BET
发表于 2025-3-25 04:35:03
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绝缘
发表于 2025-3-25 09:56:31
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小隔间
发表于 2025-3-25 15:38:16
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evaculate
发表于 2025-3-25 17:36:13
Zum Generationenbegriff der Arbeitultural artifacts like certain kinds of clothing, or social expectations linked to gender norms or racial stereotypes, and are often a layering of several factors (188–91). Behnke draws on phenomenologist Edmund Husserl’s distinction between two kinds of “mine-ness”: possession, where the body is co
Ligament
发表于 2025-3-25 23:14:30
,Transferleistungen für Familien,l gestures; interactions with audience members; and an extended manifesto-like program note all indicated that the message of . extended well beyond this particular performance moment. The event seemed to be asking audiences to reconsider what dance performance could be and do in the larger world. I
certitude
发表于 2025-3-26 03:03:23
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渗透
发表于 2025-3-26 07:18:54
Introduction,g how the body coordinates the process with minimal muscular effort and deep cross-lateral connectivity. Then we are asked to reverse the pathway, starting with the foot leading behind—and again take stock of what happens and where the diagonal pathway might be broken or less fluid as we return to o
PIZZA
发表于 2025-3-26 10:31:17
The Micropolitics of Micromovement,ultural artifacts like certain kinds of clothing, or social expectations linked to gender norms or racial stereotypes, and are often a layering of several factors (188–91). Behnke draws on phenomenologist Edmund Husserl’s distinction between two kinds of “mine-ness”: possession, where the body is co
黑豹
发表于 2025-3-26 14:13:28
Vibration: Kasai Akira and Voice Power,l gestures; interactions with audience members; and an extended manifesto-like program note all indicated that the message of . extended well beyond this particular performance moment. The event seemed to be asking audiences to reconsider what dance performance could be and do in the larger world. I
Crepitus
发表于 2025-3-26 18:12:01
,Adaptation: Deborah Hay and “Call It That”,. Instead, Hay suggests that dance artists use language as a tool for both sensing micromovements in their bodies developed through years of dance training and for instructing audiences, producers, and critics on the significant place of language in dance.