NOUNS… AND MODIFIERS

Leticia Peña Gómez Portugal / 2015

How to recognise a noun?Morphology: suffixes

Development Construction

Word order: before / after verbs Labor content

Context! forces of a supported load

articles a / an

A building - A tall building An architect – A renowned architect

The The skin – the skin of the building

the stunning dance Chroma

the surprising chromatic variation of the production

Prepositions of / in / to / at / from / about / …

At the San Francisco Ballet with the S.F. Ballet's technical director

Christopher Dennis about Pawson's work

At the San Francisco Ballet

with the S.F. Ballet's technical director Christopher Dennis

about Pawson's work

Pronouns Her, his, its, our…

This, that, these, those…

Most, many, a lot of, some, few, little…

PRACTISE:

CHROMA AT THE SAN FRANCISCO BALLET

Unscramble the sentences Francisco / dance / the / the /

Chroma / Ballet / stunning / at / San

KEYthe stunning dance Chroma at

the San Francisco Ballet.

John Pawson / minimalist / by / a / famed / designed / the / architect / set / British

KEYa set designed by the famed

British minimalist architect John Pawson.

A / the / technical / Christopher Dennis /with /director /chat / S.F./ Ballet's

Surprising /the / Pawson's / and / the / chromatic / about /production / work / variation

a chat with the S.F. Ballet's technical director Christopher Dennis about Pawson's work and the surprising chromatic variation the production

YOUR OWN PRACTISE:TRY identifying nouns – verbs

Understand the text (in Spanish) in your own words

Last week I caught the stunning dance Chroma

at the San Francisco Ballet. Choreographed by

Wayne McGregor with a set designed by the

famed British minimalist architect John Pawson,

Chroma is enjoying its second run in San

Francisco and is on until February 25th. I had a

chat with the S.F. Ballet's technical director

Christopher Dennis about Pawson's work and the

surprising chromatic variation the production—

surprising because nearly everything is white or

flesh toned—achieved through the lighting

design, set, and costumes.  

The original set was created in London and what

we have is the North American touring version.

Last year when we put on Chroma we had a

touring version that left out an architectural

piece that made it easier to tour, but is different

from the Pawson design. What we've got now

restores a sloping curvature of the walls that the

first traveling version didn't have. This one we

have now is rented from the National Ballet of

Canada in Toronto who built the set as a kind of

North American touring set. And it's got the

sloped walls, which Pawson was happy about.

The set is constructed out of wood and the walls are stretched canvas. The canvas is treated and painted and then stretched taut around the wooden frames. Then there's a two-step riser with a built-in fluorescent light at the back that dancers step through to enter.

The costumes were geared toward the skin tones of the company. Each was dyed to reflect if not the exact skin colour, then the quality of it. But the costumes, like the different shades of white, allowed a big range of colours all within a small part of the spectrum.

Read more at: http

://www.dwell.com/articles/chroma-at-the-sf-ballet.html?page=all&print=true#ixzz1pW7P3CzL