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SECTION C • SUNDAY, APRIL 27, 2014
spotlight on
SPRING AND SUMMER ARTS “When I step to the barre and take first position to begin plies, the first exercise of ballet class, I begin the first of a series of assessments about myself. Are my pinky toes on the floor or am I rolling inwards on my foot? Do I look turned out? And more importantly: Am I feeling my legs turning out? After a correction is given about the flatness of my back, I take a moment to assess the position of my shoulder blades, feeling a bit strange as I roll my shoulders back and fourth, feeling for the perfect place for them to rest. After finishing a class combination, I automatically think back, telling myself … You did this, but did you remember to do that? Though I carry on this daily analysis of technique, the reason I dance is not because I like to analyze myself. In fact, it is to be thoughtless, enjoying the feeling of the energy of the music and each feeling becoming the same energy that stretches my leg and creates my technique.”
t n e r e ff i d A e v i t c e p s r e p
— Abigrace Diprima, 18, a dancer with Gwinnett Ballet Theatre in Lawrenceville
Have you ever wondered what it’s like to dance, to take the stage as an actor or to create a painting? Have you ever wondered what goes through the minds of artists? The Daily Post is ushering in spring and the bevy of arts it brings by taking a look at art from three artists’ perspectives — a dancer, an actor and a painter.
r tists. l other a e for my ra e v e s venu with a week ost impor tant a uty around e c n o ir the m the bea plein a “I paint m life has been tly amazed at and how they fro cts mo stan Painting wth. I am con cts on the obje e if only for a n m ro o e g ti fl p c la re to ti p t s s h tem lig ar ti ges e or con way the utdoors ese ima us. The each other. Th inspired in aw intings done o ther e a a reflect in cause me to b embered. My p e that time to g ese d m th n us a e re I k . e n ta b o I ti . ment to a wor thy d colors f inform ut a and are able source o es, shapes an them to plan o e for lu lu e a a a s v v s u , the m and are a tones tion on ck to the studio , my process is sign my value a m r fo in io de dies ba the stud nail, and then planning is small stu inting. Back in b e m th u e th c I try n ll a a larger p e. I plan a sm the painting. O painting begins I did f c re o e ie e y p h th e hen each ent w the k inting. W unlight nvironm nd plan study a , I begin the pa nd feel of the e t the way the s e th a te ou comple ssence tly thinking ab e is that when e of re the e p n to captu s. I am consta erature. My ho might feel som it p ie the stud ounds, the tem whoever views s at th te le felt, the e is comp tion.” residenc painting while on loca n i t s i t lt r a fe what I 50, an
d gee, in Bufor a R. Big y n n n o o l o D C — rtist y Row A r e n n a T at
tos: Staff Pho
Brendan
Sullivan
“One of the grea te actor’s focus sh st acting teachers I had told me, ‘When on ou ld be 90 percen an actor.’ This ha stage an t as the charac s al to ‘live truthfully ways stuck with me. As an ac ter and 10 percent as tor in ing, learning lin imaginary circumstances.’ We it is our ultimate goal es, doing heav spend weeks re y re he etc., then by pe search on time rformance time period and char arswe this preparation acter, work in order to try our best to forget it all. W e do all get our charac so when we ar place. That’s th e reacting to an action on stag ters into our very being e 90 percent. Th e ... it comes fro e 10 percent of m a real actor because your focus mus although realis t be as an m is the ultimat performance w e goal, we are here marks mus still doing a t be hit. The first is unity. ... Ever y actor has thei ne r own journey an cessity of any art form approaching a role, these are d process. For th m and being pres e biggest concerns I have: Be e, when ent, both as the ing truthful character and — Christopher as the actor.” M. Watson
, 26, an actor per forming with the Aurora Theatre in Lawre nceville