Melissa Davis’ Post

MORE reasons why you should go to the theater: 1. Live experience: Theater offers a unique and live experience that cannot be replicated in any other form of entertainment. You can witness the actors' performances in person and feel the energy and emotion in the air. 2. Emotional connection: Theater allows you to emotionally connect with the characters and the story in a deep way. You can experience a wide range of emotions, from laughter to tears, as you immerse yourself in the plot. 3. Art and creativity: Theater is an art form that combines acting, music, set design, and costumes to create a visually and audibly stunning experience. You can appreciate the talent and creativity of the artists in every aspect of the production. 4. Reflection and critical thinking: Theater often addresses important and challenging themes that make you reflect and question your perspective. You can be intellectually challenged and stimulated to think critically about different aspects of life. 5. Community and connection: Going to the theater is a social experience that allows you to connect with other people who share your love for the performing arts. You can enjoy the play with friends and family, creating lasting memories together. We invite you to buy tickets for the musical play "The Selfish Giant"! It will be an unforgettable experience for you and your whole family. The show will take place on January 27th at the Maja Theatre Mussissauga, with available showtimes at 12:30, 3:00, and 6:00. You can purchase your tickets through Eventbrite or call +1 (416) 858-9384 to reserve them. You still have time to enjoy this wonderful play! #theater #liveexperience #emotions #art #creativity #reflection #criticalthinking #community #connection #musicalplay #TheSelfishGiant #tickets #events #culture #fun Followers Alex Montealegre

Today in #dancelibrarianship: The Library of Congress is adding the following terms to the Library of Congress Genre/Form Terms for Library and Archival Materials thesaurus: +Dance +Concert dances (to be used for: Dramatic dances, Performance dances, Presentational dances, Scenic dances, Theater dances and Theatrical dances) +Ballets (to be used for: Classical ballets, Contemporary ballets, Neoclassical ballets, and Romantic ballets) +Ballroom dances +Tangos These terms should be available to use in bibliographic and authority records by July 2024.   LC is removing the following terms from the LCGFT: -Filmed dance -Filmed ballets -Filmed Tangos -Televised dance -Televised ballets.

EXPLORE ART | EXPLORING CULTURE Suya “Wanli” - (Mongolia and China (Sihu Instrument) Two stringed bowed lutes (huqin) were introduced to China by nomadic Mongols sometime during the Yuan dynasty (1280-1368). Bow hairs passing between the strings may reflect the Mongol's need to secure the bow to the instrument while on horseback. Huqin are played vertically on the knee, fingered with the left hand and bowed with the right. In earlier times there existed a greater variety of local fiddles, but today standard sizes, much like the European family of violins, are most common. #exploreartproject #exploreartmagazine #exploreart #exploringculture #visualartists #artexhibitions #expos #curators #artcenters #musicians #dancers #ballet #poets #spokenword #performers #theatricalirectors, #theatre #filmmakers #artculture #art #contemporaryart #modernart #fineart

Leveraging a rare opportunity to see the man who brought the dancing magic to “The Wiz,” Broadway's beloved Louis Johnson's virtuosic skill presented through two unseen performances. Johnson, once accorded as an individual who could “outdance anyone,” conveys not only his refined motor abilities but his deep passion for art as well. #PerformingArts #BeautifulDance - Having punctuated the landscape of modern dance and Broadway with his ingenuity, we shouldn't see these unearthed performances as mere archival footnotes. Pivotal, indeed, they sketch an artistic visionary at his prime. - Johnson’s choreographic genius lay not only in his development of step structures but in his ability to channel profound emotion. We must expect these performances to offer distinctive insights into both his creative psyche and the tumultuous postmodern panorama that informed his oeuvre. - Each sweeping rise of an arm, each elaborate footwork, each powerful burst of intricate movement captures more than rhythm; it beckons with the poignant invocation of an era that saw the creative arts as symbols of resistance. - Rarely is it possible to hit on such fulsome integration of art, culture, and socio-political commentary. There's a prediction herea, threading through Johnson’s unparalleled caperings — dance, in all of its potent, raw magistery, still offers us unfettered insights into the human condition. My humble recommendation? Witness these rare exhibits before they retreat back into theatrical lore. This legacy compels us to look deeply at the emotional capability of the choreographed arts when interpreting socioeconomic narratives and our own interconnected spheres. Choreography could be revisited as a tool for understanding modern sociopolitical landscapes. Let's keep the conversation going - in your viewpoint, how else can Johnson’s unique stylings enhance our socio-cultural understanding? #DanceConversation #ArtisticInfluence

Today is World Theatre Day. Since 1962 World Theatre Day has been celebrated by International theater organizations, theater professionals, and theater lovers all over the world on the 27th of March. This year, the International Theatre Institute is privileged to have Jon Fosse, the Norwegian playwright and novelist, and last year's Nobel Prize Laureate in Literature, crafting the Message for World Theatre Day 2024. You can read the full World Theatre Day Message from this link: https://lnkd.in/dZXXGENk Here you can find some parts of the message: "Art Is Peace Every person is unique and yet also like every other person. Our visible, external appearance is different from everyone else’s, of course, that is all well and good, but there is also something inside every one of us that belongs to that person alone—which is that person alone. We might call this their spirit, or their soul. Or else we can decide not to label it at all in words, just leave it alone. But while we are all unlike one another, we’re alike too. People from every part of the world are fundamentally similar, no matter what language we speak, what skin color we have, or what hair color we have. This may be something of a paradox: that we are completely alike and utterly dissimilar at the same time. Maybe a person is intrinsically paradoxical, in our bridging of body and soul—we encompass both the most earthbound, tangible existence and something that transcends these material, earthbound limits. Art, good art, manages in its wonderful way to combine the utterly unique with the universal. It lets us understand what is different—what is foreign, you might say—as being universal. By doing so, art breaks through the boundaries between languages, geographical regions, and countries. It brings together not just everyone’s individual qualities but also, in another sense, the individual characteristics of every group of people, for example of every nation (...)” . . . #worldtheaterday #art #peace #talentra

EXPLORE ART | EXPLORING CULTURE Suya “Wanli” - (Mongolia and China (Sihu Instrument) Two stringed bowed lutes (huqin) were introduced to China by nomadic Mongols sometime during the Yuan dynasty (1280-1368). Bow hairs passing between the strings may reflect the Mongol's need to secure the bow to the instrument while on horseback. Huqin are played vertically on the knee, fingered with the left hand and bowed with the right. In earlier times there existed a greater variety of local fiddles, but today standard sizes, much like the European family of violins, are most common. #exploreartproject #exploreartmagazine #exploreart #exploringculture #visualartists #artexhibitions #expos #curators #artcenters #musicians #dancers #ballet #poets #spokenword #performers #theatricalirectors, #theatre #filmmakers #artculture #art #contemporaryart #modernart #fineart

Kahgel Theater Group Concept of visual identity: The form of a negative face in the darkness of the theater hall. This logo was designed for a group of young theater actors in 2006. #logodesign #logo #graphicdesign #visualidentity

MAISHA and the three-week co-creative challenge: Tackling the extraordinary In the dynamic world of MAISHA, artists from diverse continents and cultural backgrounds unite to tackle an extraordinary challenge: assembling a show from scratch in just three weeks. For the Dance edition, this means navigating choreography, stage setup, costume design and music coordination with a live band, each aspect demanding careful coordination and attention to detail. In the midst of this whirlwind, another significant challenge arises. Unlike professional ensembles who can rely on a history of teamwork and coordination, MAISHA artists must first establish cohesion by getting to know each other and finding common ground to collaborate effectively. Only a very select breed of artists can navigate these complexities and demonstrate that collaboration knows no bounds and that cultural diversity is not a hindrance but a source of strength on stage.

Bertolt Brecht, perhaps the greatest modern playwright, believed theater's immense power lay in its ability to both bring audiences in, even physically (by opening the "4th wall"), and also, simultaneously, "alienate" them by activating their critical ability. When it worked best, theater left audiences moved and shaken and thinking differently than when they came. In all the reviews of Here Lies Love, the groundbreaking new musical that tells the story of former Filipina First Lady Imelda Marcos's rise to power and subsequent fall at the hands of the Philippine People Power Revolution, I've missed mention of Brecht and this conversation about what theater can and should be doing in this day and age. That's especially true about theater with real and poignant social content. Watching this closely as the play is also groundbreaking in its representation - with an all-Filipino cast, and in its ambition to share deeply uncomfortable history. Unlike other plays, and quite in line with Brecht, it does not play at all to empathy. Define American President Jose Antonio Vargas is a lead Producer. Appreciate Marissa Tirona for her thoughtful commentary, below. And related, TAKE ACTION directly by joining over 125 organizations that have downloaded our inclusive guide to supporting immigrant artists: Check out Creativity Is Boundless: https://lnkd.in/e-39Bi-n  (and with apologies to the real theater experts in this world! - and please post more on Brecht in the comments! )