❦ 3rd act
Hans Werner Henze (*1926)
nach einem Intermezzo von
Miguel Cervantes (1964)
Sängerensemble und
Chor des Theaters Osnabrück
Osnabrücker Symphonieorchester
Hermann Bäumer
CD: Ars Produktion
mit Ricardo Tamura, Kristine Larissa Funkhauser, Rüdiger Nikodem Lasa, Ralph Ertel. Christoph Nagler, Iris Marie Kotzian, Ricardo Viviani, George Gagnidze, Jeanine Hirzel, Benjamin Bruns, Ronald Funke.
The spring concert represents a culmination of two semesters of work by students in the Performance and Applied Dance class. The program, which will feature approximately 30 DCC students, includes modern dance choreography by Zanchetti and guest choreographers Julie Manna and Ricardo Viviani
One could see that Ricardo did not just dance.
Everything that he did was carefully thought out and designed as being fun for the students in the class. He knew when and where to stop and how to better explain moves to the class when everyone had trouble with it. He was also not boring.
He showed that dancing was acting as much as a physical activity. He encouraged us to get involved emotionally into pieces and really be in the piece.
Overall, I thought that Ricardo Viviani was a great dance teacher. He really liked what he was doing. His passion toward dancing was contagious. He made everybody like dancing. He was extremely professional. He also had a good easy going dancing style. Continue reading “a student report 2004”
Runner Number 5:
I met Georg here in Cologne. He helped me put together a project that meant a great deal to me. His friendship was like the presence of an angel. He would appear when I needed him, help with my chores and then drift away when my mind would sink into that lonely place where creativity springs. He also looked like an angel: with his long, waving blond hair, flowing white shirt, his gestures were precise and efficient.
It was a very reassuring presence. It’s been more than ten years since I’ve seen him. Sometimes I wonder if he was truly real, so I look at the photographs. They are the proof of his material self. Ricardo
Blast Theory’s Can You See Me Now? 2004
LifeForms
Rotoscope images in LifeForms
Get more insight into movement by using LifeForms animation software.
As I face the task of recreating dances from 5 centuries ago based on a painting by Eckhout I traced the movements in 3D and gained a wealth of insight into this composition. If you want to know how I did it, leave a comment and I’ll elaborate on it.
This software hasn’t been updated in years, but it still is a powerful tool for the choreographer: LifeForms