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The Hopkins Center for the Arts begins a packed year on Thursday with its “Exploring the Arts at Dartmouth” marketplace, a teaser of the student ensembles, award-winning theater performances, dance troupes, world-renowned vocalists and films it will host this year.
Even if his allegations are true, towing readers through this slogfest feels like an act of hazing itself. Lohse becomes our pledgemaster.
Completing a slate that included performances from the New York Theatre Workshop, Andrew Bird and the Hands of Glory, Hubbard Street Dance Chicago and a documentary screening by filmmaker Ken Burns, the Hopkins Center’s summer programming will draw to a close in the coming weeks as the academic quarter ends. Reflecting back on the term, students, staff and faculty identified a number of highlights across disciplines offered at the Center.
Following the growth of Mason (Ellar Coltrane) from age 6 to 18, "Boyhood" (2014) captures the midnight Harry Potter book releases, the Britney Spears songs and the Razr phones vital to the childhoods of Generation Y. On the way, the film wins viewers over with its honest, moving depiction of the trials and tribulations of growing up.
From July 12 to August 10, a bronze boy wept in the Hood Museum of Art. The statue was a part of artist and Montgomery Fellow Enrique Martínez Celaya’s exhibition “Burning As It Were a Lamp.” Along with the statue, the exhibition included fragments of a mirror and two paintings of angels, one captioned “I remember nothing” and the other captioned “I remember everything.”
Several works of art are currently on display in Kira’s Garden, an outdoor sculpture garden at the Alliance for the Visual Arts Gallery and Art Center in Lebanon. “Arabesque” joins nearly a dozen other works of art in the Garden, each of which was submitted by an Upper Valley artist.
Kelly’s beginnings as an artist and the events that inspired his works are the subject of “Ellsworth Kelly: Fragments” (2007), a documentary by Checkerboard Film Foundation the Hood Museum of Art will screen Thursday. Hood director Michael Taylor will introduce the documentary and guide the spotlight tour of Kelly’s panels after the screening. The film, he said, will explore the artist’s “subdued style,” referencing Kelly’s focus on things like the reflection of light in a window, unlike the more visceral subjects of his contemporaries.
Throughout his career, Hoffman was a most wanted man, considered one of Hollywood’s most sought-after actors and certainly belonging to its most gifted pantheon. His frenetic life and genius as an actor translate into his endless detective work and prowess in the film. In the end, Hoffman was playing himself, a man running out of fuel in a demanding system. This is a fitting farewell.
Taking its name from the weapon that David uses to face the giant Goliath, “SlingShot” — a new documentary directed by Paul Lazarus ’76 — follows the story of inventor Dean Kamen, who invented the Slingshot water purifier to tackle the lack of clean drinking water across the globe.
The film will have a special advanced screening tomorrow in Loew Auditorium, followed by a discussion session with Lazarus.
In development for several years, the exhibition was created to mark the occasion of the 50th anniversary of the passing of the Civil Rights Act of 1964, said Kellie Jones, art history and archaeology professor at Columbia University, and one of the original curators for the show’s premiere in Brooklyn.
Jordana Composto ’16 rushed into her audition, slightly late. She was suffering from a bout of laryngitis, and as she heard the voices of her competitors, she grew even more nervous. She had a shot at her dream: performing for the Amore Opera Company’s production of Georges Bizet’s world-famous opera “Carmen.”
Most of you know Zach Braff as the goofy, daydreaming doctor from “Scrubs,” capable of transitioning from playing the eagle-playing goof to a teary-eyed sentimentalist in a heartbeat. He brought this sad clown effect to Andrew Largeman, the despondent lead character of his 2004 self-directed indie hit “Garden State.” His second feature “Wish I Was Here” (2014) — which he directed as well as stars in — exists in the same angsty universe, enlivened only by its own dark humor and bizarre coterie of characters.
Summer is full of music festivals and outdoor concerts, although you may have forgotten this living in the Hanover bubble this term.
Last year at the College, students saw original Picasso paintings, watched nationally acclaimed dance groups perform and explored new public art displays around campus. Students at the College performed various works, ranging from “Spring Awakening” to the annual performance of the “Vagina Monologues.”
Sitting around a table with Tony-award winning writer Lemon Andersen, students in the theater department’s “Drama in Performance” class discussed his script, suggesting a scene they wanted added or 10 pages they thought should be deleted. The meeting was part of the New York Theater Workshop’s 23rd summer residency at Dartmouth, which brings emerging directors, playwrights and actors as artists-in-residence to Dartmouth.
This week, The Dartmouth sat down with Jimmy Ragan ’16, a Dodecaphonics singer who is this term’s musical director for the Summerphonics.
The completion of the Dartmouth Digital Orozco website and the digitalization of the Hood Museum’s collection of Native American art are the College’s latest steps in digitalizing artwork. The website, which went online in late June, makes the Orozco murals in Baker Library available to the public, along with relevant information and other pictures, while the digitalization will make more than 4,000 pieces of Native American work accessible online following a grant earlier this year.
A question and answer bookend the film: “Life was given to us a billion years ago. What have we done with it?” followed by “Life was given to us a billion years ago. Now you know what to do with it.” But along the way, it tailspins into absurdity and misanthropy, reducing mankind to an animalistic species scrambling with its head chopped off.
The Hopkins Center stage will come alive this weekend with the works of two playwrights, Bobby Esnard '14 and Michael McDavid ’15, whose plays will debut in the annual Eleanor Frost and Ruth and Loring Dodd play festival.
Over the years, Ken Burns has repeatedly visited the College, most recently screening his third episode of “The Roosevelts” at the Hopkins Center on July 13. The screening marks the fifth consecutive summer that Burns, who sits on the Hop’s board of overseers, has opened an advance screening at the College, according to a Hop press release.