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November 01, 2002 - Image 5

Resource type:
The Michigan Daily, 2002-11-01

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November 1, 2002



Brazil's 'Grupo Corpo' uses
tight, clean, dance choreography

So wait, you got Nicole Kidman an Oscar? Do you think I will get one too?

CoUurtesy' ofUniversal


By Lynn Hasselbarth
Daily Arts Writer
The history of a dance company
is often just as important as what it
presents on stage and Brazil's
"Grupo Corpo" is no exception.
Founded as a family enterprise with
a dream to create a definitive form
of Brazilian dance, "Grupo Corpo"
presents a diverse style of move-
ment rooted in the history and cul-
ture of Brazil.
The power of this weekend's per-
formance lies in the charisma and
electric energy of the company's
dancers. The 19-member group
exhibits a high level of technical
ability and matches it with theatrical
drama. Grounded in rigorous ballet
training, "Grupo Corpo" displays
tight, clean choreography as well as
brilliant athleticism. With such a
strong core the company can exe-
cute full ensemble works where the
dancers moves as one cohesive
body. Translated from Portuguese,
the company's name means literally
"body group," a perfect description
of the dancers' synchronized move-
ment. With this strong foundation,
the company is capable of the more
fluid, uninhibited Brazilian style of
dance. Audience members will see
flirtatious jazz and Brazilian samba
as well as loose and earthy African-
dance. Lively musical rhythms com-
plement swerving hips and
shoulders, all of which will trans-
form the Power Center into an elec-
tric Brazilian dance party.
The company will perform "0

Corpo," a recent piece that presents
the urban, more modern appeal of
the company. Choreographed in
2000, this piece is set to an original
score by Arnaldo Antunes. Since its
official founding in 1975, "Grupo
Corpo" has had increasing opportu-
nities to perform to refreshingly

original music com-
missioned from some
of the most talented
Brazilian composers.
This piece will com-
bine highly technical
dance moves with a
sharp and edgy, urban
flair. Though this is a
departure from some
of the more traditional

At the Pow
Tonight at
Tomorrow at
8 P.M. $1
University Mu,

Em 'n 'Adam; believe talent, not the hype

N0 one believes it. Adam Sandler cannot perform in a
dramatic role. Eminem is a musician, not an actor. But
slowly, they are starting to believe.
It's 11 months into the year and the only two lead male per-
formances drawing raves anywhere near Oscar buzz are from
the lowbrow SNL alum, Sandler, and the controversial "new
Elvis," Eminem.
This must be a mistake, right? Wrong. The DeNiros and
Pacinos of the world no longer strive for the challenging,
breakthrough roles they used to thrust themselves into, instead
opting for cozy sequels ("Analyze That") and Bruckheimer-
type action ("The Recruit"). The opportunity for a younger
crop of actors to reach the pinnacle of their craft is there for the
taking, and the names suddenly associated with this concept
are not Norton and Damon.
The hype machines have been running at full power for the
past year for both Curtis Hanson's "8 Mile" and Paul Thomas
Anderson's "Punch-Drunk Love." Publicly labeled as "the
Eminem Detroit movie" and "PT.A.'s 90-minute Adam Sandler
drama," the media and the studios have slowly nurtured the
viewer's perception and expectations.
The fact that all this hype began before each film had shot a
single roll of film leads to a lot of speculation on whether it is
just only that, hype. However, the reason the boasting and brag-
ging could begin so early on is because the two men responsi-
ble for showcasing Eminem's and Sandler's acting abilities are
no run-of-the-mill filmmakers; they are Academy Award nomi-
nees and proven talents at working with underrated actors.
Back in 1997, when Hanson directed "L.A. Confidential," it
would have been impossible for someone to believe Kim
Basinger had an ounce of talent in her 5-foot-7 frame; she
was better known as Mrs. Alec Baldwin, surviving in Holly-
wood on her looks, not her acting chops. Hanson turned that
all around; his 1950s tale of police corruption in the opti-
mistically angelic L.A.P.D. earned himself an Oscar nomina-
tion for best director (along with a shared win for best
adapted screenplay) and Basinger a golden boy for Best Sup-
porting Actress.
One turned-around career must not have been enough for
Hanson as, after disappointing box office success for his
"Wonder Boys," he chose up-and-coming (at the time) vanilla
rapper, and phenom to be, Marshall Mathers as his next
assignment. Eminem took his acting seriously, not wanting to
be involved in another "Cool As Ice." Eminem's trust in Han-
son (including six weeks of rehearsals and losing 15 pounds
for the younger role) proves the hip-hopper's dedication.
Unlike Hanson, Anderson hasn't yet directed any Oscar
winners. Anderson has directed three Academy Award nomi-
nees, and two of them were frontrunners the day of the show

who were unexpectedly beaten out that night. Anderson's
John Holmes-inspired "Boogie Nights" earned Julianne
Moore her very first nomination, but she lost to another first
time nominee, Basinger. Burt Reynolds was predicted to win
for his turn as porn-king Jack Horner, but lost to crowd
favorite Robin Williams in "Good Will Hunting."
Anderson's ode to Aimee Mann, "Magnolia," boasts
numerous achievements; including confusing most of the
American public. Additionally, Anderson provided Tom
Cruise an emotionally diverse role proving that, like Kim
Basinger before him, Cruise is an A-list star because his talent
rivals any other actor working today - and not just due to his
All-American good looks. Cruise, like Reynolds before him,
was robbed by the Academy, in place of Michael Caine's
"heartwarming" performance in "The Cider House Rules."
Now, Anderson shows that Sandler has an acting range just
as surprisingly diverse as Cruise's. How Anderson saw this
beacon of talent inside Sandler's goofy, insincere leading man
portrayals in awful films is anybody's guess. Only once has
Sandler shown any sign of being able to successfully execute
any touch of dramatic honesty, in 1998's "The Wedding
Singer." Not many remember this, but some spoke of a possi-
ble Oscar nomination at the time, yet it never developed and
Sandler went on, seemingly trying to dissuade his new-
found admirers that he really had the skills for drama.
With "Punch-Drunk," Sandler has finally veered off the
road of sight gags and fart jokes, turning to clever, offbeat
writing and complex emotions. Many non-believers are out
there (most of whom probably have not seen the film yet),
but they should remember the name of another successful
comedian turned skeptical dramatic actor. No, not Jim Car-
rey. Tom Hanks is his name. Hanks had "Big" and Sandler
now has "Punch-Drunk Love."
But this should be said,: Sandler is not trying to become
Hanks, and Eminem did not consider Elvis's dual celebrity
when he plunged into the movies. Sandler and Eminem are
both artists. Both could have continued doing the easy tasks
that are now expected of them. However, they saw chal-
lenges in these roles and attacked them. Most likely, Em
and Adam will return to their roots - Sandler entertaining
horny teens and Eminem angering conservative America,
but these two deserve applause for stepping out of bounds,
if only for a moment. Don't be afraid to lose yourself in
their brilliant performances. Not bad for a couple of ama-
teurs, eh?
Todd Weiser can be reached
at tweiser@umich.edu.

Brazilian styles that the company is
famous for, this piece shows the
versatility of its dancers and their
incredible competence in manipulat-
ing the entire body.
The second piece, titled "21"
brings the company back to its
Brazilian roots of spirited social
dance bursting with energy and
vigor. The heat and passion of this
culturally diverse nation is seen in a
wholly original way. Music, light-
ing, scenery and movement coalesce
in a way that transforms any venue
into a lively Brazilian community.
Costumes and scenery are layered
with vibrant colors and patterns that
compliment the intertwining move-
ments on stage. Thus, "Grupo
Corpo" expresses its Brazilian cul-
ture through collaboration of all
artistic aspects. From lighting to set
design, costumes to music and of

course, the unparalleled talent of the
company's choreographer Rodrigo
Pederneiras, "Grupo Corpo" pres-
ents the full range of artistry.
Founded in 1975, "Grupo Corpo"
emerged from a nationwide move-
ment that dominated the 1970s, a
movement that sought to establish a
true Brazilian culture.
Having suffered
through colonial domi-
CORPO nation dating back to
the 16th century,
er Center Brazil desperately
t8 p.m. sought to establish its
2 p.m. and own identity. Brother's
18-$36 Paulo and Rodrigo
sical Society Pederneiras were swept
away by an intense
national pride and decided to open a
dance school in their parents' home,
in Belo Horizonte, located 300
miles north of Rio de Janeiro. When
the two brothers felt established
enough to create a professional
company, their two siblings joined
the group, Mariam as a dancer and
Pedro as stage manager. Paulo is
now the group's artistic director
while Rodrigo maintains his role as
the company's resident choreogra-
pher. Friends and other family mem-
bers were recruited to complete the
company, giving Paulo and Rodrigo
the necessary support needed to
lead "Grupo Corpo" to international
stardom. Such humble beginnings
have now become a fully range
dance center that houses a 200-seat
theater, an art gallery and multiple
studios to accommodate the school's
400 students.

Disney class ic 'Beauty and the
Beast' finally issued on DVD
By Douglas Wernert
Daily Arts Writer

"Beauty ind the Beast" debuted in 1991 to critical
acclaim. Kids, adults and even movie critics alike
adored it and, for good reason, called it the best animat-
ed film ever. Now, 11 years later, a special edition two-
disc DVD set has hit the shelves, rekindled the magic of
the original classic and with a new musical sequence
has given the viewer a completely new experience of the
phenomenon that is "Beauty and the Beast."
In case you've been living under a rock for the past
decade, here's what happens in this musical: An
enchantress, treated poorly by a prince, transforms the
prince into a beast. To break the spell, all he has to do
is have a girl fall in love with him before the last petal
falls off a mystical rose. Meanwhile, Belle (Paige
O'Hara), the romantic, imaginative, carefree daughter
of an eccentric inventor, is quickly becoming the object
of affection for a strapping, devious lumberjack named
Gaston. When Belle's father gets lost on his way to a
fair and is taken prisoner by the Beast, Belle volunteers
to take her father's place as prisoner. The Beast agrees,
and with some help of Mrs. Potts, the teapot (Angela
Lansbury "Murder... She Wrote"); Lumiere, the cande-
labra (Jerry Orbach) and Cogsworth the clock (David
Ogden Stiers), the Beast's heart warms to Belle.

Cut esy oUDisney

In a perfect world, everyone is Gaston.

scratching the surface. Exploring all the extras on disc
two takes hours, and is great for any Disney fanatic.
Two things keep it from perfection, however. One is a
horrible music video by a teen pop group called Jump
5, which seems to call for people to put a hole in their

Quality 16 offers 3-D film series

Despite Gaston's best efforts, Belle and
the Beast realize their true love, and find
that true beauty is on the inside (excuse
me while I get a Kleenex).
In addition to getting to see the only
animated movie ever nominated for Best
Picture, as well as two other versions of
the movie (a special edition with the new
song "Human Again" and a work-in-
progress edition), Disney has seen to it
that you get to learn everything you ever
wanted to know about "Beauty and the

By Jaya Soni
Daily Arts Writer
The Ann Arbor Quality 16 movie the-
ater offers a unique alternative to local
Halloween activities. As of Oct.18,
Quality 16 has participated in the first
U.S. release of the new 35mm 3-D/4-D
film process. Previously, the 3-D film
experience was available strictly in
IMAX format and lacked the intensity
and stimulation of 4-D bubble, fog,
laser and strobe light effects.
Quality 16 offers four 3-D/4-D films
everyday on a rotating schedule. Each
film is 45 minutes long and requires the
technical assistance of Chinese equip-
ment and projectionists. Quality 16 pre-
pared for the 3-D/4-D debut by
updating theater equipment with a new
screen, a "super-bright" lamphouse, two
new 3-D projectors and 4-D special
effects equipment.
Three of the four films are produc-
tions of nWave Pictures, the corporate
creation of Golden Globe Nominee Ben
Stassen and Belgium based D&D
Entertainment Group. Since 1994,
nWave has created specialized software
for the "location based entertainment
market" and the "large film format
industry" such as IMAX films.
The theater staff concluded that "3-D
Mania" is the most entertaining of the

lows a young musician as he returns to
the home of his recently deceased
mother. He must choose between sell-
ing his soul to become, like his mother,
a successful rock star or resist the tiny,
flying gargoyles and return to reality.
Warning - the visual 4-D effects and
music are mystifying and will produce
intense sensory stimulation.
"Alien Adventure" combines the
extraordinary realms of 3-D magic with
the cosmology of aliens in the explo-
ration of a new frontier. Instead of char-
tering a new home, the Glagolith aliens
stumble upon an amusement park. The
mothership and audience follow the
Glagolith explorers during their outra-
geous experiences produced on the cre-
atively titled Adventure Planet.
The 3-D/4-D films also include one

IMAX production. In "Wings of
Courage," featuring Val Kilmer ("Top
Gun") and Craig Sheffer ("Hellraiser:
Inferno"), a 1930s postal carrier
becomes deserted in the Andes after his
plain crashes. The true story conveys
the determination of a man deeply infat-
uated with his distant wife.
Thus far, opening day has had the
second highest attendance of the 3-
D/4-D festival with half of the pro-
ceeds donated to the Ann Arbor and
Metro Detroit Ronald McDonald
House Charities. Whether it be for
added Halloween season entertain-
ment, an opportunity for community
contribution, or participation within
the newest wave of film technology,
Quality 16 offers the ultimate film

Picture/Sound: *****
Movie: *****
Features: ****
20th Century Fox

TVs. The other refers to a game you play
to try and break a spell similar to the one
in the movie. You start this quest on disc
one, and by using your remote control, fol-
low Chip through several games. It was a
mere bump in the road, though, compared
to the multitude of other good items on
this DVD.
This set is a definite must-buy for any
little kid or just any Disney fan in general.
It's not a stretch to say that everyone likes
this movie. The catchy tunes will run

Beast." Disc two has hours upon hours of extras, the
origin of the story, concepts behind characters, new
songs, the magic behind animation, Broadway informa-
tion and stories behind other Disney movies. That's just

through your mind all day ("Be our guest, be our
guest" ... I can't remember the rest) and the story will
tame even the greatest beast inside you. This truly is
the real deal. Job well done, Disney.

Glee Clu
Featuring Now Director Stephen Lusmann
Presents its 143rd annu al
fall concert


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