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Essay / Research Paper Abstract
A 5 page essay that discusses the Pennsylvania Ballet production of The Taming of the Shrew. The writer argues that this extraordinary production presents the Shakespearean story in a manner that conveys the essence of the play through adroit characterization that incorporates steps, actions and body movements rarely seen in classical ballet. This company "mugs, slinks, winks, leaps, falls, (and) even spits out" this Shakespearean comedy (Anderson, 2001). The result is enthralling and enchanting, captivating the heart as well as the eye. Bibliography lists 2 sources.
Page Count:
5 pages (~225 words per page)
File: D0_khpaball.rtf
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Unformatted sample text from the term paper:
one does not expect a classical ballet to be funny -- very funny. This extraordinary production presents the Shakespearean story in a manner that conveys the essence of the play
through adroit characterization that incorporates steps, actions and body movements rarely seen in classical ballet. This company "mugs, slinks, winks, leaps, falls, (and) even spits out" this Shakespearean comedy (Anderson,
2001). The result is enthralling and enchanting, captivating the heart as well as the eye. Martha Chamberlain plays Katherina, the ill-tempered heroine who cannot be mated due to her
shrewish tongue, and David Krensing is Petrochio, the quick-witted suitor who woos Kate for her dowry, but also wins her heart. (The student researching this topic should note that the
writer is assuming that the same dancers described in the 2001 Anderson review are still playing these roles.) The rest of the cast includes Katherinas too-sweet sister and her suitors.
At the beginning of the ballet, Katherina holds her body stiffly. She is a rigid "exclamation point" that broadcasts her intense anger and frustration (Anderson, 2001). As proud as
a tigress, she fails the air with wildcat gestures, her fists up, her heels coming down hard on the unsuspecting feet of those who dare to ignite her anger. Unlike
staged "fights" in movies and plays, these actions are real and therefore telegraph real emotion to the audience. When Katherina slaps Petruchio, the sound of flesh meeting flesh can be
heard in the back row (Anderson, 2001). For his part, Petruchio gives as good as he gets, flinging Kate, quite literally, all over the stage. The great angular leaps that
Petruchio takes across the stage seem to suspend him momentarily in mid-air, giving the whole production of air of the magical (Anderson, 2001). All of these very un-ballet-like actions
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