Sentence examples for extreme articulation from inspiring English sources

Set to ticking, wailing electronic music by Mr. Forsythe's regular collaborator Thom Willems, the movement offers an extreme articulation of the back and upper body paired with unbounded use of the hips and torso, and risky, off-balance partnering.

"An art of extreme articulation in which everything is pushed toward its opposite," is how Roberta Smith of The New York Times described the 16 paintings on view, which she called "radiantly beautiful".

It is usually accompanied by extreme articulation by the glottis, however extreme articulation usually leads to less intelligibility.

Robbie has never done that; he has been monkeying around for time immemorial, and "Rudebox" is simply the most extreme articulation of his monkiest moment.

Part III, "Tabula Rasa," offers eight dancers moving under a glowing set of light tubes, and it shows Mr. Forsythe's influence in its juxtapositions of groups and solos, its extreme articulations and speed.

A supplementary experiment in which MVC pronation torque at different articulations was measured showed that some of the increased discomfort appeared to be due to increased relative MVC at some of the extreme articulations.

Their movement includes the wheeling, slicing legs; the extreme articulations; and the rippling, ducking torsos that characterize Mr. McGregor's work, but if their vocabulary makes no reference to the Baroque, the frequent use of canon and counterpoint is an elegant echo of musical structure.

The sonics have a bracing, drawing-room intimacy, and the interpretation, with its impetuous tempo changes, translucent textures, and extremes of articulation, has a raw and febrile quality; a heated, but affectionate, conversation among friends.

Both works celebrate mannered extremes of articulation, be they the extravagant filigrees of High Gothic architecture; the deep, impossibly clear vistas; or the comedic quirks of the human personality.

In her heart-wrenching portrayal of a simple peasant girl betrayed by the man she loves in "Giselle"; in the extreme, imploding articulations of Wayne McGregor's "Chroma"; or as the radiantly youthful princess of "The Sleeping Beauty," she brings an ineffable combination of steely strength and lyrical delicacy to her dancing that is ever-changing and ever-fascinating.

Villa-Lobos's Prelude No. 3 and Étude No. 10 were similarly unbuttoned: Mr. Assad's phrasing is highly personalized, with extreme rubato and articulation so varied as to sound almost improvised.