I could think only of making a semi-bold choice, like lying on my back and moving interpretatively.
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The city's cost-conscious solution was a respectful renovation, now underway, that is interpretatively restoring Post-Modernism's first declarative monument.
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His performances on visits with the Dallas Symphony Orchestra (where he was the music director for a decade) and his relatively few guest appearances with the Philharmonic have confirmed his reputation as a technically rigorous and interpretatively powerful conductor; he seems a maestro of the old school, with a penchant for tautly controlled, top-down performances.
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The poem consisted of a single act, containing four loosely linked scenes. Les Chants de la mi-mort dealt largely with the concept of sleep (interpretatively referred to as "The Half Death") and was filled with odd, mechanical toy-like characters. This poem's description of the faceless dummy later became a hallmark in the paintings of Giorgio de Chirico.Michelangelo. Giornale Nuovo: Alberto Savinio. spamula.
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She had dramatic actors at the theatre with spiritual artists and tried interpretatively in a rich repertory which presented for a few years. Mary Giatra Lemou was educated with literature and poetry and wrote a book (Zoi oniro ke theatro, Hroniko 1940–43, Ζωή όνειρο και Θέατρο, Χρονικό 1940–1943) and a political council (Apohoi, Athens 1981). She acted in a Cypriot theatre (1945/46), the dramatic school at Larissa Public Odeon (1947–50) and in New York (1957–67), for her stem of that theatrical company which achieved further.
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Alma asserts that in the Scherzo movement Mahler ::represented the unrhythmic games of the two little children, tottering in zig-zags over the sand. Ominously, the childish voices became more and more tragic, and died out in a whimper. This memorable (and interpretatively potent) revelation is still encountered in writings about the symphony -- in spite of the fact that it is not merely uncorroborated, but is conclusively refuted by the chronology: the movement was composed in the Summer of 1903, when Maria Anna Mahler (born November 1902) was less than a year old, and when Anna Justine Mahler (born July 1904) had not even been conceived.
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Rhinoceros () is a play by Eugène Ionesco, written in 1959. The play was included in Martin Esslin's study of post-war avant-garde drama The Theatre of the Absurd, although scholars have also rejected this label as too interpretatively narrow. Over the course of three acts, the inhabitants of a small, provincial French town turn into rhinoceroses; ultimately the only human who does not succumb to this mass metamorphosis is the central character, Bérenger, a flustered everyman figure who is initially criticized in the play for his drinking, tardiness, and slovenly lifestyle and then, later, for his increasing paranoia and obsession with the rhinoceroses. The play is often read as a response and criticism to the sudden upsurge of Fascism and Nazism during the events preceding World War II, and explores the themes of conformity, culture, fascism, responsibility, logic, mass movements, mob mentality, philosophy and morality.
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This was done in order to reduce the likelihood of one party having absolute control over constitutional amendments, as these require at least two thirds of the vote of each house in order to be enacted. Article Four was also very loose regarding the rules overseeing each house, establishing that each house must be the sole judge of the election, returns and qualifications of its members, that each house must choose its own officers, and that each house must adopt rules for its own proceedings appropriate to legislative bodies. This, in essence, gives broad powers to each house on how to structure itself and which procedures it must follow. It, however, established the posts of President of the Senate and Speaker of the House without any other specifics besides the title of the posts although interpretatively the article meant them to be the presiding officers of their respective house.
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