Titlebook: William Forsythe’s Postdramatic Dance Theater; Unsettling Perceptio Freya Vass Book 2023 The Editor(s) (if applicable) and The Author(s), u

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愛哭

biopsy

lesion

Occlusion: Comings and Goingsheater architectures or obstructing set pieces or props. The chapter offers a detailed description of performative engagement with object permanency and occluded action through a close description of staging, lighting, and costuming in ., a popular Forsythe “ballet ballet” known for its large onstag

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無力更進(jìn)

Quiet: Hush, Caesurae, and Deep Silenceriety 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

OASIS

Lull: , and Dronestructures and drones that typically evoke altered or non-ordinary states of consciousness, which manifest in profound but also less extreme forms. Calling on Jacques Attali’s distinction between noise and music and reviewing the literature on sonic induction of non-ordinary states of consciousness (

在前面

Overwhelm: Audio-Visual Stresslineation of plethora and excess as postdramatic traits, Attali’s views on noise, and cognitive studies of sensory overstimulation and fluent processing. Though these might be considered moments of spectacularity, the chapter makes a case that they approach the sublime due to comprehension’s failure

可忽略

Visuosonic Counterpoint: Seeing Music and Hearing DanceOpening with a history of choreomusical relationships in twentieth-century concert dance that tracks changes along the lines of developments in choreographic and musical experimentation as well as new music technologies, it also brings choreomusical congruity (mickey-mousing) into dialogue with rese

delusion

Breath Scores and Corporeal Sounds: Dance as Symphony 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