Titlebook: On the Move to Meaningful Internet Systems 2004: CoopIS, DOA, and ODBASE; OTM Confederated Int Robert Meersman,Zahir Tari Conference procee

acclimate

Saikat Mukherjee,I. V. Ramakrishnanive to the overall environments of their performances, accordingly promoting William Forsythe from choreographer to .. Introducing Forsythe’s oeuvre and recognizing a large part of it as reflective of the style of performance that Hans-Thies Lehmann has delineated as ., the chapter indicates how Leh

innovation

Kalpdrum Passi,Eric Chaudhry,Sanjay Madria,Sourav Bhowmickive to the overall environments of their performances, accordingly promoting William Forsythe from choreographer to .. Introducing Forsythe’s oeuvre and recognizing a large part of it as reflective of the style of performance that Hans-Thies Lehmann has delineated as ., the chapter indicates how Leh

Prophylaxis

Carlo Meghini,Yannis Tzitzikasriety 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

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anthesis

Jordi Conesa,Antoni Olivé 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

Rct393

Hector Ceballos,Ramon Brenariety 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

军械库

Kleber Xavier Sampaio de Souza,Joseph Davisive to the overall environments of their performances, accordingly promoting William Forsythe from choreographer to .. Introducing Forsythe’s oeuvre and recognizing a large part of it as reflective of the style of performance that Hans-Thies Lehmann has delineated as ., the chapter indicates how Leh

Eulogy

Sonja Zillner,Utz Westermann,Werner Winiwarter 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

Invigorate

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