Broadway Dance

Acknowledging the 1980s HIV/AIDS crisis and the deaths of hundreds of would-be choreographers, this chapter explores the trauma experienced by the dance and theater communities as a defining moment in the history of Broadway dance. I examine the advent of Broadway outsiders, post-modernist Bill T. Jones (Spring Awakening [2006]) and physical theatre practitioner, Steven Hoggett (American Idiot [2010] [2012], Once [2012], The Last Ship [2014]) onto Broadway and assess the diminishment of systems created by de Mille and Robbins. I also analyze Broadway insiders Savion Glover (Bring In ‘Da Noise, Bring in ‘Da Funk [1996], Shuffle Along, The Making of the Musical Sensation of 1921 And All That Followed [2016]), Andy Blankenbuehler (In the Heights [2008], Hamilton [2015]), Sergio Trujillo (Memphis [2009], Hands on a Hardbody [2013]), and Lorin Latarro (Waitress [2016]). I investigate how these four negotiate the systems of Robbins and Fosse while at the same time absorbing the influx of ideas coming from physical theatre Finally, the chapter looks at contemporary dance choreographer Camille Brown, who possesses an exceptional ability to discover fresh interpretations of time-worn dance vocabularies and to tell stories with invented movement. I contend that Brown is the latest choreographer using Broadway as a vehicle for inventive dance and setting a new standard of dance excellence and innovation in musical theater.

Chlorophyll fluorescence-gross primary productivity relationships during the spring awakening of an evergreen needleleaf forest

<p>Solar-induced chlorophyll fluorescence (SIF) has been shown as a promising approach for the estimation of gross primary productivity (GPP), but whether SIF is merely a function of canopy structure or also contains precious physiological information, is presently heavily discussed. In this study, the SIF-GPP relationship was quantified at a Pinus sylvestris forest (Mezyk, Poland) during a series of short-term cold spells throughout the spring awakening to investigate the potential of SIF as a proxy for GPP during this period characterized by cold stress. GPP was inferred from the net ecosystem CO<sub>2 </sub>exchange measured by the eddy covariance technique. Canopy-scale SIF was measured using a high-resolution spectrometer system and retrieved via spectral fitting (SFM) algorithms. Active leaf-scale chlorophyll fluorescence measurements were conducted on seven branches using an automated field-deployable fluorometer system. Our results demonstrate a clear difference in GPP and the utilization of chlorophyll-absorbed energy between cold spell and warm days. At short, sub-daily time scales, the correlation between SIF and GPP was minor, but increased significantly when observed over extended temporal periods, when SIF exhibited a seasonal pattern that was more closely aligned with the GPP. Furthermore, the strong relationship between non-photochemical quenching (NPQ) and the photochemical reflectance index (PRI) shows good potential to better estimate GPP when integrated in the SIF-GPP model, as the integration of PRI overall increased the relation between SIF and GPP.</p>

Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)

Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the «Noise» is a very old Ukrainian vesnianka (spring folk song) that originates from pre-christian times and rituals related to nature, with its spring awakening; 3) the «Noise» is personification: well-organized energy, green forest, character of noise of the first spring greenery, God of the forest. Haivka (spring song) is the ancient name of round dances that was saved yet from the time, when our ancestors carried out ceremonial songs and dances in the protected groves round sacred trees. Aboriginal vesnianky (spring folk songs)-haivky are syncretic – singing and motion, words and action, song and dance are combined in them. Phenomenon of the song «Noise» that was presented on a song competition Eurovision by the Ukrainian electro-folk band «Go_A», consists in that on a background of «sleek and inexpressive pop songs» that sounded mainly in English, Ukrainian performers, leaning against old Ukrainian folklore traditions, offered to Europe Ukrainian powerful and catching «spring hymn» in a style of techno, that was perceived with gladness and fascination by European listener audience. Thus, firstly, Ukrainian haivka (spring song) became a world hit in 2021; secondly, the band «Go_A», keeping national identity, popularizes Ukraine, Ukrainian language and Ukrainian song; thirdly, it consolidates Ukrainian society; fourthly, it engages young people in patriotic education. Summarizing, it is possible to establish with confidence: 1) Ukrainian language and Ukrainian song are indivisible as they are organically interdependent and are the basic criteria of originality of nation; 2) the Ukrainian song as well as language unites nation; 3) we found out, firstly, that the old Ukrainian vesnianka (spring folk song) «Noise» became the basis of the song «Noise» of the Ukrainian band «Go_A»; secondly, we made sure that vesnianky (spring folk songs) and haivky (spring songs) were not identical concepts, as varieties of vesnianky (spring folk songs) are haivky – songs that were performed only in time of the Easter holidays; vesnianky (spring folk songs) are a cycle of spring songs that are sung from the Annunciation.

‘To really trust [...] we had to be open with ourselves and each other’: Community building through Spring Awakening

The purpose of this ethnographic study was to better understand how participation in St. Lawrence University’s (New York, the United States) production of Spring Awakening served as a means of intimate and broader community building. This narrative ethnography investigated the director and a focus group of actors involved in the production of Spring Awakening. Analyses of the data revealed four themes: content, interconnectedness, emotion and vulnerability and magic. St. Lawrence University students welcomed and embraced the language, the music and the subject matter presented to them in the content of Spring Awakening. The willingness with which the students opened up to conversation and community continued to resonate with them in an interconnectedness that seemingly had more depth and more meaning than other productions they have worked on, including other musical theatre productions.

Adolescence and Femininity at the Play Spring Awakening

This paper aims to raise the theoretical discussion about the vicissitudes in the process of teenage girls becoming women, from the psychoanalytical point, which says the puberty is a landmark on sexual development. Adolescence is approached as a sexuation process resulting from Oedipus. For the boys, the identification with the father is enough, while the girls need extra work. We are going to examine the proper impasses and the outputs to the femininity construction incented by Wendla and Ilse, adolescent characters from the play Spring Wakening by Frank Wedekind, in the face of the real drive.

Gestural Economies and Production Pedagogies in Deaf West’s Spring Awakening

In Deaf West’s Broadway revival of Spring Awakening, embodied gestures expose and challenge representational and infrastructural norms that drive commercial musical theatre. The company’s blend of ASL and spoken text extends the overarching message about failed sociocultural ideals to the realm of deaf culture. Micro-practical actions and interactions function tacitly to denaturalize audio-centric standards that guide theatrical reception, internal cueing, and technical production.