The grace with which a dancer in Pina Bausch's ballet corps crosses a river by leaping from one rock to another is likened to the delicate grace of the piers of a bridge. This issue of Lotus sets out to establish a relationship between the body and architecture and to show, in addition to centers of the performing arts, the figures made by bodies in scenes of dance, to the point of proposing them as 'objective correltives' of architecture.
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