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MOIRA SHEARER as VICTORIA PAGE
THE RED SHOES (1948)
dir. michael powell and emeric pressburger
Shanghailanders Dance Drama Update
I survived my wild dance weekend and my feet finally feel like feet again!
We did not get the audiences we were hoping for, but those who were there have raved about the quality of the storytelling through dance and acting, as well as the brilliant choreography.
Here are a couple of photos with some of my parts. The first (above) is from Peggy Chien and it's from early in act 1. The second is from an unknown photographer and was shared by choreographer Shen Pei. This is the final pose of the show.
Shanghailanders Weekend!
I'm off to the theater for tech rehearsal part 1.
Shanghailanders is expected to only have two shows. We hope to have a good audience to enjoy the outcome of so much work and effort.
Tickets are available at: https://search.seatyourself.biz/webstore/accounts/shenpei/buy-tix
Costumes for dance drama The Silk Road, designed by Yang Donglin
Tang Dynasty Tour showcases world class dance performance
Tang Dynasty Tour showcases world class dance performance
Timetravelling series Tang Dynasty Tour 唐砖 is the first time I’ve seen an ancient drama directly lift an already popular dance to be performed in teh show. The dance, adapated from award-winning dance drama Du Fu, is based off a poem that uses descriptions of the nonchalance and beauty of the women picnicking in the spring to criticize the lives of the rich in the Tang dynasty.
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However, the recalling of this image of female power without any direct reference to the goddess figures is significant: the strong traditions of goddess worship in contemporary India coexist with patriarchal systems that attempt to restrict, in particular, their sexual and sensual powers, besides other aspects. In the naravahana image onstage, on the other hand, conceptions of the goddess resonate but are not directly represented. In Chandralekha' s choreography this goddess-like woman, as she sits atop her human carrier, uses hand gestures to symbolize the weapons she wields tigernails that rip apart, a spear, a bow and arrow, a sword. She also wields objects more related to cultivation than sophisticated warfare, a scythe and a chopper. All of this links her to agricultural traditions and fertility cults as well as to martial traditions, in which she reclaims her active participation and her central role. [Butting Out: Reading Resistive Choreographies Through Works by Jawole Willa Jo Zollar and Chandralekha, Ananya Chatterjea]
Chandralekha* in the Naravahana** sequence from her path-breaking production Angika Madara, 1985. Photo credit: Sadanand Menon
*along with Nandakumar. **naravahana: nara=man, vahana=a deity’s carrier/mount
Performance is a conduit for examining cultural identity through form and content, as well as relationships between people and society. Sharing my point of view of life with others is my duty and my pleasure. Make No More beautiful dances happen! https://igg.me/at/NMBD/x
MOIRA SHEARER as VICTORIA PAGE
THE RED SHOES (1948)
dir. michael powell and emeric pressburger
