Speech and Language Problems of Parkinson’s Disease Receive messages back from our ears telling us that are mouths are making the correct sounds for what we want to say.Receive messages back from the nerve sensors in the body parts and systems which have moved.Send messages to the muscles to make the required movements.Remember all the muscle positions for the body parts and systems (including the larynx, which contains the vocal cords, the teeth, lips, tongue, mouth and the respiratory system) needed to say the words.
Remember all the vocabulary and organise it into the correct order to make sentences.By deftly combining simple, lilting, almost illustrative movement with lighting that delineates time frames and rag-style music, the choreographer achieves her very intriguing blend of moods.Most people take language and the ability to speak for granted, but communication through speech and language is a complex process co- ordinated through the brain that requires precise timing, nerve, and muscle control. Taylor's "The Letter" mingles love and hurt, nostalgia and wartime horror, characters born before World War II and behavior from after the Sexual Revolution. The pair hardly touches at first, but when it finally does the ways are charming and unexpected. Taylor and Alvin Mayes danced his "Tag," a duet as lyrically playful as a summer flirtation. The series' best candidates for the permanent repertory were contributed by the Jan Taylor Dance Theatre. But it is emasculated Graham: the dancers' hands and feet remain flesh, they don't become ax blades that cleave space. "Nocturne," a trio for Joseph Mills, Elizabeth Webb and Wiltz, looks like a Martha Graham epic with its jealous sexuality. His "Urban Estrangement" showed alienated '50s characters moving energetically but warily to protect their bodies and territory on stage. More glamor and passion would have helped Rothstein's semi-Spanish strutting.Īlcine Wiltz choreographs as if postmodernism hadn't happened. 4" and Rothstein's show-biz "Alegria." The all-female cast had plenty of drive but not enough control for the rigorous Van Dyke work, in which there are few gentle threads. Roberta Rothstein's Momentum Dance Theatre presented two quartets: Jan Van Dyke's stamp-and-clapathon "Rhythm No. Program 3 (to be repeated Thursday) featured three other companies. As the only older works on the series, they might have been more memorable. Jim Brown's "Continuum," a pattern dance for six women, and "The Fool," a clown solo for himself, date from the 1970s.
With the Contemporary Dancers of Alexandria, one could relax into conventionality. Was Burkhardt telling us prayers aren't answered in life? True enough, but this was theater and we expected miracles. Through stage magic, the drab leaves they held became a multicolored symbol of life-in-death. Burkhardt, the taller figure, was priestess and Denise Read her handmaiden as they prepared a sacrifice. Tension was built through big, careful motions flecked with tiny, taut actions. The two female figures in "Sacred Ground," by Beth Burkhardt's Totem group, seemed larger than life as they stood amid symbols of death - animal skulls and bones. In Paul's "Leopard People," a trio for himself, Hunt and Connie O'Mara, movement was frantic without injections of speech, it might have been even funnier. Sometimes, though, after a heady problem had been solved, they just consoled each other with a simple, fleeting embrace. When arms, legs and torso parts had been exhausted in the search for different ways of binding two people together, the dancers created more possibilities by using a red ring-band. Hunt, whose body is solid, sometimes carried the slim Paul. Manifold possibilities were explored in brief clips of movement that ended in snapshot poses. Paul's "Tether" was an encyclopedia of partnering.
The thinking rather than wagging end of the spine dominated the group's work. Upright Vertebrates, on Program 2 (scheduled again for Saturday) is the group name for Ron Paul, Dianne Hunt and occasional friends. And what emerges is not a Washington style in dance, but an uncommon amount of variety. Some pieces premiered at the Marvin Theatre last weekend may never be danced the same way again, even at repeat performances of all three programs later this week.
#TREMULOUS SPEECH SERIES#
The series offers work that's newbut not always fully formed. Washington Dance Directions provides local professionals with this unsettling but essential experience. Seeing is doubting, at least for the dancer watching a tape of what he's just performed or for the choreographer transferring movement he created in the studio onto a proscenium stage.