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When Corinne Romano ’15 first proposed her idea to represent Mayan hieroglyphs as real-life creatures for a senior studio art project, she said that some members of the faculty did not understand the point of view she hoped to present through her work. Despite the uncertainty of some professors, Romano was intrigued by the concept — which built on her interest in “creature concept design” — and she decided to commit to the idea.
In the face of cultural misunderstandings that exist today, music has been and still is a link that unites people of different backgrounds, regardless of their geographical separation. Tonight, cultural worlds will collide through music when the World Music Percussion Ensemble performs its spring concert “Afro/Andean Fusion” in Spaulding Auditorium .
Upon the advice of an upperclassman, Chris Gallerani ’15 took “Acting 1” with theater professor James Rice his freshman fall, not realizing that it would change his course at the college toward theater. Four years later, Gallerani performed his senior thesis “#werq: a queer journey” on May 1-3, a solo production of over an hour where he bared his soul, and his body, to the audience.
“Pitch Perfect 2” (2015) opens like a wrecking ball, with Rebel Wilson’s “Fat Amy” accidentally revealing her junk to the president at the Kennedy Center. Deemed an insult to the a cappella world in the aftermath of the incident, the Barden Bellas — three-time collegiate champions since we last saw them in the original “Pitch Perfect” (2012) — are set to be cast out of the aca-community unless they win the international championship. If the Bellas are to be victorious, they must find an entirely new musical sound, take on a new member and face a daunting opponent on the global stage. Yet somehow nothing in the sequel feels fresh. If you haven’t seen the first film, don’t fret — “Pitch Perfect 2” ends up being no more than a remix of the original, only with higher stakes.
This Saturday, the Dartmouth Gospel Choir will take the Spaulding Auditorium stage for its only concert this term, performing more than 10 songs. Highlights among the various pieces slated for the performance include a call-and-response rendition of the Lord’s Prayer and a cover of “Glory,” the Academy Award-winning track from the film “Selma” (2014), according to performers interviewed.
This evening at the Hopkins Center for the Arts, well-known stand-up comic and writer Tig Notaro will perform in Spaulding Auditorium.
Pieces by beloved classical composers such as Beethoven and Schubert will mix with the premiere of Dan Román’s “SyncopaXiones” (2012) at music professor and current pianist in residence Sally Pinkas’ piano concert tonight.
While some writers go through great lengths to find inspiration, author Meg Kearney says that she believes people should have an open mind because inspiration can be found anywhere. As the prize judge for the English department’s annual Creative Writing Awards, Kearney opened the ceremony last Thursday in Sanborn Library by reading nine of her poems, including “Creed” (2001), “Home By Now” (2009) and “A Grasshopper Walks Into A Bar” (2009).
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.”