Discourse, Band 13Indiana University Press, 1991 |
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Seite 111
Emotivist Movement and Histories of Modernism : The Case of Martha Graham Mark Franko I " One after the other ... movement as an actress was expressive , not formal . Davis apprehended movement as a tool of theatrical and cinematic ...
Emotivist Movement and Histories of Modernism : The Case of Martha Graham Mark Franko I " One after the other ... movement as an actress was expressive , not formal . Davis apprehended movement as a tool of theatrical and cinematic ...
Seite 112
... movement for movement's sake . No matter what theatrical uses Graham ultimately put movement to — and the range was diverse movement per se was not transformed ac- cording to each use . The same codified lexical elements told all ...
... movement for movement's sake . No matter what theatrical uses Graham ultimately put movement to — and the range was diverse movement per se was not transformed ac- cording to each use . The same codified lexical elements told all ...
Seite 119
... movement . " Movement , " Graham wrote , " is the one speech which cannot lie . In movement all that is false , or too obviously learned , becomes glaringly apparent . This is important in considering the modern dance , for it is with ...
... movement . " Movement , " Graham wrote , " is the one speech which cannot lie . In movement all that is false , or too obviously learned , becomes glaringly apparent . This is important in considering the modern dance , for it is with ...
Inhalt
Introduction | 3 |
A Dossier a Performance Piece a LittleUnderstood Emotion | 12 |
The Language of Expression on Natures Stage | 40 |
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