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I Understand Everything Better

為了解決Best musicals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.

Best musicals進入發燒排行的影片

以系統思考觀點探討國際藝術博覽會之經營模式 --以台北新藝術博覽會為例

為了解決Best musicals的問題，作者王瑞珍 這樣論述：

　　文化創意產業的推動與普及是國際重視議題，不僅各國相繼提出相關戰略發展計畫，我國政府亦將文創產業列入國家發展重點計畫。聯合國教育、科學及文化組織(UNESCO)認為「文化產業」(Cultural Industries)，也可稱為「創意產業」(Creative Industries)。其產業內容可包含視覺藝術、表演藝術、工藝與 設計、印刷出版、電影、廣告、建築、歌舞劇與音樂製作、多媒體、視覺產品、文化觀光及運動等等。　　隨著國際間政府的文創產業的重視及推動，加上藝術市場的全球化，藝術博覽會的數量與日俱增，儼然成為展現藝術家作品的重要平台。國際藝術博覽會能在國與國之間形成文化宣傳與交流功能，不

僅刺激藝術產業發展，也讓主辦國與參展國有良好實質性的效益，還能促成商品交易與產業發展。因此，除了傳統以畫廊為主的藝術市場模式，藝術博覽會經濟模式也成為新趨勢，如何有效經營及發展藝術博覽會對各國文創產業發展是個重要的探討議題。　　由於國際藝術博覽會的經營模式特性及成功原因關乎於各個層面的利害關係人互動與良好合作模式，因此本研究運用美國麻省理工學院(MIT)的系統思考(systems thinking)觀點解析國際藝術博覽會系統中主要的角色，包括主辦者、藝術家及參觀者(含藏家)三方間交流之互動。以台北新藝術博覽會為研究案例，結合專家訪談以進行經營模式及發展策略實證分析，探討國際藝術博覽會主辦單位如

何發展與各國藝術家及參觀者共同創造價值的經營模式、相關管理意涵及經營策略建議。　　研究結果發現並建構出三個主要影響台北新藝術博覽會經營模式之價值創造因果回饋環路，可以有助於持續正向發展並帶動經營成效。本研究結果說明國際藝術博覽會價值創造之關鍵是「以藝術家為核心」；透過創新經營及理念，以建立藝博會的平台融合各國文化的特色與口碑，讓藝術不侷限於在少數頂端群衆，而是有更多民眾可以參與，擴大了影響層面，有著文化的傳承，著重於藝術文化跟生活結合，以達到推廣藝術生活及國際文化交流之目的。期望此研究可以做為文化及藝術博覽會相關產業之發展參考。

Paradise

為了解決Best musicals的問題，作者Censabella, Laura Maria 這樣論述：

Laura’s plays include Carla Cooks The War (winner of the ＄10,000 A.D.A.A. Saroyan/Paul Human Rights Playwriting Award), Abandoned in Queens, Beyond Words (EST/Alfred P. Sloan Commission), and Paradise (IRNE Award Best New Play, Elliott Norton Nomination Outstanding New Script, EST/Alfred P. Sloan Co

mmission). Paradise made its sold-out West Coast premiere in L.A. at The Odyssey Theatre after receiving its world premiere at Underground Railroad/Central Square Theater in Cambridge, and she has written the screenplay version for Vicangelo Films and JuVee Productions. A recipient of three grants i

n Playwriting and Screenwriting from the New York Foundation for the Arts (including The Geri Ashur Award for her screenplay Truly Mary), she also holds two Daytime Emmy Awards for writing in serial television. Other plays and musicals have been developed or produced at the O’Neill Playwrights Confe

rence, Philadelphia Festival Theatre for New Plays, the Women’s Project and Productions, Ensemble Studio Theatre, Portland Stage, the New Harmony Project, Gulfshore Playhouse, The Working Theatre, Luna Stage, Passage Theatre and Urban Stages, among others. She directs the Ensemble Studio Theatre Pla

ywrights Unit and is part-time Assistant Professor of Playwriting at the New School’s School of Drama for which she received the Distinguished University Wide Teaching Award. She is a graduate of Yale College where she studied with Wole Soyinka, Nikos Psacharopoulos, Michael Roemer, Anthony Davis an

d Henry Louis Gates, and is a proud member of the WGAE, the Dramatists Guild, and HONOR ROLL! an action and advocacy group of women+ playwrights over 40.

音樂電影的歌詞翻譯研究：以《吉屋出租》、《悲慘世界》、《芝加哥》為例

為了解決Best musicals的問題，作者方韻茼 這樣論述：

音樂電影一直是市場上很受歡迎的電影類型，其中的歌曲也常常會在戲外廣為流傳，不過有關歌曲及歌詞的翻譯研究卻一直很欠缺。音樂電影的歌詞作為一種音樂文本，其文字與音樂緊密結合，並展現出音樂的各種特質，然而在音樂以及字幕翻譯的重重限制下，如何能夠傳達歌詞意涵，又同時展現音樂性，使譯詞能巧妙地融入音樂及劇情之中，這對譯者而言是極大的挑戰。本文針對《吉屋出租》(Rent)、《悲慘世界》(Les Misérables)、《芝加哥》(Chicago)三部音樂劇改編之電影進行分析，分別探討音韻、節奏、呼應三個歌詞音樂性的面向，透過比對原文、譯文以及音樂結構檢視翻譯的效果，並以Johan Franzon所提出的

可唱性三層次檢視譯文是否能與音樂結合，了解翻譯歌詞時可以採用哪些方法，以提升譯詞與音樂結合的程度，並進一步展現出音樂性，期使字幕譯詞能發揮最佳效果讓觀眾更加投入享受歌曲。