|
|
||||
| announcements | faculty | staff | events | images |
| ARC307
Architectural Design Studio - Fall 2002 Professor Bruce Coleman Antinori Center for the Dance - Program |
 |
| Right mouse click here to download the Excell based program. |
| PALAZZO ANTINORI
Piazza Antinori Firenze, Italia
ez Mois in Paris last month. It was so very pleasant to rekindle my fond memories of our years at university together, absorbing all that the City of Light has to offer. However, I wish to speak of more serious matters here. I have been giving a great deal of thought to our discussion about establishing a new school and theater for the dance, something that strikes me as desperately needed, not only in response to the general decline in the appreciation of the finer aspects of our culture but to continue to nurture those who share our love of this rarest of the arts. While I continue to share our love of opera, it strikes me that the current "scene" as you might call it simply continues to recycle the same old items. It all seems so stale. Dance, on the other hand, seems so much more responsive to the current musical culture. The more energetic it becomes, the more dance becomes energized. To my eyes there continues to be a great deal of invention in this area. And thus I wish to make a significant contribution. As the whole world knows, the legacy of the family is already well established in wines. I now seek to associate it with another aspect of the finer things in life. The search for the perfect site, even the perfect city, continues. I am pursuing that aspect with my usual enthusiasm. In the meantime I have attached some notes about what might be included in such an undertaking. Knowledge of just how big and complex a facility we are thinking of might help in selecting the proper site. I now ask you to use your skills in researching just what it would take to make such a facility work, to be the best in the world, for nothing less will do. The general outline is clear: One part will be a theater for performances, as well equipped as we can provide. This will serve as a host for a repertory company that will be the dance company in residence. The complementary part will be a school, where people of any reasonable age may learn from those in the repertory company and other distinguished instructors. It must be a complete school, one were all the aspects of the dance, not just performing, are taught. To help you I have attached some quick notes. They are just an outline. Some might be excessive. I am sure I have omitted many things that are necessary for a complete building. I leave it to you "fill in the gaps" as you would say. I expect to see you in about a week. Ciao L.A. Comte Ludovico Antinori |
| THE SCHOOL OF DANCE, Phase 1: the program. Issued: Wednesday, 4 September 2002 First preliminary review Friday 6 September, 2002 Second preliminary review: Monday 9 September, 2002 BACKGROUND PEDAGOGICAL OBJECTIVES:
INTRODUCTION The art of the dance has always been arts poorer cousin. Though consistently one of the most highly refined of the fine arts, its appeal has always been limited. Recent history has demonstrated a curious dilemma: while interest in classical dance, typified by ballet, has decreased, interest in modern dance has seen a significant increase. While some may experience dance only through its more degraded forms, such as the Molin Rouge, or its derivatives such as the Rockettes at Radio City Music Hall in New York or the shows in Las Vegas, no tour group could imagine visiting Moscow without paying a visit to the Bolshoi. Classical dance, particularly classical ballet, continues to have a strong core of loyal fans.
While it may not draw the big numbers, the people that do come are among the upper levels in income. Modern dance, on the other hand, continues to draw well. At the moment, there are some 700 modern dance groups in existence around the world. Easily the most famous is the Alvin Ailey Dance Troup.
THE SCENARIO Our scenario involves two distinctly separate but closely related organizations: a Repertory Dance Company and a School for the Dance. The major components of the facility are two: A facility for the Repertory Dance Company, including:
A facility for the School for the Dance, including:
Each of these major components is clearly subdivided into smaller components as indicated in the Program. THE SCHOOL Many of the students at the school are high school students who pursue their academic endeavors at their own elementary school, junior high school or high school. This school becomes a specialty school for them and they can be expected to take most of their dance classes after their normal school sessions are out, about mid-afternoon. These students concentrate almost exclusively on learning the basics of dance with a focus on proper form and technique. As groups they practice for special performances. For others of college or university age, they may be enrolled in the nearby University and major in Dance for which this facility becomes the Department of Dance. Thus it is based on the model of the Alvin Ailey Dance Theater at Lincoln Center in New York, the Oberlin Conservatory of Music which is a part of Oberlin College, the Eastman School of Music in Rochester which is allied with the University of Rochester and the Cleveland Institute for Music which is part of Case-Western Reserve University in Cleveland. For these students, more intensive study is indicated including the history of the dance, staging, lighting, composition (choreography) and theory. Thus the classrooms are intended primarily for them. Thus the School, as an institution, is not only involved with preparing dancers or performers but also choreographers, managers, designers, and others involved in the total preparation and staging of dance performances. THE SCHOOL FOR DANCE THE SCHOOL The studios are shared by both the Company and the School. The Company holds its practices in the morning while the afternoon is for the classes of the School. Company practices are assumed to be closed to the public but the classes are open and the School encourages visitors to view them. The students of the School are permitted to watch the Company practice sessions.
LIBRARY
DINING
ADMINISTRATION
|
| THE THEATER The Theater is organized around the Repertory Dance Company, a separate entity (legally) from the School. The Company has its own staff as well as performers in residence. It has its own management, publicists, artistic directors, etc. Like any symphony orchestra, many of the performances will include invited guest performers, referred to as Principals. A performance may require only a few people on stage or hundreds, referred to as Supernumeries. Except for the world’s most famous, making a decent living as a performer is almost impossible. Thus most performers supplement their income by teaching. Thus the list of resident staff and artists will look surprisingly similar to the list of the Faculty of the School. THE PROGRAM for the CENTER FOR THE DANCE THE REPERTORY DANCE COMPANY
EXPERIMENTAL RECITAL THEATER
ADMINISTRATION
SCENERY Dance performances often have very little, if any, sets or scenery. Most of the Company’s sets are constructed by their designers and artists who design and fabricate them in offsite shops and have them trucked to the Theater.
WARDROBE Unlike scenery, the Company makes most of its own costumes which necessitates a large shop and storage facility. Shops
|
|
||
 |
http://soa.syr.edu/faculty/bcoleman/ARC307/ARC307Fa2002/307.ACD.program.html | Send email to: webmaster@soa.syr.edu |
| Last update: December 05, 2003. | Copyright © 2004 Bruce M. Coleman | |
| No text, images or content on this page may be copied or linked to without the author's express written permission. | ||
 |
||
