我没有强迫
发表于 2025-3-26 23:22:31
,Chasing Voices: Ian Spink’s Dancing , (1988), seem to be musing with their bodies’, the style is ‘overwhelmingly gentle’, the movement is full of ‘gently surprising shifts’ (1978, p. 16) — all ways of talking about an abstract concern with movement that borders on the minimalist. But when she speaks of Spink’s work she says:
Eclampsia
发表于 2025-3-27 04:40:58
,Jonathan Burrows and Matteo Fargion’s , (2002): A Discursive Choreomusical Collaboration,, 1988, n.p.) and ‘uncompromising’ (Crisp, 1996, p. 15) performances and the humour and ‘obliqueness’ (Dunning, 2004, n.p.) of his unconventional and charmingly enigmatic pieces. Yet the scholarship to date is meagre and fragmentary, lacking detailed analysis of the themes, qualities and methods underlying his dances.
引水渠
发表于 2025-3-27 06:11:04
p with music, painting and play texts. This text attempts to fill a gap with an up-to-date account of exciting and challenging new work, illuminated by fascinating new theoretical frameworks.978-1-349-36014-7978-0-230-58442-6
vitreous-humor
发表于 2025-3-27 10:42:17
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色情
发表于 2025-3-27 13:39:35
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镀金
发表于 2025-3-27 18:22:46
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是他笨
发表于 2025-3-27 22:09:11
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过份
发表于 2025-3-28 04:58:23
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我要沮丧
发表于 2025-3-28 06:47:28
,On the Premises of French Contemporary Dance: Concepts, Collectivity and ‘Trojan Horses’ in the Wore Forced Entertainment, it became clear to me how culturally specific these works are, and that some contextualisation by someone ‘on the premises’ may be in order. A resident of France for the better part of 20 years, I would like to offer this.
GRATE
发表于 2025-3-28 11:37:12
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