Dance.

The article discusses performing arts. The technique of dance criticism lies chiefly in a critic's vocabulary, which often has to be borrowed from other fields. In architecture one can talk in terms of structure, materials, and function, calling Vermont or Indiana limestone, lolly columns, t-beams, or grain elevators by their specific names. Similarly in paint and music. The theater uses architecture, poetry, and music, and for this reason its critical language, while more amplified, is also more vague. The dance critic borrows the idiom of a critic of the fine arts and literature, but even with this combined ammunition he does not find his task easy, primarily because he refers to an event forever past before anyone reads of it, an event largely interesting only to those who saw it.