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Titlebook: Labor and Aesthetics in European Contemporary Dance; Dancing Precarity Annelies Van Assche Book 2020 The Editor(s) (if applicable) and The

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樓主: Halcyon
11#
發(fā)表于 2025-3-23 12:10:21 | 只看該作者
12#
發(fā)表于 2025-3-23 17:01:44 | 只看該作者
The Mobileroject-based contemporary dance artists have come to rely. My findings reveal several flaws of the residency system that can be generalized as well as a number of specific flaws that are linked to particular residency programs or spaces. The general lack of time for creative work, regulated in limit
13#
發(fā)表于 2025-3-23 18:52:03 | 只看該作者
The Flexibleitative data, I conclude that a dance artist’s body ought to be polyvalent, flexible, and adaptable, but also their entire set of pragmatic transferable skills needs to be marked by polyvalence, flexibility, and adaptability in order to remain employable. I conclude that the fast, mobile, and flexib
14#
發(fā)表于 2025-3-23 23:32:33 | 只看該作者
Burning Outs publicly address the plural forms of precarity and precarity’s penalties on one’s physical or mental state within their artistic work. The core of . seems to be grounded in the fact that an artist is never certain whether their work will be appreciated by a choreographer, a peer, a programmer, a c
15#
發(fā)表于 2025-3-24 05:24:22 | 只看該作者
Slowing Down slowing down. I address several tactics of deceleration in response to overburdening or to avoid burning out assisted by Michael Helland’s performance . (2016). I unveil the double paradox of slowing down as a tactic of resistance against the forces of neoliberalism: ultimately, slowing down does n
16#
發(fā)表于 2025-3-24 06:35:56 | 只看該作者
Conclusion: Precarity’s Plural Characterneral point at issue affecting our society in late capitalism at large. However, saying ‘no’ collectively to these unfair and precarious conditions is extremely challenging in the contemporary dance sector, because many artists are still willing to work despite of the precarious conditions.
17#
發(fā)表于 2025-3-24 11:00:55 | 只看該作者
18#
發(fā)表于 2025-3-24 16:42:49 | 只看該作者
Annelies Van Assche the use of transgenic animals as bioreactors since about 1987. These proteins have traditionally been derived from human plasma where supply and safety issues have inspired the development of recombinant versions from mammalian cells. However, a lack of development and production capacity for recom
19#
發(fā)表于 2025-3-24 20:25:15 | 只看該作者
20#
發(fā)表于 2025-3-25 02:42:02 | 只看該作者
the use of transgenic animals as bioreactors since about 1987. These proteins have traditionally been derived from human plasma where supply and safety issues have inspired the development of recombinant versions from mammalian cells. However, a lack of development and production capacity for recom
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