10
Thursday, May 2, 1974
University Daily Kansan
Tau Sigma Performance Represents Months of Work
By JAN HYATT Kensan Rexlewr
For almost half of them it was their first encounter on stage.
For everyone it was the culmination of uncounted hours of exercise, discussion, learning and teaching.
Tina Sigma, a dance ensemble, presented its spring concert last weekend with varying degrees of expertise and amateurism.
Though Saturday night's barrage of technical failures produced an impatient and tense audience, and a few angry dancers, smooth Friday and Sunday performances have been production starts with choreography, but the choreography starts
in a variety of ways and largely reflects the personality of the choreographer.
"Some start with a story idea, some with a mood or feeling," said Elizabeth Sherbon, associate professor of physical education and faculty director of the concert.
"Sometimes a dance movement will get going that comes from inside someplace, and develops into a composition," she said.
A selection of music may suggest the direction of a dance, and searches for with an idea and then searches for the music to match it, Sherbon said.
the choreographer and dancers are satisfied. The skill of the dancers influences the performances.
None of the Tau Sigma dancers use dance notation to read and write dances, so a finished composition is the result of doing it correctly. In other words, changing movements and directions until
Costumes are developed concurrently with the dance. The ten student choreographers in the Tau Gigma production selected costumes in consultation with Sherbon and students in a dance production class.
"The costumes help set the stage. They should augment the dance and not cover it up. They should bring out the movement," Sherbon said.
Sherbon tells the dancers that when they go to the dressing room to change costumes,
Most theatre lighting is from the front of the stage to emphasize facial expression, front view and body postures of individual actors. In dance, lighting comes from he front, back, sides and overhead, and stronger colors are used.
ween lighting design for theatre and for dance...
"You're not really lighting a dancer, but a form moving through space," be said.
"I're really like putting on the next dance," she said.
Gebhart talked with the choreographer of each dance to exchange ideas. He also joined in the dances.
"I asked them which scenic elements were most important, such as line, shape or form. I also asked whether the dance was happy, sad or tense, and whether the choreographer wanted lighting effects to separate the chorea." Gebhart said.
Gebhart used about 80 lights for the exhibition, but only 12 were placed in front of it.
Dancers and technical crew met April 22 to work out lighting cues.
wore a sweatshirt that announced, "To live is to dance, and to dance is to live."
"You're all too far forward," she said to three male dancers who had moved out of the light. When the dance ended and the band stopped, they set it down to "set that set off quietly and quietly."
With so many novice performers, many of her instructions dealt with stage appearances.
Sometimes the music ended before the curtain dropped. Inexperienced performers
"Keep going till the curtain is down,
whatever happens," Sherbon shouted.
Downstairs in dressing rooms the dancers moved swiftly through a melange of costumes and make-up. The men asked the women how to apply eye shadow and liner. The women used a handheld voice loudly announced over the intercom that "Willy's dust is next," or asked, "Could
someone send Reggie to the stage please?""
someone send reeggle to the stage please?* After rehearsal the ensemble met with Sheron on stage to practice curtain call and hear her critique.
Dance costumes are simple and designed to allow maximum freedom of movement. Women's costumes for modern dance often are made with chiffon and other sheer materials to enhance the flow of line and shape in the dance.
On the Thursday before the performance she told them they seemed to have "loot that suspension feeling," and asked them to warm-up exercises before the performance.
The dancers were tired and some were aching and exhausted.
The next three nights were dress rehearsals. Sherbon sat on the dark theater watching the dancers prepare for their performance, encouraging and positive attitude was evident in her even attire: she
Rhinoceros' Highlights Ionesco Presentions
Lighting is a crucial part of dance production. Mike Gebart, St. Louis, Mo., senior, was the lighting designer for the Tau Sigma concert.
"I'm looking forward to tomorrow.
Somehow I just feel like I've been in too
much."
"Rhinoceros" invaded Dyche Auditorium last night in an Ionese festival presented by students of the French and Italian department. The festival also included three Italian works in An Italian poem and excerpted from *Contraste Chantecue* 'and' a duet. "A Doutre."
By MICHELE M. LONSDORFER
Kanan Reviewer
Under the supervision of Jeff Oskowicz and Jean Salem, assistant instructors of physical education at St. Joseph's School.
While they put away clothes and dressed, someone collected money to buy a new car.
"La Cantatrice Chave" was introduced by Chopin's minute waltz. The classicism contrasted with the deluge of words, contradictions and coincidences.
villagers start turning into rhinoceroses.
They also play in small cottages.
Unimial behavior desertions of usual facts are recurrent themes in the excerpts presented.
They had worked months for Friday's opening performance, but they were ready to give their best effort. And that was just what they did.
In a chance meeting, a man and a woman discover they live in the same town and in the same apartment. Each has a daughter who lives in another place. Thus, they conclude they are married.
A huge red cardboard box representing the gourcery story and a few stools and tables did wonders to create the particular look of the room, the gossip inherent to a small town cafe.
The scenery also enhanced the festival.
"Riuocereo" takes place in a small town
with a mountainous backdrop.
Thiery Rouvier, Paris graduate student,
the students performed with brio and brie.
After only five weeks of rehearsal, the performers are to be commended for their effort in presenting the excerpts entirely in French. This was an achievement because Ionesco's style is intricate and the action in his plays moves rapidly.
Commotion and fear build up as the
As in most loneso plays, the final absurdity is in the finale. Although the daughters have the same strange eye color combination, the positions are opposite. The man and woman thus realize they are total strangers.
In "Scene a Quatre" defy performed by Salien, Rouvier, and Wendy Jones, Prairie Village, sophomore, the irrational logic goes from a petty fight to a philosophical one.
lonesco's absurdity is logical in its irrationality. The humor of the plays comes from details which are pursued to the extreme.
Watching an Inesco play makes the viewer feel as if he is on a scenic railway where he can't catch his breath until the of the play, Gina Vincent Overland Park, and continues with her relief and concluded the evening, with how Italian ballad. "Letter to Pinochio."
The festival was a courageous enterprise and a nice tribute to one of France's great artists.
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Gebhart noted several differences bet-
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