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Sue Reed ’81 graduated from College with a degree in anthropology, but in her senior spring decided that she wanted to become an architect. Reed attended a masters program in architecture at Virginia Polytechnic Institute and has worked as a professional architect ever since. Reed currently is a member of the firm Smith and Vansant architects, the Norwich-based firm that has worked on renovating Zeta Psi fraternity, Casque and Gauntlet and the Triangle House.
Cinematic sequels are notorious for padding their companies’ coffers and their derivative plots. George Miller brings his “Mad Max” franchise of “Mad Max” (1979), “Mad Max 2” (1981) and “Mad Max Beyond Thunderdome”(1985) back from a three-decade drought with “Mad Max: Fury Road” (2015). He doesn’t just reboot it, but gives it a paint job, flashy rims and some serious horsepower. “Mad Max: Fury Road” is somewhere between the apocalyptic grandiosity of a John Martin painting and a demolition derby, combining hell and spitfire diesel into a bad-ass rock and roll extravaganza.
This Saturday evening, the Dartmouth Handel Society will take to Spaulding Auditorium to tackle Giuseppe Verdi’s “Messa da Requiem,” welcoming four professional soloists to the stage. Described by members of the group as a “haunting,” “challenging” and “ornate,” “Requiem” has sold out with two days remaining before the performance.
Featuring a clearer focus on connecting the different disciplines that study illustration, this year’s Illustration, Comics and Animation Conference — the College’s third annual — welcomed more than 20 scholars and artists to Hanover this weekend, event organizer and English professor Michael Chaney wrote in an email. Events at the conference, held primarily in Haldeman Center, ranged from a book festival on Friday to a Saturday evening banquet in the Hanover Inn.
Carina Conti ’16 took her first dance lessons at age three at the suggestion of her mother, a former professional dancer. Conti said that she began with ballet, and her first distinct memory of dance involves a frog suit and a recital.
With so many academic departments and extracurricular offerings in the arts at the College on a day-to-day basis, from student ensemble groups to film and theater performances and crafting workshops, the Hopkins Center is like a well-oiled machine. Behind any machine, of course, is a mechanic responsible for overseeing its productivity. For the Hop, the man behind the machine for the past 10 years has been Jeffrey James who will be retiring in the summer.
In celebration of the Ledyard Canoe Club re-opening next week, I thought I’d explore the one area that every Dartmouth kayaker has seen but never thought to go inside — the Hanover runoff pipeline seen above. By exploring what is literally the deepest, darkest corner of Hanover, I came across a whole secret world of graffiti made by people for an audience of themselves — and stupid enterprising Dartbeat journalists. I expected to see a wall of penis graffiti with a detail and quantity that would rival that of a middle school boy’s textbook. Instead I found a secret world that displayed the full spectrum of human behavior. First, a warning — the second half of this article contains disturbing content.
I. RIVER ENTRANCE
This weekend, The Dartmouth Rude Mechanicals — the College’s student-run Shakespeare troupe — took to Fahey Courtyard to premiere three performances of their spring production, “A Midsummer Night’s Dream.” Avery Feingold ’17, the group’s president and a two-year member of the troupe, reflected on the performance, the group’s choice to perform outdoors this spring and the near-inclusion of a reference to Netflix in the student performance.
In a first for my reviews, let’s begin with a round of “Would You Rather” — would you rather live as Sisyphus, forced to endure eternity rolling a rock endlessly up a hill, or as a wife eternally unable to divorce your abusive and psychologically manipulative husband? “Gett: The Trial of Viviane Amsalem” (2014) captures what the latter might feel like, with writer, director and star Ronit Elkabetz chaining viewers to a couple enduring a marital hell. In the process, she more than earns the film’s best-picture award from the Israeli Film Academy and Golden Globe nomination, delivering a startlingly intense and moving picture.
To watch the Barbary Coast Jazz Ensemble practice, simply peek through the windows of Hartman Rehearsal Hall on a Tuesday evening as director Don Glasgo conducts the 21-piece band with fervor. It’s a pleasure to watch — but not quite as entertaining as Glasgo says the Barbary Coast’s spring senior feature concert will be this Saturday night.
In a time when most students are focused on acing their midterms or finding that perfect summer internship, have we given ourselves the chance to take a moment to stop and reflect about our past decisions, such as why we chose to come to the College in the first place and how we chose the career paths we want to pursue? Those deep questions about everything we sacrifice in order to achieve success will be explored when the College’s theater department presents “Merrily We Roll Along” (1981), a musical based on the 1934 eponymous play by George Kaufman and Moss Hart with music and lyrics by Academy- and Tony-Award winning composer Stephen Sondheim, this weekend.
Considering the College is in the process of wrapping up PRIDE week festivities, I thought it would be appropriate to look at the presence and representation of queer individuals in popular media in 2015 compared to decades past. PRIDE week serves as a time of recognition, commemoration and celebration of the lesbian, gay, bisexual, transgender and queer community. This focus on non-heterosexual orientations also helps to educate the public on what I think has been appropriately termed “the new normal.”
While the College’s collection of more than 20 works of public art includes only two pieces created by women, the College is currently taking action to decrease this disparity by the end of spring term.
If you took HAL from “2001: A Space Odyssey” (1968) and put him inside the body of the bathroom woman from “The Shining” (1980), you’d get Ava, the sleek, sultry artificial intelligence robot of “Ex Machina” (2015). The film itself lies somewhere between these two Kubrick movies, combining the claustrophobic horrors of the Overlook Hotel with the supercomputing callousness of HAL. Like Siri sexified, Ava epitomizes the male fantasy — an erotic subservient who deifies him — and the consequences of its fulfillment. Think “Her” (2013), but with a Samantha who would kill to be more than just a voice.
For David Levi ’00, his First-Year Trip was an experience that foreshadowed his environmental consciousness. After stints teaching high school and working as an apprentice for restaurants in Sweden and Italy, Levi became the executive chef of Vinland in 2012, a 100-percent locally-sourced restaurant in Portland, Maine.
After exploring the works of Shakespeare in the fall and spending an evening in Metropolis this past winter, the Dartmouth College Wind Ensemble will conclude their 2014-2015 season this Saturday by featuring work from several 20th-century composers. In the Spaulding Auditorium concert — titled “Stravinsky and Friends” and featuring work by the Russian composer Igor Stravinsky as well as composers from France and Belgium — the wind ensemble will explore the “strong connection” between the featured composers, Hopkins Center student relations advisor and wind ensemble member Ryan McWilliams ’14 said.
Welcome to the first edition of Odaku, Dartbeat's very own column that will discuss experimental films and work to make this genre more accessible to Dartmouth students.
Beyond trying to grab the swinging platform of “X-Delta” as a study space on the nicer days and complaining about the strange proportions of the Baker-Berry Library windows, most students do not spend a lot of time thinking about campus landscaping, an aspect of the College that has a daily impact on their lives.
Woodstock, America’s first music festival of note, took place on a dairy farm in Bethel, New York, from Aug. 15 to 18 in 1969. For those three days of peace and music, concert-goers were expected to fork over only $18 — a little over $115 when adjusted for inflation. Today, a three-day general admission pass to see Drake, Florence and the Machine and other performers at Coachella will run you $375 — and if you factor in shuttle privileges with your pass, the cost will rise to $435, with an $85 minimum required just to camp out overnight. These prices, of course, don’t include food, drinks and initial transportation to the event. Times have changed.
Dance, freestyle rap and a cappella came together as SHEBA, DStyle and the Dartmouth Aires performed at Saturday night’s Spring Sing.