Hla461
发表于 2025-3-23 10:35:49
Auditory Turn: Vocal Choreographyding ., ., and .. Noting shared qualities across speech and song, it traces the history of Forsythe’s use of speech in his works and its reception by critics before detailing his investigation first of pseudo-language and then of vocalizations that arise in resonance to movement. Research on the emb
Debark
发表于 2025-3-23 16:12:34
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anthropologist
发表于 2025-3-23 21:00:26
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修改
发表于 2025-3-24 01:06:47
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宽容
发表于 2025-3-24 03:48:07
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品尝你的人
发表于 2025-3-24 08:38:27
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Champion
发表于 2025-3-24 12:17:41
Occlusion: Comings and Goingse wooden wall and mobile lighting. The chapter brings this work into dialogue with research on the dynamics of attention to objects and obstructions that occur when objects appear and disappear from view and brings the discussion into engagement with Lehmann’s and Forsythe’s ideas on meaning and disappearance.
amplitude
发表于 2025-3-24 15:48:57
Hiding in Plain Sight: Simultaneityait” of simultaneity and the perceptual performativity that underlies it. The chapter comparatively investigates polycentric choreography in the works of Forsythe and George Balanchine, including the latter’s ., ., and . and the former’s ., “Bongo Bongo Nageela” from ., and ., among other works.
植物学
发表于 2025-3-24 21:28:50
Gloaming: Dimming and Visionsrceptually performative effects of dimness and blur. The chapter concludes with a turn to research on the effects of low light in office workspace environments on thinking styles, proposing a link to Lehmann’s idea of “visual dramaturgies” and to dynamics of attention that both he and Forsythe have theorized.
放弃
发表于 2025-3-25 03:00:08
Lull: , and Dronesance.” As well, Forsythe stages visual interruptions to hypnotic rhythmic movement at such points. Instances in works including ., ., ., ., ., and . show how Forsythe’s choreography differentially supports the performative effects of the two soundscore types considered.