For Immediate Release:

WHO:
Concerts

April 6, 2015

School for Classical & Contemporary Dance: BFA Capstone

Not to be [dis]missed

WHEN:

April 16th, 17th, and 18th at 7pm

WHERE:

Erma Lowe Hall, Studio Theatre on TCU campus

TICKETS: $10 General Admission, $5 Student with ID

CONTACT: Tessa Salomone, tessa.e.salomone@tcu.edu

About the concert

The TCU School for Classical & Contemporary Dance will present Not To Be
(dis)missed, a capstone concert of works by Senior BFA choreographers. Six
new dances will premiere on April 16th, 17th, and 18th at 7pm in Erma Lowe
Hall, Studio Theater at TCU. Admission is $10 for the general public and $5
for students with an ID. For more information, please call 817-257-4255.
The concerts will consist of original works choreographed by BFA candidates
from the TCU School for Classical & Contemporary Dance. Six
choreographers will present original works influenced by studies in both
ballet and modern dance styles, as well as their individual experiences in the
art form, featuring the undergraduate dance majors of SCCD. The six
choreographers met over the course of the semester to organize, produce,
and promote this concert for the TCU community and beyond to attend.
About the choreographers
There are six choreographers premiering work in Not To Be (dis)missed.
Three are senior Ballet majors and three are senior Modern Dance majors.
The choreographers have collaborated with students from the Lighting
Design for Dancers course to fully explore the opportunities afforded by the
state-of-the-art equipment and recent technical upgrades in Erma Lowe Hall,
Studio Theatre.
About the Dances
In(tegral) Time by Abby Bradetich In(tegral) Time is based on the
exploration of the extremes of the speed continuum, ranging from fast to
slow, and on the discoveries of new methods of juxtaposing one type of
timing against the other within the framework of my piece. To highlight the
differences in the dancers speed, I chose to work with live musicians, who
can instantly adjust their timing, shortening or elongating parts of the piece.

Unsettled by Caroline Lloyd Unsettled recognizes and explores the

perpetual change in our lives and the beauty within constant turnover. I
worked primarily with the idea of how consistent change can be purposefully
crafted versus letting the underlying universal concept of change take
control; directing a path versus letting the path direct. Through movement,
this took the form of a strong presence of repetition and variation. The
movement is constantly reinventing itself from what it has once been.
Initiating Momentum by Danielle Luetkehans Inspired by the physical
concepts of counterbalance and momentum, I created a work in which the
dancers pull away from each other and project their bodies so far into space
that the risk factor of falling is visible. I wanted to see how far I could push
this idea, to find the moment of suspension before the inevitable fall, both
with contact between the dancers and the design of the space between the
two dancers.
Assistere by Victoria Runge I was inspired to explore connection, contact,
and support in ways that both pushed outside of traditional, classical ballet
pas de deux and deepened my exploration of ballet. I am fascinated by
contemporary investigations of partnering that offer expanded ways for
dancers to support each others weight and rely on each other for
momentum, to stop, to stand up, or to be lowered down: so the dancers use
each other to move and be moved.
Saudade by Tessa Salomone Derived from Portuguese, saudade is an
untranslatable concept encompassed by the human condition; it is the
presence of an absence, the love that remains. This work explores three
unique understandings of saudade, three individual paths that may intersect
or parallel, but never fully connect. Just as no one movement can be
embodied identically in two people, no one movement can be repeated in
the exact same way by one person.
Fugue by Rebecca Thode A fugue, in musical terms, occurs when a short
phrase is introduced then continuously expanded on through repetition at
different pitches and the incorporation of new melodies. Inspired by this
term, I choreographed a contemporary ballet that starts off in simple
classical movement and proceeds to expand through modification. Through
slight changes, phrases expand and interweave to eventually build the
choreography and overlap throughout the dance in synchronization with the
music.
About the TCU SCHOOL FOR CLASSICAL & CONTEMPORARY DANCE
The TCU School for Classical & Contemporary Dance offers a BFA in Ballet,
Modern Dance, or Ballet and Modern Dance. An MFA program has recently
been added to the School for Classical and Contemporary Dance.