单选题 Dancer Martha Graham trained her body to move in different ways and in different contexts from any before attempted "Life today is nervous, sharp, and zigzag," she said, "it often stops in midair. That is what I aim for in my dances. " She insisted she never started out to be a rebel. It was only that the emotions she had to express could not be projected through any of the traditional forms. This was in 1925. All forms of art were undergoing a revolution. The theories of psychology were being used to extend the boundaries of poetry, music, and painting. Martha Graham"s first dance concert in her new idiom occurred on April 18, 1926. Experts of dance gathered at the Forty-eight Street Theatre in New York and witnessed Martha Graham"s first foray into this new realm of dance. They saw, through such dance sequences as "Three Gobi Maidens", and "A Study in Lacquer", desires and conflicts expressed through bodily movement. These critics agreed that something entirely new, a departure from all previous forms had been witnessed. In the early thirties, she founded the Martha Graham School of Contemporary Dance. Her classes were used as laboratory for her stage works, and her stage works in turn were a means for attracting new pupils to her school—a sort of self-winding process, with herself as the key to the development. Martha Graham and the school she had founded are virtually equivalent to the modern dance. She had not only produced a technique of dance, choreographed and taught it, but her students have gone out to fill the modern dance world.

单选题 The passage is written to tell us______.

单选题 It can be inferred from the passage that, at the beginning of her career, Martha Graham"s mode of dance was______.

单选题 According to the passage, Martha Graham"s style of dance is______.

单选题 Martha Graham"s school of dance was______.

单选题 We can infer from the passage that the present status of Martha Graham"s work______.