He sat on a chair in the semidarkness under a cluster of microphones.
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So we were really in semidarkness, which I expect is what the authorities wanted, better security.
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Many were clustered inside the terminal, which was cast in semidarkness because of an island-wide blackout.
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At the Valentino show, staged as usual at the Hôtel Salomon de Rothschild, guests were seated in semidarkness.
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It was terrifying to live in semidarkness, but the blessing of losing sight was seeing the value of my life, illuminated.
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The moments of semidarkness between the play's brief scenes are accompanied by acoustic guitar music that lends a new-age atmosphere to the show.
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I later went to San Patricio Plaza Mall, where some stores remained open with generators but many operated in semidarkness or had closed for the day.
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Standing on the concrete floor in semidarkness, he played one long, unbroken improvisation that defied the conventional limitations of the instrument, if not the laws of physics.
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Unlike the boisterous audiences of Haydn's time, modern concertgoers came to a performance prepared to sit still, in semidarkness, wearing what George Bernard Shaw called their "in-churchiest" expressions.
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She imagined her arriving back at the hotel, getting past the reception desk and letting herself into the room, the sheer blissful relief of it, alone at last, with the beds made neatly and the shutters closed on the semidarkness inside.
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The two stars are rarely onscreen together — circumstances conspire to keep Lee on set, under the lights, while Patty sits in the semidarkness of the control room whispering instructions into his earpiece — but their interaction is the electrical circuit that powers everything else.
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And yet I'm here writing this almost 13 years later, despite the fact that in the perpetual semidarkness of that Richmond apartment, I wanted to not be, wanted to not be with an intensity that very few desires in my subsequent life have equaled.
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Wending their way through semidarkness and a deafening din of electro, bystanders climbed the stairs of the grotty sex den and hugged the walls outside cabins furnished with plasticized mattresses as zombielike models wearing vinyl stiletto-heeled thigh boots, arm slings, trusses and bandages and cloaks printed with slogans like Dead Inside wandered past and slumped up against them.
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In (caused by the vapor) semidarkness they lay on wooden benches around hot stones whereon regular water was sprinkled. Masseuses or family members could massage the back, arms and legs. People lashed themselves with branches causing them to sweat and they rubbed themselves with soap and ashes. The barber was available to cut hair and beards.
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These conventions bring together enthusiasts who dress up as anthropomorphic furry animals, using flashy costumes, handmade or bought from specialized fabricators. The latent eroticism in this inclination is often highlighted in Corte’s works. Intericon is a phenomenon which, while inspired by Maskon and Anthrocon, is the creation of Corte. The works of the Intericon series – portmanteau of the words “interiors” and “convention” – show groups of people with a shared passion for dressing up as objects and interior furnishings, satisfying their erotic penchants in complete immobility and semidarkness within apartments designated for the purpose.
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After Noriko confesses to her father that she found the thought of his own remarriage "distasteful," she looks over to discover that he is already asleep, or seems to be. She looks up towards the ceiling and appears to smile. There follows a six-second medium shot, in the semidarkness, of a vase on the floor in the same room, in front of a shōji screen through which the shadows of leafy branches can be seen. There is a cut back to Noriko, now looking sad and pensive, almost in tears.
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Judith is the only historical figure who can be identified with certainty among the Black Paintings. Judith and Holofernes' palette consists of blacks, ochres and red applied with very free, broad and energetic brushstrokes. The lighting is both focused and highly theatrical, and seems to imply a night scene lit by a torch, which illuminates Judith's face and outstretched arm and leaves in semidarkness the face of the old serving woman whose darkened outline is shown in prayer. Significantly, neither Holofernes nor the blood streaming from his neck is shown, as is typical of most artistic renderings.
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