Dance performance的問題，透過圖書和論文來找解法和答案更準確安心。 我們挖掘到下列精選懶人包

I Understand Everything Better

為了解決Dance performance的問題，作者 這樣論述：

Anexpansive documentation of David Neumann/Advanced Beginner Group’s 2015 ＂deeplyfelt and deeply moving＂ (New York Times)performance piece, a multi-disciplinary, dance-based work that explored theimpulse to report on calamity, the shimmer of attention to realms unseen, andthe evidence of the body as

possessing a will to let go of living. David Neumann’s work as a freelance choreographer, director and performerincludes a wide range of projects and disciplines. Since 1999, Neumann hasworked behind the scenes to craft plays, operas, films and multi-disciplinaryperformances. From avant-garde the

ater to blockbuster films, classic opera tonew musicals, David’s diverse experience has given him a unique ability to articulateideas through performers’ bodies. Whether playing one of Shakespeare’s kings ora virus-infected zombie with an appetite for Will Smith, the performers Neumannworks with gai

n from his multi-layered approach. David coaches individuals, hasmoved dozens of people through city streets, staged a hundred musical numbers, directed puppets, friends and drag queens, organized multiple Greek chorusesand continues to find new ways for the human body to communicate. He has workedw

ith stars from the ballet, film and avant-garde worlds, as well as those neverhaving stepped on a stage, learning valuable lessons from each. Neumann hasmany years of teaching experience working at Juilliard, NYU, Princeton and Yaleand is currently a tenured professor in the Theatre Department at Sa

rah Lawrence College. He has received threeLucille Lortel Award nominations and one Fichandler for his work on Cabaret atArena Stage. He is the Artistic Director of ’Advanced Beginner Group’, amulti-disciplinary performance company, which has been awarded three BessieAwards. He is a 2019 Lucille Lor

tel, Outer Critics Circle, and Tony Awardnominee, as well as the recipient of the 2019 Chita Rivera Award forChoreography for his work on the Broadway musical, ’Hadestown’. Recent and upcomingprojects include the musical ’Swept Away’ at Berkeley Rep, and choreography andcoaching for ’A Marriage Stor

y’, starring Scarlett Johanssen and Adam Driver.Advanced Beginner Group has created three evening length pieces performed in New York at The Kitchen, New York Live Arts, the Chocolate Factory and Abrons ArtsCenter, and on tour at The Walker Arts Center, MASS MoCA, MCA at Chapel Hill, and Alverno Col

lege, to name a few. ABG has been awarded several grants andawards, including three NY Dance and Performance ＂Bessie＂ awards. AdvancedBeginner Group has embarked on another evolutionary shift, in aco-collaboration with theater artist, Marcella Murray on their new piece, ’Distances Smaller Than This

Are Not Confirmed’ which premiered at Abrons ArtsCenter in January, 2020. David Neumann/Advanced Beginner Group embarkson each piece through an organic process begun from scratch, bringing to word, action, and proximity a delighted embrace of our contradictory lives.Contradiction is best felt throug

h humor and it is with a strategic use ofhumor that the work confronts our darker impulses and actions. ABG searches forantidotes to the absolutes that separate us, and so create these works as anirrational response to our perceived place in the universe. In each work, Neumann attempts to uncover a

distinct and complex view of the humanexperience. He embraces contradiction and juxtaposition as a means toward anactive engagement with the audience where performer and observer alike aregiven the potential to find themselves in a more alert state, more open to thesubtleties of their day-to-day exp

erience. To even approach this desiredcomplexity, the work is necessarily multi-disciplinary, as Neumann aims thevarious approaches and disciplines toward one another, and through theircollisions, bend the habitual gestures around new shapes. As adance/theater maker, Neumann focuses his efforts on t

he borders of theintellectual and the phenomenological, the representational and the abstract, and the personal and the cosmological with the intention to make blurry our desire to live inside distinct categories, binaries, and absolutes. David Neumann and Advanced Beginner Group desire an awakened

state, full of surprise, wonder, and humor without ignoring our pain, ennui, and existential longings.

Dance performance進入發燒排行的影片

內外在專注焦點對青少年網球選手發球表現之影響

為了解決Dance performance的問題，作者張惠茹 這樣論述：

　　目的：本研究目的在於探究內外在專注焦點指導介入，對於青少年網球選手發球效益。招募18 名國小青少年網球運動員為實驗參與者（性別：11男7女、年齡：9.22±1.33歲、球齡：2.72±3.27年、身高138.27±9.08 公分、體重 30.91±8.61公斤）。隨機以內外在專注焦點介入，進行10次（內在5次、外在5次）的網球發球。測驗前，給予熱身10分鐘和2次試發練習。根據發球落點以座標紀錄並獲取發球準確度參數，以Excel 進行數值分析，統計方式採相依樣本t檢定及內部一致性（ICC）資料分析，統計水準設定為α=.05。　　結果：實驗參與者執行內在專注焦點發球的ICC值為.71、執行外

在專注焦點發球的ICC值為.75，均具有不錯的一致性。不同注意焦點發球表現的t考驗結果p值為.002 達顯著水準。　　結論：外在專注焦點指導介入在發球穩定性及發球表現均優於內在介入。

Contemporary Performance Lighting: Experience, Creativity and Meaning

為了解決Dance performance的問題，作者 這樣論述：

Katherine Graham is Lecturer in Theatre at the University of York, UK and currently co-convenor of the Theatre and Performance Research Association’s Scenography Working Group. She has published work about light in Theatre and Performance Design and Contemporary Theatre Review and has worked extensi

vely as a lighting designer for theatre and dance. Scott Palmer is Associate Professor in Performance Design at the University of Leeds, UK. His publications include chapters that focus on light, space and the technologies of performance and the monograph Light: Readings in Theatre Practice (2013).K

elli Zezulka is Lecturer in Technical Theatre (Production and Design) at the University of Salford, UK and has previously written for theatre journals and in applied linguistics. A practising lighting designer, she is also a non-executive director of the Association for Lighting Production and Desig

n and editor of its bi-monthly magazine, Focus.

1717 年安東尼奧・史特拉底瓦里 口袋提琴「克拉皮森」仿製

為了解決Dance performance的問題，作者曾懷巧 這樣論述：

十六世紀中葉的文藝復興時期，義大利的舞蹈、音樂影響整個歐洲國家，當時舞蹈風行於宮廷貴族成為重要的社交活動，因此產生了許多指導舞蹈的大師，當時舞蹈大師是用口袋提琴作為舞蹈教學，所以在結構設計與聲音特性上並沒有那麼要求，一直到十八世紀，義大利音樂和歌劇對整個歐洲產生了極大的影響，爾後有許多製琴師對提琴製作上產生了改變，在也較為注重音色特性，在十八世紀下半葉就很少看到製琴師在製作口袋提琴Pochette violin。安東尼奧∙史特拉底瓦里（Antonio Stradivari, c.1644-1737）所製作的琴，音色聞名，其音色是眾多小提琴演奏家所夢寐以求。許多製琴師們會將史特拉底瓦里

琴的塗漆、木材、結構設計、聲音特性作為研究，進而萌生出探討口袋提琴的相關技術之動機，來仿製史特拉底瓦里所製作的克拉皮森口袋提琴（Antonio Stradivari, Cremona, 1717, the Clapisson）藉此來還原外型仿製。克拉皮森口袋提琴，因琴齡百年之上多少留下歲月的傷痕，於是在1942 年 11 月至 1944 年 5月期間，由卡雷薩和弗朗西斯（Emile Français , c.1920-1984） 修復克拉皮森口袋提琴的指板、弦軸、拉弦板、琴橋，在修復時也做了丈量的紀錄，因克拉皮森口袋提琴的數據資料不多，所以在製作上也多一份考驗，希望藉由此技術報告呈現更多資

料和歷史故事，讓後世的研究者做為參考並將口袋提琴的歷史故事傳承下去。