Friday November 1, 2002 michigandaily.com/arts mae@michigandaily.com RTS 5A 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 TODD WEISER 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 GRUPOt 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 experience. BEAUTY AND THE BEAST 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 v..