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  3. Carrie Ahern isn’t one of those contemporary choreographers who makes a dance and moves on. She really digs her heels into a pie

Carrie Ahern isn’t one of those contemporary choreographers who makes a dance and moves on. She really digs her heels into a pie

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问题     Carrie Ahern isn’t one of those contemporary choreographers who makes a dance and moves on. She really digs her heels into a piece and before you know it, she’s created a multiyear project. Her latest undertaking, "Sex Status 2. 0", comes out of her thinking about The Second Sex, Simone de Beauvoir’s feminist masterwork from 1949. Ms. Ahern, 43, is only just getting started. She turned to The Second Sex in 2016 when she was reading Sarah Bakewell’s "At the Existentialist Cafe", which chronicles the existential movement in Europe.
    Performed in private homes beginning Wednesday, "Sex Status 2. 0" features even female dancers who look at the ways in which women are seen—and how they see themselves—in society. How much has changed since The Second Sex was published? Men, Beauvoir wrote, propose to stabilize women "as object and to doom her to immanence". That doom is Ms. Ahern’s jumping-off point for "Sex Status 2.0", which includes a multiple-choice audience survey about sexual and cleaning preferences. (To Beauvoir, the relentless labor of housecleaning means it could never be a satisfying task.) One asks, "How do you feel about greeting tips on your cleaning habits?" with four possible answers: A) take it as it comes; B) sick to my stomach; C) yes, please; and D) enraged. The question is also framed around sexual habits; the choices are the same.
    In a touch-consent section, dancers approach audience members with a request: To touch them in a favorite spot like, in Ms. Ahern’s case, the back of the neck. The choreography shifts from task-oriented movements referring loosely to cleaning—polishing the floor gradually morphs into twisting and writing—to a more unfettered, full-body release in an improvisation where the dancers rub up against surfaces and sometimes speak with feverish abandon. It’s intimate, and for that reason Ms. Ahern wanted to perform in private residences.
    Their research leading up to "Sex Status 2. 0", including long discussions and improvisations, has been particularly rich for the dancers, especially given the current political landscape. "It was like we were planting seeds and watching them grow, and that our garden felt wild," said the dancer Elke Rind-fleisch. " Like a garden of wildflowers. " While " Sex Status 2.0" has a specific structure, Ms. Rindfleisch finds that the work is slightly different every time they perform it, she said, "because it allows for the immediacy of the experience. I find that very feminine. Or what we have defined as feminine. " For Ms. Ahern, that relates to the freedom that she allows for in the piece. "It’s really about permission," she said. "I don’t think I’ve ever felt so much of that in a dance: To do exactly what I want to do or don’t want to do. "
The "2. 0" in "Sex Status 2. 0" signifies that________.
选项 A、it is an updated version of a previous work
B、the work focuses on two women’s sex status
C、Ms. Ahem would like to explore the differences in women’s sex status at different ages
D、the work explores the sex status of both sexes
答案A
解析 推理判断题。文中并没提到女性的数量，故排除B项；文中未说明这部作品探索了不同时代的女性地位，故排除C项；这部作品探索的是女性地位，故排除D项；文中第一句话提到有一些编舞者创作完一部作品之后就开始新的作品，但Carrie Ahern并不是那样的。由此推知，A项最符合题意。
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