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Going into “Downsizing,” all I knew was the major overarching concept. People were shrinking in order to get more bang for their buck, in a strangely practical use of science fiction technology. An odd premise; one that makes you both eager to get to the ramifications and impatient with opening scenes establishing the given circumstances.
If you were to hold a gun to my head and demand that I produce a list of my all-time favorite films, “Pan’s Labyrinth” would make it into the top five one way or another. I mention this because when early reviews for Guillermo Del Toro’s newest film, “The Shape of Water,” declared it the director’s best work since “Pan’s Labyrinth,” I was both optimistic and skeptical. To be clear, I make the comparison to “Pan’s Labyrinth” not because I wish to put “The Shape of Water” at an unreasonable disadvantage, but because the two films have so much in common.
What does a play written 2,500 years ago and a suburb of St. Louis have in common? The upcoming Theater of War production of “Antigone in Ferguson” at the Hopkins Center for the Arts draws parallels between the events of the ancient Greek play by Sophocles and those in Ferguson, Missouri surrounding the death of Michael Brown in 2014.
It’s awkward. People are arguing. You’re looking around, unsure of whether or not this is supposed to be happening. Everyone sitting around you looks just as confused. Upperclassmen in crazy outfits shout about dehydration or kitchen crises, and you have no idea what to think.
A jam-packed movie theater at an evening showing of a horror movie on its opening weekend is not an atypical sight in a suburban Pennsylvania town. Total silence in that theater, however, is an atypical sound. This incongruity illustrated the success of the latest film adaptation of Stephen King’s “It.”
When the original “Twin Peaks” aired over 25 years ago, it was a TV show about a mystery. With its revival this year in the form of “Twin Peaks: The Return,” the show itself has become a mystery.
The Osher Lifelong Learning Institute at Dartmouth held a reception celebrating their newest art exhibit, “The Outsiders,” on July 6. The offices of the Institute were flooded with over 200 people, from children to retirees, to meet the artists: Anne Hartmann, Judith Pettingell and Ann Semprebon.
Over the course of this summer, the New York Theater Workshop has presented a diverse array of new and exciting work-in-progress plays to the Dartmouth community. The pieces featured addressed topics that range from surreal fiction to the brutal truths of racial injustice in America. As a continuation of the Theatre Workshop’s 25-year partnership with Dartmouth, this summer term’s Theater 65 class worked closely with the directors, playwrights, cast and crew of the productions.
Professor Wen Xing is the director of the Dartmouth Institute for Calligraphy and Manuscript Culture in China. He teaches calligraphy courses through the College’s Asian and Middle Eastern Languages and Literature department and offered a series of workshops last winter to teach students the fundamentals of calligraphy. He created a fractal calligraphy exhibition that integrated calligraphy with mathematics.
To draw attention to the numerous people of color that are killed by police officers every year, Samantha Modder ’17 created an exhibit currently on display in the rotunda of the Hopkins Center for the Arts called “We Are Policed.” Through her art, Modder says she hopes to create a better understanding of issues both for herself and for others.
This weekend, the Frost and Dodd Student Play Festival will showcase the hard work and creative prowess of three Dartmouth undergraduates who have each produced an original one-act play. Two of these works, “Everything Falls Apart” by Jordyn Fitch ’20 and “The Making of the Making of the Moon Landing” by Elise Wien ’17, will be presented to audiences as staged readings while “If It Isn’t You” by Tess McGuinness ’18 will be performed as a full production.
As a film, “The Big Sick” is an unconventional addition to a long tradition of romantic comedies with memorable protagonists that include the likes of “When Harry Met Sally,” “Bridget Jones’s Diary” and “Notting Hill.” Kumail Nanjiani stars as Kumail, a character based on his early life as a standup comic who falls in love with psychology graduate student and quintessential girl next door, Emily, a somewhat underutilized Zoe Kazan, who is based on Nanjiani’s wife in real life, Emily Gordon. He battles family expectations, career mishaps and a cultural misunderstanding — as well as the fact that Emily falls into a coma halfway through the film.
The Vietnam War doesn’t fit neatly into American folklore. Unlike other American wars, it is not easily glorified. It cannot be summarized as “the good guys won, and the bad guys lost.” As a result, the war is one of the most emotionally charged and complex episodes in American history. Even though the last American soldiers left Saigon decades ago, one crucial fact was impressed on the audience in Spaulding Auditorium last Thursday night: the Vietnam War is as relevant today as it was 40 years ago.
After 40 years of leadership, Donald Glasgo announced his retirement as director of the Barbary Coast Jazz Ensemble this spring. Musician, improviser and educator Taylor Ho Bynum will replace Glasgo this upcoming school year.
The Strauss and Jaffe-Friede Galleries in the Hopkins Center for the Arts are featuring artists at all points of their career, ranging from recently graduated alumni to well established professional artists. Darby Raymond-Overstreet ’16 and Benjamin Albrecht ’16, winners of the Perspectives on Design Award, currently have their art showcased in the Jaffe-Friede Gallery. Next door, the Strauss Gallery features a group exhibition around the topic of “Buoyancy.”
At a 2010 Christmas party in New York, three Dartmouth alumni considered the dilemma of finding both the resources and space in the city to rehearse their new projects and ideas. Six years later, Matthew Cohn ’08, Thom Pasculli ’05 and Kate Mulley ’05 have returned to Dartmouth to open the fifth annual VoxFest, a week-long showcase of new projects by various alumni of the College’s Theater department that collaborate with faculty, students and locals of Hanover. Originating from its creators’ desire to workshop and rehearse in an open space, VoxFest has evolved as a way to connect alumni with students and expose students to different aspects of theater production, Cohn and Mulley said.
Draped in raincoats and ponchos and toting umbrellas of all colors, people gathered yesterday on the Green to see the first public production of “Doggie Hamlet,” a spectacle combining dance, theater and shepherding. An interdisciplinary work featuring human performers alongside sheep and sheepdogs, the piece was created by American dancer Ann Carlson, who also served as choreographer and director for the performance. The show featured three sheepdogs, owned and instructed by Diane Cox, which interacted with sheep from the farm of Steve Wetmore. It also included performers Diane Frank, Peter Schmitz, Ryan Tacata, Imre Hunter-To and Yesenia Major, who interacted with each other and with the animals.
At Diplareios School in Athens, Greece is studio art professor Zenovia Toloudi’s project “Silo(e)scapes,” which is part of the exhibition “Tomorrows: Urban Fictions for Possible Futures,” and is meant to serve as both an art installation and an architectural model. The piece is a model of a small community of people who preserve and tend to their native seeds in a communal space designed for the preservation of native plant species.
This article is featured in the 2017 Commencement & Reunions Issue.
Through long lines and rain, we, Kourtney and Madeline, successfully survived our first music festival. Saying we had a blast would be an understatement. Nearly every performer we watched exceeded our expectations by giving audiences a mix of tracks for new and die-hard fans. Despite the rain on Friday and the subsequent muddy patches throughout Harvard University’s Athletic Complex, the artists and attendees — numbering more than 30,000 thanks to the venue’s relocation from Boston’s City Hall Plaza — embraced the weather to enjoy a weekend celebrating music, comedy and art.