作者: enlist 時(shí)間: 2025-3-21 23:05
CT Imaging in the Carotid Arteryve process, instead of considering the particular manner in which each dramaturg individually fulfills a preordained role, we can begin to distinguish some common characteristics that make an appearance time and again.作者: 觀點(diǎn) 時(shí)間: 2025-3-22 01:04
A. J. Day,A. K. Horsch,J. W. Proudlockces have, in various ways, offered resources to audiences aimed at contextualising the work and stimulating fresh thinking about it. An elaborate residency conducted by the Merce Cunningham Dance Company (MCDC) and presented by three presenting partners (The Jerusalem Season of Culture, the Israel F作者: 滔滔不絕的人 時(shí)間: 2025-3-22 07:07 作者: LASH 時(shí)間: 2025-3-22 10:13 作者: 洞察力 時(shí)間: 2025-3-22 15:54 作者: 洞察力 時(shí)間: 2025-3-22 17:57 作者: 持久 時(shí)間: 2025-3-23 01:03
Errancy as Work: Seven Strewn Notes for Dance Dramaturgy) and Centro Párraga (Cultural Center for the Development and Research of the Scenic Arts, linked to the Regional Government). Gathering performing arts professionals, scholars, and students, the seminar’s debates departed from the following proposition: .作者: lymphoma 時(shí)間: 2025-3-23 04:21
2730-9266 n by artistic inquiry, distributed among collaborating artists, embedded in improvisation tasks, or weaved through audience engagement, and the dramaturg becomes a facilitator of dramaturgical awareness.978-1-349-55797-4978-1-137-37322-9Series ISSN 2730-9266 Series E-ISSN 2730-9274 作者: BURSA 時(shí)間: 2025-3-23 05:58 作者: facetious 時(shí)間: 2025-3-23 10:17 作者: Presbycusis 時(shí)間: 2025-3-23 15:26
New World Choreographieshttp://image.papertrans.cn/d/image/260351.jpg作者: FACET 時(shí)間: 2025-3-23 18:40 作者: 辯論 時(shí)間: 2025-3-23 23:48
Selvaraj Vimalraj,Anuradha Dhanasekaran to describe what dramaturgy does is that it bridges theory and practice. At present, this formulaic explanation has become a part of the lore of dance dramaturgy, leading us to forget its roots in the discussions that ignited the field in the mid-1990s. In this article I revisit those discussions, 作者: 浮雕 時(shí)間: 2025-3-24 04:39
https://doi.org/10.1007/978-1-4419-7222-4) and Centro Párraga (Cultural Center for the Development and Research of the Scenic Arts, linked to the Regional Government). Gathering performing arts professionals, scholars, and students, the seminar’s debates departed from the following proposition: .作者: caldron 時(shí)間: 2025-3-24 06:35 作者: RAGE 時(shí)間: 2025-3-24 11:27 作者: 搏斗 時(shí)間: 2025-3-24 16:46 作者: Corroborate 時(shí)間: 2025-3-24 22:20 作者: Little 時(shí)間: 2025-3-25 00:07 作者: Incumbent 時(shí)間: 2025-3-25 06:26 作者: 束以馬具 時(shí)間: 2025-3-25 11:00
A. J. Day,A. K. Horsch,J. W. Proudlockor reinforcing propaganda for, social and political content and action. For as long as artists have made works available for public or private observation by others, navigation between the ideas presented in the works and how witnesses interpret and respond has been underway. This navigation is some作者: 急性 時(shí)間: 2025-3-25 14:08 作者: 擴(kuò)大 時(shí)間: 2025-3-25 18:02 作者: callous 時(shí)間: 2025-3-25 22:52 作者: 舊石器 時(shí)間: 2025-3-26 01:21 作者: 易于交談 時(shí)間: 2025-3-26 05:48
Errancy as Work: Seven Strewn Notes for Dance Dramaturgy) and Centro Párraga (Cultural Center for the Development and Research of the Scenic Arts, linked to the Regional Government). Gathering performing arts professionals, scholars, and students, the seminar’s debates departed from the following proposition: .作者: 使苦惱 時(shí)間: 2025-3-26 09:09
Thinking No-One’s Thoughtts provided by former teachers of the activities performed by a dramaturg: background research, analysis, observing rehearsals, being a ., writing program notes and grant applications, and so on. While such lists may indeed provide an initial impression of the kind of activities with which dramaturg作者: OTHER 時(shí)間: 2025-3-26 15:31
Distributed Dramaturgies: Navigating with Boundary Objects” to both himself and the ensemble, streamlining and furthering the education of a collective limited by the temporal demands of their profession. Referring recently to his collaborations with David Levin, Heidi Gilpin, and Patricia Baudoin in the late 1980s, he commented, “It was an excuse… They ha作者: 夾克怕包裹 時(shí)間: 2025-3-26 20:46 作者: 羅盤 時(shí)間: 2025-3-26 21:23 作者: Indigence 時(shí)間: 2025-3-27 01:59
Field Notes: In the Studio with Ralph Lemon and Donald Byrdhich also included Talvin Wilks, dramaturg for Bebe Miller. That discussion grew into a written exchange that further developed some of its themes: the nature of dramaturgical labour, with its oscillation or split focus; the notion of a “simpatico moment” (Wilks’ term) when the dramaturgical relatio作者: monologue 時(shí)間: 2025-3-27 05:41 作者: 卜聞 時(shí)間: 2025-3-27 09:47 作者: 橢圓 時(shí)間: 2025-3-27 16:49 作者: jaundiced 時(shí)間: 2025-3-27 20:12
https://doi.org/10.1007/978-1-4614-4618-7d the title of dramaturg but actually were helping me read, and learn how to read, certain kinds of texts which I had no way into without [access to] a university… [t]hey offered wonderful readings and suggestions” (Forsythe, “Iconic Artist Talk”).作者: 山間窄路 時(shí)間: 2025-3-28 00:16 作者: extinguish 時(shí)間: 2025-3-28 03:52 作者: 流逝 時(shí)間: 2025-3-28 09:11 作者: Manifest 時(shí)間: 2025-3-28 14:24 作者: Systemic 時(shí)間: 2025-3-28 18:27 作者: Heart-Rate 時(shí)間: 2025-3-28 21:30 作者: 把…比做 時(shí)間: 2025-3-29 00:11
Dance Dramaturgy as a Process of Learning: for the emancipation of both the dancer and the audience from the restrictions inherent in traditional Noh Theatre. This media project facilitates both traditional Noh and contemporary techniques so that the performance’s reception may move towards familiar contemporary values while making visible what has traditionally been invisible.作者: 極小量 時(shí)間: 2025-3-29 06:30
