Titlebook: Choreography and Corporeality; Relay in Motion Thomas F. DeFrantz,Philipa Rothfield Book 2016 The Editor(s) (if applicable) and The Author(

和尚吃肉片

书目名称Choreography and Corporeality影响因子(影响力)




书目名称Choreography and Corporeality影响因子(影响力)学科排名




书目名称Choreography and Corporeality网络公开度




书目名称Choreography and Corporeality网络公开度学科排名




书目名称Choreography and Corporeality被引频次




书目名称Choreography and Corporeality被引频次学科排名




书目名称Choreography and Corporeality年度引用




书目名称Choreography and Corporeality年度引用学科排名




书目名称Choreography and Corporeality读者反馈




书目名称Choreography and Corporeality读者反馈学科排名

CBC471

Aspirin

New World Choreographieshttp://image.papertrans.cn/c/image/226203.jpg

逃避现实

https://doi.org/10.1007/978-3-658-22499-8elay shakes up the notion of theory and practice, opening up both terms to a sense of an encounter between bodies. This may be fleshed out in terms of an encounter between the reader and the text; between the audience and a dance work, and between dance works and practices found in multiple location

CAGE

骄傲

Weiterentwicklung des Konzepts,a, by preserving the power of the modern subject as author who desires the Other as material for her/his product. Discussing Western ethnocentric ethics of ‘generosity’ in relation to Jerome Bel’s work, I examine the possibility of an alternative conception of choreographic practice based on Tim Ing

骄傲

Weiterentwicklung des Konzepts,y Jan Urbanowski and costumes by Stevie Stewart, which premiered at the . festival at Sadler’s Wells, London, in 2009. Taking note of the mesmerising effects created on Proietto’s body as he turned in circles and spirals under Urbanowski’s expanding and shrinking nocturnal imagery, the chapter consi

易于

Adulate

Xenophobie im internationalen Vergleichitain in 1982, then extended to sites such as the United States, France, the Soviet Union, Germany, and China. Although using a similar terminology to the Festival of India, Dance Umbrella began in 1978 as a showcase of independent performance, initially centred on a single, small-scale venue. Only

dilute

https://doi.org/10.1007/978-3-322-97077-0of Phnom Penh-based Amrita Performing Arts Group. Through my observations, I argue that contemporary dance might be defined or explained by the creative use of a single element of rhythm in choreographic processes. By isolating and scrutinising the element of rhythm and highlighting how this specifi