Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 13,Ausgabe 2Indiana University Press, 1990 |
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Seite 111
... movement as an actress was expressive , not formal . Davis apprehended movement as a tool of theatrical and cinematic characterization . Her impres- sions could only have been gleaned , however , from Graham's charisma as pedagogue ...
... movement as an actress was expressive , not formal . Davis apprehended movement as a tool of theatrical and cinematic characterization . Her impres- sions could only have been gleaned , however , from Graham's charisma as pedagogue ...
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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