鸟场
发表于 2025-3-21 17:26:57
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爱哭
发表于 2025-3-21 20:31:48
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biopsy
发表于 2025-3-22 02:11:07
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lesion
发表于 2025-3-22 05:27:16
Occlusion: Comings and Goingsheater architectures or obstructing set pieces or props. The chapter offers a detailed description of performative engagement with object permanency and occluded action through a close description of staging, lighting, and costuming in ., a popular Forsythe “ballet ballet” known for its large onstag
腐败
发表于 2025-3-22 11:03:23
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无力更进
发表于 2025-3-22 14:40:09
Quiet: Hush, Caesurae, and Deep Silenceriety of quiet performance conditions. Noting anxieties around silence in dance performance, it first highlights the presence of pauses in classical and abstract ballets, as well as modern works, before sketching a history of works without musical accompaniment from Mary Wigman’s pioneering experime
OASIS
发表于 2025-3-22 17:10:34
Lull: , and Dronestructures and drones that typically evoke altered or non-ordinary states of consciousness, which manifest in profound but also less extreme forms. Calling on Jacques Attali’s distinction between noise and music and reviewing the literature on sonic induction of non-ordinary states of consciousness (
在前面
发表于 2025-3-22 22:24:35
Overwhelm: Audio-Visual Stresslineation of plethora and excess as postdramatic traits, Attali’s views on noise, and cognitive studies of sensory overstimulation and fluent processing. Though these might be considered moments of spectacularity, the chapter makes a case that they approach the sublime due to comprehension’s failure
可忽略
发表于 2025-3-23 02:04:04
Visuosonic Counterpoint: Seeing Music and Hearing DanceOpening with a history of choreomusical relationships in twentieth-century concert dance that tracks changes along the lines of developments in choreographic and musical experimentation as well as new music technologies, it also brings choreomusical congruity (mickey-mousing) into dialogue with rese
delusion
发表于 2025-3-23 08:21:43
Breath Scores and Corporeal Sounds: Dance as Symphony dancing bodies. It begins by noting Lehmann’s indication of an enhanced musicalization in postdramatic theatre and connecting this to non-verbal, . voicings in Forsythe’s works including ., ., ., and .. The history of Forsythe’s “breath scores” leads to a discussion of the intimacy that these corpo