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Modern Expression:
MODERN ART, a term used to distingir the experimental and dynamic currents of 2C century painting and sculpture from more cc servative attitudes. In their search for new fon expressive of the new spiritual and social com tions of the age, modern artists have tended reject traditional solutions to problems of tec nique, composition, subject matter, and expre sion. In the process, modern art has, on ti whole, become more and more abstract in tl sense of nonrepresentational and consequent less dependent upon the description of the visu world in terms of easily or immediately recoi nizable images. Despite the many varieties < modern expression and the many movemen within which it has developed chronological! this abstract quality is fundamental to almost a modern art, and not only constitutes a new arti: tic epoch, but requires a new aesthetic justifies tion.Modern Gymnastics. Modern gymnastics is the term used to define rhythmic exercises, or free movements, executed in routines that may be ac¬companied by music and may employ hand ap¬paratus such as large balls, hoops, wands, skip ropes, scarves, or Indian clubs. An individual group activity for women, these exercises he develop coordination, a sense of balance, a; self-expression. Though composed much like Floor exercise sequence, a modern gymnastii routine comprises natural movements that flo smoothly one from the other, with limited tum¬bling and agility movements.
See Also In Modern English:
Frequency of Occurrence. E is used more often than any other English letter. Compared with the other English vowels, its frequency of oc¬currence is as follows: 1,000 to 728 for a; 1,000 to 704 for i; 1,000 to 672 for o; and 1,000 to 296 for u. The main reason for this is that in many Modern English words, e has replaced the vowels i, o, a, or u of Old English words (as in Modern English seep from Old English sipian, or Modern English when from Old English hwanne).Latin consonantal u be¬came a voiced spirant early in the empire, so that the symbol descended with the changed value, as Latin uinum, French vin, English vine (from Latin uinea) ; but in a much more ancient borrowing Gothic wein, Old English win, the old value survives, written w. Latin b between vow¬els underwent the same change to v; we find not only French or Italian words with v where Lat¬in had b (avoir, avere from habere), but also early English borrowings showing the same shift (devil, OE. deoful, from • diabolos). Greek suffered this change, and in modern Greek /8 is pronounced v (and b is written /*/?) ; likewise the Slavonic B, B (b) being merely a differenti¬ated form of B. Modern standard English has a few words from southern dialects with v- from /-; for example vixen (OE. fyxen), compare fox. English also has -/ in contrast with -v-, half but halves.
On The Other Hand See Add Modern Drama:
Borrowing Western techniques of playwriting and production, talented dramatists and directors initiated a new theater, called hua chii (spoken drama), as distinguished from the old school of music drama. A drama of social significance, its topical themes and varied pro¬duction techniques have won the approval of the add modern drama Chinese public. The new theater, alert to the impress of reality, reflects the life and thought of the people of China in their own everyday speech, in striking contrast to the classi¬cal verse of the old theater, with its stories of scholars, warriors, and kings. The new theater endeavors to be add modern drama in form, yet distinctly Chinese in content. Hua chii occupies an un¬precedented position in add modern drama Chinese litera¬ture, exerting a far-reaching influence over the common people in their adjustment to the con¬temporary world.Like Western drama, the drama of Asia originated as an elaboration of liturgical prac¬tices. However, Asian drama developed along different lines. Eastern drama in general is based on the concept of sangita, the threefold art of music, dance, and poetry fused into a single artistic entity. The emphasis is consequently on performance rather than on the intellectual sig¬nificance of the subject matter. Asian actors long ago rejected realistic presentation in favor of abstraction and symbolism. Accordingly, when in the 19th century, Western influence began to be felt in the Asian theater, the result was not in the nature of an assimilation, but of a complete break with native tradition. Thus in add modern drama times the classical theater in Eastern countries subsists as a national heritage side by side with the developing techniqvies of a new drama patterned after European practice but strongly colored by local habit and taste.
