "without love." By repeating love, and because of the lovely rhythm of "love without love" we are already taken right into the heart of this contradictory poem, which brings us passion, God, love, sweat, ecstasy?and yet all the while talking about sex and the body, shorn of any other meaning."

Tags:choreography, questions, body, soul, God, love, aloneness, casual, philosophical, meditation

Abstract
The paper discusses the contribution of American dancer, Martha Graham, who pioneered a technique of her own that became part of the contemporary dance milieu. The paper relates the life story of Graham and looks at how she broke with traditions and made a name for herself in the dance world.

Outline:
The Late Blooming of a Dancer
The Martha Graham We Knew
The Evolution of Martha Graham
The Graham Technique and Expressionist Choreography
The Triumph and the Legacy

From the Paper
"Martha Graham's story as a dancer was unlike others whose lives were rags to riches stories or struggled through harsh economic conditions and braved all to be one of the greats not only in the world of dancing but in the annals of history as well. Graham was born into a wealthy family who traced their lineage back to Miles Standish - a New England hero who were with the Pilgrims aboard the Mayflower. In 1909 the family relocated to Santa Barbara, California (Gale Cengage Learning, 2007). "Her father, a doctor specializing in nervous disorders, was very interested in diagnosis through attention to physical movement. This belief in the body's ability to express its inner senses was pivotal in Graham's desire to dance. Athletic as a young girl, Graham did not find her calling until she was in her teens. (Public Broadcasting Service, 2007)" Graham's formal training in dance began at the University of Cumnoch where she studied theater and dance from 1913 to 1916. Thereafter, she joined the Denishawn School managed by the husband and wife tandem, Ruth St.-Denis and Ted Shawn. Denishawn became Graham's second home where she learned classical and modern dance. Denishawn also specialized in that which was novel and exotic to American sensibilities: Greek pageants, Japanese sword dances, sexy Spanish flamencos (Gale Cengage Learning, 2007). During her eight years at Denishawn, Graham was not only a student but she did some instructing on her own when she got better with her craft. It is at Denishawn also that Graham met the composer Louis Horst."

Tags:dancing, Graham, technique

Abstract
In this paper, the writer discusses that the Baile, Egyptian Cabaret, and Nritta represent a cross-cultural connection in world dance, which embodies the love that men and women share for each other. In this manner, the religious idioms of the cultures described here represent the manner of movement that depicts love, but through the sacred ideals of commitment and love. The writer points out that although these differ slightly in the accompaniment of dancers, or in the stylistics of the choreography, there is a archetypal cultural unifier that relates the desire and higher love of men and women across the world.

From the Paper
"This study examines the multi-cultural aspects of "divine love" in Kathak, Middle Eastern, and Flamenco dancing. Within these dances there is a greater blend of different cultural values that make up each of the formats of these dances. In this manner, the chain of influence upon the Kathak, Middle Eastern, and Flamenco dances offer a multi-cultural depiction of how dance is not created within the limitations of geographical boundaries. By understanding the cultural similarities based in these dances, one can realize the power of movement that is a commonality within the religious and divine nature of love. The Kathak dance is a religiously based dance that formally uses the divinity of love for Indian gods, and their dance in the Cosmos."

Tags:dance, flamenco, egyptian

Abstract
In this 15 page paper the author takes a look at the attacks on the World Trade Center. He begins the examination by looking at how the media dealt with the event and the effect that this has had on people ? was it really necessary to show so much detail? Was the media coverage sensationalizing? The author moves on to examine the ethics of reporting and looks at the various debates that are currently going on concerning this issue. The author concludes with a specific look at the way the media works during times of war and makes reference to the Gulf War, The Israeli/Palestinian Conflict and Afghanistan and talks of the media acting as a visual conduit.

From the paper:

"Who can forget the graceful turn of the massive jet as it turned to slam into the second tower, and the massive fireball that plumed outward? There are some pictures that change the world, like the photograph of Kim Phuc at My Laia little girl in flames and running. The image of Americans leaping to their death from the upper floors of the towers is like that, and the chilling choreography of their free fall was captured on film as they plummeted to their death rather than endure the agony of burning up."

Tags:september, 11, photographs, television, coverage, peter, Jennings, abc, news, America, photojournalism, firefighter, victims, psychological, effects, cnn, pentagon, nightmares, depression, harm, terror, terrorism, physical, devastation, obligation, families, trauma, memory, 911

Abstract
This paper looks at the many similarities that exist between modern American theater, and the theater of ancient Greece. The author focuses on elements such as costumes, scenery, properties, music, and choreography, drama festivals. The paper examines numerous playwrights, including Aeschylus, Eugene O'Neill, Arthur Miller, Tennessee Williams, the poet Homer, and their works, respectively. Emphasis is put on Greek and modern tragedy.

From the Paper
"Ancient Greek theater and modern theater today have many similarities including way of writing, clothing worn by actors and more, but they also have many differences. In the next few pages, I will explain how these two totally different time periods are really more alike than they seem while showing you their distinct differences too. Theater is a diverse and complex art. It requires collaboration among many artists, craftspeople, and managers in order to create a performance for audiences. Since the time of ancient Greeks, theatrical events have included such production elements as costumes, scenery, properties, music, and choreography. Lighting and sound are additions that are more recent. Each element in today's theater has its own designer, composer, or choreographer who collaborates with the director to focus the audience's attention on the actor in the special environment or seeing place."

Tags:miller, aeschylus, williams, tennessee, antigone, tragedy, death, salesman, character, stage, wilder, thornton, Homer

Abstract
The paper first cites the strengths of the film; namely, the romantic score and the appropriate choreography. It then goes on to list the weaknesses of the film; namely, the controversy regarding the quality of acting and direction. Finally, the paper presents an opinion on the worth of the film as a representation of Shakespeare's play.

From the Paper
"The movie had everything going for it. Director Max Reinhardt had staged the play in England, and in the Hollywood Bowl in Los Angeles. He was familiar with the magical qualities of the play, and wanted to bring its message to American filmgoers. "This message, as he saw it, was that fantasy can always provide us a refuge from "stark reality" (Magill)." He used the lush and romantic music of Felix Mendelssohn, and choreography to bring out the magic of the fairies in the forest."

Tags:cinema film-version movie Mickey Rooney James Cagney, Olivia de Havilland