Placeholder: World premiere: Teatro alla Scala, Milan, 1887 (Giuseppe Verdi) World premiere: Teatro alla Scala, Milan, 1887 (Giuseppe Verdi)

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World premiere: Teatro alla Scala, Milan, 1887 (Giuseppe Verdi)

statue, doubles, twins, entangled fingers, Worst Quality, ugly, ugly face, watermarks, undetailed, unrealistic, double limbs, worst hands, worst body, Disfigured, double, twin, dialog, book, multiple fingers, deformed, deformity, ugliness, poorly drawn face, extra_limb, extra limbs, bad hands, wrong hands, poorly drawn hands, messy drawing, cropped head, bad anatomy, lowres, extra digit, fewer digit, worst quality, low quality, jpeg artifacts, watermark, missing fingers, cropped, poorly drawn

6 months ago

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Model

SSD-1B

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7

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1024 × 1024

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World premiere: Teatro alla Scala, Milan, 1887 (Giuseppe Verdi)
[photo from collection gilman and gonzalez-FALLA]
The mid-nineteenth-century stage thus became a space and time for exploring and criticizing social ideas of femininity. Both Buszek and theater historian Theresa Saxon describe a period of often daring, sometimes chaotic work by women onstage. In the 1840s, Charlotte Cushman famously appeared in drag, playing roles including the male lead in Romeo and Juliet. The actress Adah Isaacs Menken was equally willing to self-promote with topless cartes de visite and images of her in stage costume or in
[photo from collection gilman and gonzalez-FALLA]
[photo from collection gilman and gonzalez-FALLA]
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[ancien Egypt, real photography] The climax of the dance approaches as Satiah's movements slow once again, transitioning into a graceful tableau. She raises her arms toward the heavens, her expression a mix of awe and reverence. Her dance has conveyed the cyclical nature of existence, the union of mortal and divine, and the profound connection between humanity and the gods. As the haunting melody of flutes and harps begins to play, Satiah enters the center of the room, her presence commanding at
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