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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. "
Which of the following statements does NOT fit the characteristics of "Sex Status 2.0"?
选项 A、It allows for the immediacy of the experience and therefore the work is slightly different every time being performed.
B、It is a multiyear project.
C、It includes a multiple-choice audience survey about cleaning preferences.
D、It is intimate and performed in public.
答案D
解析 事实细节题。最后一段第四句提到，因为“Sex Status 2. 0”这部作品允许直接体验，所以舞者每次呈现出来都有点不一样，A项是其特点，故排除；由第一段第二句可知，“Sex Status 2. 0”耗时多年，故B项表述正确；由第二段第四句可知，“Sex Status 2. 0”包括一项关于性别和清洁偏好的调查，C项表述正确，故排除；第三段最后一句和第二段首句都提到，“Sex Status 2. 0”是在私人住所里表演的，D项表述错误。本题为选非题，故答案为D项。
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