Dissertationen: „Performing arts“

1

Schindeler, Marda. „Alberta performing arts policy“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ38440.pdf.

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2

Schindeler, Marda, und University of Lethbridge Faculty of Arts and Science. „Alberta performing arts policy“. Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1998, 1998. http://hdl.handle.net/10133/77.

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Alberta's first arts legislation, the Cultural Development Act, was passed in 1946. It was followed by numerous policy initiatives to support the arts, including creation of facilities for training of artists, development of agencies and agreements to deal with arts funding, enactment of regulations to guide arts institutions, and creation of various Departmental structures depending on organizational location of this policy sector. The thesis examines the historical evolution of performing arts policy in Alberta from 1905 to 1997 to identify government activities, shifts in policy-making, and methods of implementation. The study utilizes Paul Sabatier's advocacy coalition approach, which treats public policy as determined by the dynamics of the advocacy coalition within a policy sector and the manner in which external factors and system parameters steer policy development. This study concludes that Alberta performing arts policy has largely developed within the context of meta public policies emphasizing economic development and provincial statebuilding.
iii, 97 leaves : ill. ; 28 cm.

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3

Human, Martie. „Encore - performing arts centre“. Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11212003-110815.

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4

Buttolph, K., Cynthia R. Chambers, J. Gaines und T. Wynn. „Power of Performing Arts (POP Arts): An Inclusive Performing Arts Program for Individuals with and without Disabilities“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3876.

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5

Bernardi, Nicholas J. „Vitality of the performing arts“. This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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6

Chambers, Cynthia R. „The Power of Performing Arts—inclusion in the Arts“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3873.

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7

Ngan, Chiu-long Sunny, und 顔昭朗. „Performing arts centre at Quarry Bay“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986729.

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8

Choa, Gillian Ann, und 蔡敏志. „The performing arts' concern: the alternativeleader“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45007913.

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9

Guo, Ying Ping. „Folded Intersection: a performing arts center“. Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9606.

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This project proposes a performing arts center in Chattanooga, Tennessee, a 170-year old industrial city. As part of the city revitalization, the design seeks to build up a "stage", and create a piece of edge at the city's northern boundary. Two folded bands, one made of skeletal steel and surfaced with copper connecting the river and the mountainous landscape beyond with the city, the other made of reinforced concrete folded to form a spatial intersection housing a series of activities: performing, spectating, and exhibiting. A curved metal screened circulation wall opens at the bottom to allow the copper band to pass as an entrance into the lobby to develop its folded intersection. Through it, an industrial stack in the middle of the site is isolated from busy city, and anchored with the building as a monument. Along the west side, an additional element characterized as the education box hovers over the ground, with unobstructed views of the river and the old steel bridge on one end, and the green hill on the other.
Master of Architecture

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10

Mugira, Fredrick. „PERFORMING ARTS FOR HIV/AIDS COMMUNICATION“. Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21060.

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Basing on drama theory, social learning theory and activation theory of information exposure among others, this thesis set out to explore the effectiveness of live drama as a communication tool for raising young people’s awareness about HIV/AIDS and to draw conclusions in terms of strength and weakness. This thesis used a case study of DramAidE organization in KwaZulu Natal province of South Africa which has since 1992 been using participatory drama and other interactive educational methodologies to control the spread of the HIV/AIDS epidemic in especially KwaZulu Natal province which has the highest HIV prevalence rate in the country. Data collection methods ranging from in-depth interviews, focus group discussions, E-mail interviews, real life case studies, direct observations to desk reviews were employed to collect data. The findings depicted live drama as a creative, interactive and fun way to raise young people’s awareness about HIV/AIDS. It was found out that Live Drama is participatory, uses both word and emotion and combines entertainment to educate and communicate highly sensitive information. This makes it an ideal communication tool that easily attracts the young people’s attention, helps them to personalize the risk of HIV/AIDS and participate in finding their solutions to this problem. On the other hand, it was discovered that though live drama is highly effective in raising young people’s awareness about HIV/AIDS, it is disadvantageous because its performance might be limited due to the facilities, bad weather and the environment. Development of drama and preparation of performance takes long time, it is expensive to buy costumes and live drama might cause the audience to try to practice some of the bad ideas they watch.

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11

Ngan, Chiu-long Sunny. „Performing arts centre at Quarry Bay“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949159.

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12

Chambers, Cynthia R. „Performing Together through Inclusive Arts Programming“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3869.

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13

Richards, Alison 1951. „Bodies of meaning : issues of field and habitus in contemporary Australasian theatrical performance practice“. Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7815.

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14

Langenbach, William Ray. „Performing the Singapore state 1988-1995“. View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041027.174118/index.html.

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15

Chinnery, Michael. „Creating a Christian based performing arts company“. FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2341.

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The art of song, dance, poetry and theatre have been implemented into today's church programs. Most church organizations have little knowledge of what producing a successful event requires. Knowing the correct market research tactics, securing proper facilities, budgeting or booking the artist, are some of the elements needed in producing a high quality event. A business plan and study of the arts program within church organizations were the methodologies used in this study. Surveys and interviews were used to collect data from church members. The goal of Living Waters Performing Arts Incorporated is to educate, empower, and build society through the arts and faith principles with the knowledge of performing arts production. By implementing the different elements that contribute to the success of an event, Living Waters Performing Arts Incorporated will produce high quality productions.

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Choa, Gillian Ann. „The performing arts' concern : the alternative leader /“. View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39873584.

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17

Strain-Bell, Sheila L. „Organizational conflict : in a performing arts organization“. Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/77674.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1985.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 161-165.
by Sheila L. Strain-Bell.
M.C.P.

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18

Arthurs, Katherine E. „St. Martin's Episcopal School Performing Arts Department“. ScholarWorks@UNO, 2000. http://scholarworks.uno.edu/aa_rpts/35.

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St. Martin's Episcopal School is located in Metairie on an 18-acre campus, bordered by Airline Drive, West Metairie, Green Acres and Haring Roads. This organization is a PreK-12, nonprofit, independent school.

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19

Mintz, Charlotte. „Vilar Performing Arts Center: An Internship Report“. ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/aa_rpts/126.

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The following report documents Charlotte Mintz’s internship from January to April of 2011 at the Vilar Performing Arts Center in Beaver Creek, CO. The Vilar Performing Arts center has presented a fine array of performing arts in a mountain ski resort for the past 13 years. The Vilar Performing Arts Center offers a state of the art venue for residents and visitors to the Vail Valley to visit and see performances including plays, concerts, ballets, operas, and other various family entertainment options. This report analyzes the best practices of the Vilar along with areas with room for improvement.

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20

Pribish, Robert E. „A performing arts center on the Potomac“. Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53270.

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The nature of Architecture, as it could exist at the edge of a river, was investigated through the design of a Center for Performing Arts located on the design of a Center for Performing Arts located on the Potomac River. Site analysis, functional requirements and structural feasibility were among the considerations utilized in arriving at the proposed design. The Center is comprised of three theaters, restaurants, a marina, administration offices, guest suites, and their ancillary spaces. Six stair towers support a thick wall which is situated at the river’s edge. Stage areas for the theatres were located within the wall between pairs of towers, with seating on one side of the wall and backstage areas on the other. A serpentine “riverwalk” connects the towers and four plazas, encouraging public use of the river’s edge. Parking is provided by a crescent-shaped garage which also serves as a buffer to the adjacent expressway traffic.
Master of Architecture

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21

Dontsa, Luvuyo. „Contemporary political performing arts in South Africa“. Thesis, SOAS, University of London, 1990. http://eprints.soas.ac.uk/29483/.

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Despite the fact that 'transculturation' between Africans and Europeans in South Africa has been going on for more than two centuries, African contemporary political performing arts continually reflect indigenous performing arts' genres of the pre-colonial era. Although a contemporary political performing artist does not play exactly the same role that is played by the traditional artist, who 'criticises the chiefs for perverting the laws and the customs of the nation and laments their abuse of power and neglect of their responsibilities and obligations to the people' (Mafeje, 1967: 195), he still represents the public: in this case a much wider public, and expresses the views which are shared by Africans throughout the whole country. The thesis surveys the political roles of contemporary African performing arts in South Africa. It demonstrates how performing arts have been systematically used as a mechanism to 'step in arenas' where one would dare not with political vehicle, and conveying political messages to promote the struggle for national liberation. The work shows the unique manner in which political performing arts are implemented, and to what degree they have succeeded. It also reveals an element of fear among both Africans and Europeans as being an overt manifestation of the national struggle by the Africans, which has resulted in harassments and detentions of the former, and the loss of privileges to the latter. Lastly, it reflects frustration among the Africans, as their endeavours for national liberation are thwarted. The research has covered the techniques employed by the performing artists to convey political messages. It also assesses the relationship between the traditional and the avant-garde (non-conventional) performing arts, and evaluates the reasons for the change in tactics. Reactions of resentment to change in cultural and social life are discussed; how the Government has ruthlessly responded to such addresses; and how people have reacted to harsh response from the Government. The work also reveals how performing arts have appealed for international attention to address the South African situation, and how international artists have used an international forum to highlight the South African situation. Lastly, the work analyses South African contemporary political performing arts in worldwide context.

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22

Fabbri, Rita <1992&gt. „Performing arts between Deaf and hearing world“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10067.

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23

Fine, Jenny. „Performing Tenderness“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276799884.

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24

Reynoso, Humberto. „Performing Binaries“. CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/252.

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I take a critical view of sociopolitical and cultural issues dealing with homoeroticism andgay politics. I explore gender theories in order to further understand what it means to bemasculine or feminine and how it affects my placement in society. I use art as a tool forexpressing sexual freedom while questioning traditional sexual identity. I'm interested in exploring ideas of the oppressor and the oppressed, and how power becomes an inevitable force (in every society) that creates a hierarchy, consequently establishing control. But what is power? According to various definitions, power is an entity that possesses and or exercises authority or influence. I want to focus on this idea of exercising authority, which one can argue we need, but why? To prevent chaos or is it to control a society? What about exercising influence? Do we need an influence exercised upon us? Or does that make us subjected to another person's subjective point of views? These are questions that I directly or indirectly ask with my work in relationship to gender, gender roles, and sexual orientation. I am interested in Judith Butler's theory in performing gender, and how in performing gender, one assumes social hierarchy of power depending on what gender we are performing. If I am a man performing as a man then I am treated differently by society than if I am a woman performing as a woman. But what happens if I am a man performing as a man who prefers men as lovers, or a woman who prefers other woman as lovers? In what context is this situation accepted by our society? And is it different for men and women? And why? What does it mean to be a man? What does it mean to be a woman, within the context of performance? Then taking it a step further and argue that we are all performing subjective ideas constructed by social norms.

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25

Barrios, Oswaldo A. „School of performing arts in Georgetown, Washington, DC“. Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53281.

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26

Chambers, Cynthia R., und K. Buttolf. „Building Skills, Strengths, and Interests through Performing Arts“. Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3889.

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27

BASTIA, ELENA. „Il marketing management nelle imprese di performing arts“. Doctoral thesis, Università degli Studi di Milano-Bicocca, 2013. http://hdl.handle.net/10281/43853.

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La tesi analizza le applicazioni degli strumenti del marketing nelle imprese di spettacolo dal vivo. Punto di partenza è un’analisi del settore culturale e del settore delle performing arts nello specifico, in riferimento alle caratteristiche peculiari e all’applicabilità del marketing, con i relativi vantaggi. Ad una trattazione approfondita del prodotto spettacolo e della domanda di spettacolo, segue una descrizione delle imprese di spettacolo dal vivo e del loro funzionamento, per poi descrivere il marketing strategico e operativo sviluppato all’interno di queste tipologie di imprese. Viene inoltre dedicata attenzione all’introduzione del Market-Driven Management nelle imprese di spettacolo dal vivo, ancora in fase iniziale ma meritevole di attenzione.

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Ho, Wing-ip. „The performing arts in Hong Kong is venue so critical? /“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B36790254.

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29

Tse, Po-fung Jordon. „LIVE performance informal performance space within the city /“. Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B31985464.

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Thesis (M.Arch.)--University of Hong Kong, 2000.
Includes special report study entitled : Identification of streetscape with performance space & identification of performance space with streetscape. Includes bibliographical references. Also available in print.

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30

Hanson-Broten, Susan. „Making a living in the performing arts, reform in Canadian postsecondary performing arts curriculum : equipping artists with essential career management skills“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/MQ57659.pdf.

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31

Hanson-Broten, Susan (Susan Edith) Carleton University Dissertation Canadian Studies. „Making a living in the performing arts; reform in Canadian postsecondary performing arts curriculum: equipping artists with essential career management skills“. Ottawa, 2000.

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32

Swan, Caitlin. „Arts participation and career preparedness| A pragmatic approach to assessing arts benefits“. Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261142.

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As the political and economic landscape of the United States shifts in coming years, American society’s perception of the arts will likely change as well. Arts advocates must be ready to adapt their arguments for arts’ value to changing societal priorities. This paper summarizes the two leading frameworks for current arts advocacy arguments: extrinsic benefits and intrinsic benefits. The paper then introduces practical benefits, a pragmatic third framework for arts advocacy that focuses on skills gained through the creation of collaborative art that prepare participants for careers in the creative class, as defined by Richard Florida. The paper uses student-run theatre organizations on college campuses as incubators and case studies for these benefits, using original ethnographic research and surveys to develop assessment protocols for these benefits, with the intention of growing their applicability to larger and more varied arts organizations.

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O'Brien, Jonathan. „The arts as a networked ecosystem: Visualising relationships in Brisbane's performing arts sector“. Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/207161/1/Jonathan_O%27Brien_Thesis.pdf.

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This research project explores the potential of network visualisation as a tool for stakeholder communication and academic analysis within the performing arts sector, using three Brisbane-based performing arts companies as case studies. The AusStage database was used alongside each organisation’s archival data to develop network visualisations for the purpose of communication with stakeholders and furthering understandings of industry composition. The study concludes that while network visualisations may require more investment than they generate in return for individual performing arts organisations, the developed methodologies have the potential to generate new industry knowledge within broader professional and academic contexts.

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Hunicutt, Julie. „In The Telling| Theatrical Devising Practice as Performance Pedagogy“. Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.

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A detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.

Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.

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35

Yeagley, Jeremy R. „Commercial music for the classical trumpeter“. Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589665.

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The modern trumpet performer will be called upon to perform many different styles during their career. One of the ways a classical trumpet student can learn to play different styles is through performing in as many ensembles as their school offers and playing solos written in the vein of third stream music. One of these solos is Alfred Reed's Ode for Trumpet. This work allows the performer to experiment with jazz sounds and style without the worry of improvisation. To successfully perform this work one must have a proper sound concept, style, and the ability to tastefully embellish the melody.

The methodologies that will be used in this project report are performance practice, theoretical and analytical, and narratology. The performance practice methodology will be used to describe how to perform a work in the third stream of music. The theoretical and analytical methodology will be used to show why certain embellishments work harmonically and why the piece is considered third stream music. Finally, the short biographies of Alfred Reed and Don Jacoby will fall under the narratology methodology.

The purpose of this project report is to investigate how to properly and successfully perform trumpet works in the third stream genre and how they relate to the needs of the everyday professional trumpet player. It will cover sound concepts, style, and embellishments that will help guide a performer to their own voice in this music. The ability to change tonal colors, swing, and use extended techniques will be required of the player in various musical settings from playing in pops orchestras to Broadway style musicals to playing in a big band. These topics are important for every trumpet player, specifically classical trumpeters, to learn because they will be required to be knowledgeable and have mastered these skills to have success as a professional trumpeter.

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You, Jihee. „The vision of new management in the performing arts /“. Philadelphia, Pa. : Drexel University, 2002. http://dspace.library.drexel.edu/handle/1860/403.

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37

Clemons, Kawachi Ahmon. „A case study of the performing arts production program as a means of inclusive community building within the performing arts management domain“. FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/2387.

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The problem examined in this study involved the lack of inclusiveness within upper level positions in the performing arts production arena. Traditionally, the production domain has centered on a Eurocentric Model where homogeneity is favored. The study was conducted with three major phases in mind. The first was to bring the reader to an awareness of what it means to build an inclusive community. The second included historical data to confirm the industry's bias practices of exclusion of minorities and women. The third and final phase shows the development and implementation of programming which lends itself to diversifying the performing arts production domain. Findings concluded an effectiveness of both the content and process of the Performing Arts Production program as a means of providing opportunities for minorities and women toward attaining a successful management careers in performing arts management. Furthermore, this study illustrated a number of programs and opportunities available for minorities and women who wish to embark upon upper level positions within performing arts production.

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Singleton, Joe. „Ascension: A Fine and Performing Art Scholar Thesis“. Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/17.

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39

Hughes, John Anthony, University of Western Sydney, of Arts Education and Social Sciences College und School of Social Ecology and Lifelong Learning. „Teacher professional development in performing and literary arts education“. THESIS_CAESS_SELL_Hughes_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/393.

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The articles in this portfolio provide an account of research, which for the purposes of this thesis is divided into two broad categories: teacher professional development, and the support of teacher education in literary and performing arts pedagogy. Within this context three issues are addressed. The study can be categorised under research into teacher professional education.Action research and reflective practitioner research methodology were adopted, as this schema is recognised as being highly appropriate to preservice and inservice development of teachers, and to the improvement of teaching approaches and skills especially in the development of new methods of learning.The research has its theoretical foundations in interactive, child-centred theories of education, performance semiotics and psycholinguistic theories of reading. It is also committed to enabling teachers and students to engage creatively and interpretively in the comprehension of artistic texts and the performing arts.
Doctor of Education (Ed.D.)

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40

Chalon, Christopher. „Conflict and citizenship behaviour in Australian performing arts organisations“. University of Western Australia. Faculty of Economics and Commerce, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0096.

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The managers of professional performing arts organisations are faced with a unique dilemma. They must support their artistic personnel, who are typically driven by the quest for new, challenging and experimental works, while achieving the economic success necessary for the continued viability of their organisations. Failing to effectively manage this artistic-economic dichotomy can result in a conflict between artists and managers that threatens the long-term survival of these organisations. There is a clear need, therefore, for arts managers to foster an organisational climate that minimises conflict, while promoting organisational citizenship behaviours (OCBs) such as sportsmanship (a willingness to tolerate less than ideal circumstances without complaining) and courtesy (a willingness to show sensitivity towards others and actively avoid creating problems for co-workers). The main aim of the present study was to examine the extent to which factors such as organisational structure, organisational culture and employees motivational orientation influence peoples perceptions of their job scope (as indicated by high levels of task variety, task identity, task significance, autonomy and feedback from the job), a construct which has been found to reduce organisational conflict and increase employees propensity to display OCBs. While these relationships have been suggested in previous research, they have not been tested in a performing arts industry context. The data analysed in the present study suggested an enjoyment motivational orientation, a challenge motivational orientation, an organic culture and formalisation positively influenced perceptions of job scope, which, in turn, positively influenced both OCBs (sportsmanship and courtesy). A challenge orientation also had a positive impact on sportsmanship, while sportsmanship positively and directly influenced courtesy. Centralisation was negatively related to perceived job scope and sportsmanship, although it had a positive impact on courtesy. Conflict was negatively influenced by formalisation and by an organic culture, but was positively influenced by a hierarchal culture.

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41

Hughes, John Anthony Bell John. „Teacher professional development in performing and literary arts education /“. View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030407.120141/index.html.

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Thesis (Ed.D.) -- University of Western Sydney, 2002.
"A portfolio submitted in fulfilment of the requirements for the award of the degree of Doctor of Education from University of Western Sydney, Nepean" Bibliography : leaves xii-xv.

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42

何永業 und Wing-ip Ho. „The performing arts in Hong Kong: is venue socritical?“ Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B36790254.

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43

Tsai, Shangrong. „Living heritage : intangible heritage in performing arts in Taiwan“. Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5073/.

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Intangible heritage is a growing concept of emphasis in international communities. This study will define intangible heritage and focus on the performing arts in Taiwan. Inasmuch as Taiwanese Opera and Hand Puppetry are two of the most significant manifestations among others, research methods of qualitative interviews and non-participant observations will be used to gain an insight into their practices through investigating certain practitioners. This study will in particular explore organisational management and training approaches that ensure their artistry and skills are transmitted, contributing to the dissemination of intangible heritage. Furthermore, this study will inspect how the competent authorities determine the designation and registration of intangible heritage. Governmental schemes and their implementation for the safeguarding intangible heritage will be thoroughly examined, revealing the integrity and effectiveness of administrative systems, especially as the competent authorities are confronted by certain problems in the interpretation of intangible heritage, interaction with practitioners and controversy. These are inter-related, inter-influencing, and restrictive. In responding to these existing predicaments, coping strategies will be proposed as research outcomes.

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Lipsey, Georgina. „Where land meets water: the Alexandria Performing Arts Center“. Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/53083.

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The fundamental premise for this project was the desire to explore one of my fascinations with "movement" of space and “movement” of structure. This was somewhat a reaction to “static” boxed structures which have pervaded our eastern cities for the last few decades, and moreover, a want to inspire life into a fixed object. The work presented was a process of discovery, the most enlightening being that of "contrast". It became the key to achieve meaning My original intentions combined with changes experienced over time have resulted in a building, but better, in a transformation and another new place from which to begin.
Master of Architecture

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Danieli, Giorgia <1989&gt. „Web e performing arts: la comunicazione digitale nei teatri“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4582.

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Il tema della web communication per le organizzazioni che si occupano di performing arts rappresenta un’interessante opportunità di studio in quanto, nonostante i numerosi vantaggi e benefici ampiamente descritti in letteratura, l’evidenza empirica ne mostra un utilizzo limitato, soprattutto nel caso di organizzazioni di piccola dimensione. Alla luce di queste considerazioni, la tesi si propone quindi di indagare le ragioni delle scelte in materia di comunicazione web dei teatri e spazi teatrali di piccola e media dimensione ubicati in Veneto e di evidenziare best practice utilizzabili anche da altre organizzazioni per rendere più efficace la promozione sul web della propria offerta.

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Le, Thi Kieu Huong. „Performing Arts Management in a Climate of Adjustment: Case Studies from Vietnam and Australia“. School of Policy and Practice, Faculty of Education and Social Work, University of Sydney, 2005. http://hdl.handle.net/2123/1115.

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Doctor of Philosophy(PhD)
This thesis investigates performing arts administration and management in the current economic and social environment in Vietnam and Australia within a context of globalisation. A comparative study of two major arts organisations in both Vietnam and Australia was carried out to investigate the following: why and how performing arts organisations are adapting to the changing environment; how arts leaders are adapting to changes; and whether arts managers need specific arts management training. The suitability of pertinent training packages and tertiary arts management courses from an Australian perspective are examined to determine whether these could be adapted for arts administration training in Vietnam. A qualitative case study approach was employed, using judgemental sampling. Two case studies were in Vietnam (the Vietnam National Symphony Orchestra and the Hanoi Youth Theatre), and two in Australia (the Sydney Symphony Orchestra and the Melbourne Theatre Company). Some arts administrators involved with managing these performing arts organisations were interviewed in-depth, and relevant documents, regulations and policies in the arts field were also analysed to lay a foundation for comprehending the operation and management of performing arts organisations in both countries, at a time of change. Findings indicate that globalisation and particularly economic changes are major pressures that are pushing arts organisations to adapt. Furthermore, in the context of the knowledge economy, credentials have become increasingly important for arts leaders to obtain their positions, while in order to be successful in their positions, practical experience, innovation and an entrepreneurial mindset proved to be even more essential. It is suggested that some pertinent arts management training courses in Australia could, if adapted, contribute to enhancing arts management and the entertainment industry in Vietnam, as well as providing mutual benefit to both Vietnam and Australia.

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Fisk, Jennifer N. „Performing Boundaries: An Expansion of the One to One Performance Framework“. Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1368184817.

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Paley, Sky Matthew Riel. „Theatrical Spaces as Platforms for Resistance and Revolt| The History of St. Croix and Its Present-Day Predicament through the Lens of the Play Antiman“. Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784929.

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This thesis explores the ways in which Caucasian theatre makers can become more effective educators and directors in diverse student populations. By drawing attention to their “whiteness” and overcoming the fear of being implicated in the subjugation of these student populations, Caucasian theatre makers can instead embrace this implication and thereby transform classrooms and theatrical spaces from static appreciations of sovereignty and beauty, into platforms for resistance and revolt. In this thesis, I interrogate my own process in the direction of my multi-actor, undergraduate student production that was borne of the journey of the creation of my solo play entitled ANTIMAN. In this play, I implicate my family and our own racism and naiveté and the many challenges I faced in telling a story that explores such controversial subject matters as racism, antiblackness, colonialism, colonization, and settler-indigenous relations from my own white, male, heterosexual orientation. It is my hope that through this examination of both my failures and successes in this process of creating and directing ANTIMAN, in concert with the history of St. Croix, that I will articulate the present-day predicament of St. Croix in a manner that creates a space for discourse, resistance, and change.

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Hattingh, Mareli. „Kontemporêre woordkuns as teatergenre : 'n ondersoek na die aard van die vorm van die werke van enkele Stellenbosche woordkunstenaars /“. Link to the online version, 2005. http://hdl.handle.net/10019/1675.

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Vargas, Cervantes Susana. „Alarma!: mujercitos performing gender in a pigmentocratic sociocultural system“. Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119469.

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This research project examines the photographs of mujercitos and hombrecitas in the exemplary Mexican nota roja periodical Alarma!, from 1963 to 1986. The photographs of mujercitos, "effeminate men" and hombrecitas, "masculine type women" (as defined by Alarma!) are not what one expects from a nota roja periodical. Nota roja is a particular news genre for the narration of violence characterized by its gruesome and cruel photographic content. Within these photographs, mujercitos and hombrecitas are shown posing and taking the center stage of the camera for 23 consecutive years. Through an analysis of how the photographs of mujercitos and hombrecitas featured in the nota roja periodical Alarma! inform and participate in the larger national imaginary in relation to peripheral sexualities in Mexico, my dissertation contends that these photographs work as a site of resistance to and a subversion of many different forms of violence in Mexico. Moreover, this analysis reveals a process of subjectivation and subject identification informed as much by class/skin tonalities as by gender/sex. As such, my dissertation maps some of the zones of tension between the main Anglo North American theories of performative gender/sex within the pigmentocratic sociocultural system of Mexico.
Ce projet de recherche s'intéresse aux photographies de mujercitos et de hombrecitas dans le fameux périodique nota roja mexicain, Alarma!, de 1963 à 1986. Les photographies de mujercitos, « hommes efféminées » et hombrecitas « femmes masculines » (définis comme tel dans Alarma!) sont quelque peu inattendu dans un magazine nota roja. La presse nota roja est spécialisé dans une narration sensationnaliste de la violence et se caractérise par un contenu photographique tape-à-l'œil, très cru et souvent morbide. Pourtant ces sexualités périphériques vont s'y mettre en scène et prendre la pose devant l'objectif et pendant 23 années consécutives. A partir d'une analyse sur la manière dont les photographies de mujercitos et hombrecitas publiées dans le périodique de nota roja, Alarma! rendent comptent et participent du large imaginaire des sexualité périphérique au Mexique, ma dissertation soutient que ces photographies fonctionnent comme lieu de résistance et de subversion face à différentes formes de violence au Mexique. En outre, cette analyse révèle un processus de subjectivation et d´identification du sujet, défini aussi bien à partir de la classe social /tonalité de peau que du genre /sexe. De la sorte, ma dissertation cartographie les zones de tensions entre les principales théories nord-américaines et anglophones de genre /sexe performatif avec le système socio-culture de pigmentocratie au Mexique.

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Dissertationen zum Thema „Performing arts“

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