面部表情在现场表演中通常不那么重要，因为编舞者知道坐在剧院后排的人可能看不清舞者的脸。
Facial expressions aren't as important in live performances generally, because the choreographer knows that someone in the back row of a theater may not be able to see a dancer's face clearly.
英国作家和演讲者肯尼斯·罗宾逊爵士在 TED 上谈到了这个。他讲述了吉莉安·林妮的故事。吉莉安·林妮是一个舞蹈演员和编舞，曾出演过著名的音乐剧《猫》和《歌剧魅影》。
British author and speaker Sir Kenneth Robinson talked about this at TED. He told the story of Gillian Lynne, a dancer and a choreographer (编舞者) who has worked on famous musicals like Cats and Phantom of the Opera (《歌剧魅影》) .
莎德勒·威尔斯剧场是英国主要的跳舞场所，在那世界级的编舞者，视觉艺术家，音乐家推进了表演艺术和传统舞蹈的距离。
Sadler's Wells is the UK's leading dance house, where world class choreographers, visual artists and musicians push the boundaries between performance art and traditional dance.
编舞者不能以故意迎合观众为出发点创作芭蕾，他必须先从自己的灵感开始。
The choreographer cannot deliberately make a ballet to appeal to an audience, he has to start from personal inspirations.
舞蹈家兼编舞者马丁尼·密罗陀在自己日惹的工作室练舞。
The dancer and choreographer Martinus Miroto practices at his studio in Yogyakarta.
《手牵手》建立在对舞者长期的研究过程之上，有赖于编舞家独到的合作语汇和两位舞蹈家的特殊默契。
Hand to Hand was created on the dancers during a long research process and draws upon the choreographer's unique partnering vocabulary and the special rapport between the two dancers.
这个舞作本身有简洁的叙述架构，同学不用重述剧情、也不用介绍编舞者生平。
The dance has terse narrative structure. You should not retell the dramatic plot of the dance; you should not provide a biography of the choreographer.
这个舞作本身有简洁的叙述架构，同学不用重述剧情、也不用介绍编舞者生平。
The dance has terse narrative structure. You should not retell the dramatic plot of the dance; you should not provide a biography of the choreographer.
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