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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. For three weeks at Dartmouth, the artists-in-residence retreat into their creative spaces and focus entirely on their new works.
This week, The Dartmouth sat down with Jimmy Ragan ’16, a Dodecaphonics singer who is this term’s musical director for the Summerphonics. The 16-member coed group allows students not in full-year a capella groups to sing over the summer. As musical director, Ragan runs rehearsals, selects music, makes sure members learn songs and determines sets for shows. Dodecs members Rory Page ’16 and Emma PeConga ’16 also help to run the summer group. So far this summer, Summerphonics has performed at Pelt-a-Delta, at Beta Alpha Omega fraternity for a show with Splendaplum and at the “Proud to be Green” Panhellenic Council event over sophomore family weekend. The group anticipates performing in at least two more shows by the end of term, Ragan said.
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 to digitize 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.
It’s unfortunate that I watched this film right after seeing “Particle Fever” (2013) at the Loew Theater Friday night. The film is a beautiful homage to being human and the wonders of knowledge, and Luc Besson’s “Lucy” (2014) had the same intentions. 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.
In the small pitch-black theater, students glide through the audience and across the stage, settling in rocking chairs for one scene or bursting through the bare screen door in another. They have been fixing the details, swapping out scarves and timing effects. In front of a lit screen that shifts between pinks, blues and reds, they utter words written by Bobby Esnard ’14, perfecting the performance of a script he first wrote more than a year ago. As they rehearsed on Thursday, their first big audience would witness the production in just two days.
Documentary filmmaker and producer Ken Burns is renowned for his unique ability to deliver history to our screens, pairing a rich cultural understanding of America’s past with gripping drama. Over the years, Burns has repeatedly visited the College, most recently screening his third episode of “The Roosevelts” at the Hopkins Center on July 13.
If you’ve ever watched a cooking program like “Iron Chef America” or “Chopped” on an empty stomach, you know that feeling of painful, mouthwatering food lust. Anacharsis, an ancient Scythian philosopher said, “The vine bears three kinds of grapes: the first of pleasure, the second of intoxication, the third of disgust.” The metaphor works well for this film. The first shot of juicy limes delights you, the second shot of bubbling grilled cheese intoxicates you and the third shot of crackling bacon makes you bite your fist, whimper and wonder how moving pictures can be so cruel.
Assyrian reliefs and Schubert, American landscape and Mozart — as unlikely as the combinations are, a Hood Museum event will link art with classical music on Friday.
At the side of a gently winding road that hugs the shores of Mascoma Lake, the turnoff to the Enfield Shaker Museum is fittingly named Chosen Vale Lane. As “the Great Stone Dwelling,” the largest Shaker residence in the country, rises into the beautiful azure sky, it is clear what made the site so attractive to Shakers more than 220 years ago.
If you took Aldous Huxley’s “Brave New World,” shoved everyone onto a post-apocalyptic Noah’s Ark and added a heaping spoonful of slow-mo, you would get Bong Joon-ho’s “Snowpiercer” (2013). The movie, based on the 1982 French graphic novel “Le Transperceneige,” is itself an ark of sorts that rescues audiences from the flood of cookie-cutter summer blockbusters like “The Expendables 3” and “Transformers 4,” which seem hell-bent on cashing in on formulaic premises. In “Snowpiercer,” Bong takes the overworked, steampunk, dystopic future tale and gives it an oil change.
In a film course offered for the first time, 16 students have tackled television production this summer, working on promotional sports clips and preparing to recreate an episode of a popular sitcom. The course, titled “Topics in Videomaking,” allows students to practice camera, sound and editing techniques in addition to production.
Michael Odokara-Okigbo ’12 was in the process of writing a song when he received a call informing him that he would play a role in the upcoming film “Pitch Perfect 2” (2015). He had just stepped into the patio, he said, when he picked up his phone.
How do you make an abortion funny? In this age of political correctness and verbal thin ice, director Gillian Robespierre’s 2014 crass, honest romantic comedy, “Obvious Child,” is a breath of fresh air that answers this question.
Bringing his signature arrangement of curiously synthesized plucks, loops and whistles to Hanover, Andrew Bird and the Hands of Glory will perform at Spaulding Auditorium on Thursday. Joined by Jimbo Mathus and the Tri-State Coalition, the two artists will appear within the Hopkins Center’s summer music series.
A man dying of syphilis is caught in the delusion that he lives in the 1800s. A folk singer from the 1950s vanishes one day leaving only her music behind. These stories and more will make up the productions of the second annual VoxFest this weekend.
Cinematic adaptations of musicals face an inherent problem. Musicals are both more alive, and more importantly, theatrical than film, which creates a surreal universe in which flashy, spontaneous song-and-dance routines are permitted and logical. For this to hold true, audiences must immediately suspend their disbelief, permitting their over-the-top dramatic elements.
Some children dream of being physicists, and some children dream of being artists, but growing up to be a physicist, pursuing a Ph.D. in quantum electronics and then deciding to create art is arguably a rare path. For Enrique Martínez Celaya, July’s featured artist at the Hood Museum of Art and a Montgomery Fellow at the College, lasers have been as much a part of his work as painting and sculpture.
Seamless and organic, Ricardo Lemvo and his Los Angeles-based band Makina Loca blend together different music styles found across the world — transcending any single culture, time, place or creed. Lemvo and Makina Loca will come to campus for the first time to play a free concert on the Green at 5 p.m. Thursday. The band features rhythms inspired by Africa and Cuba with a pan-African sound.
The 2014 reimagining of the 1959 Disney classic “Sleeping Beauty” begins with a sweeping helicopter shot over the vast kingdoms of the humans and the Moors, beautifully wrought with towering mountains, glittering streams and idyllic pastures.
The recent $10 million donation supporting a Museum Learning Center at the Hood Museum will triple classroom space and expand the gallery area, reinvigorating the museum’s commitment to teaching, Hood director Michael Taylor said. The donation is the largest single gift to the museum since its 1985 opening and brings the Hood to $28 million of its $50 million overall goal for the renovation, Taylor said.