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1
Lynch, Dianne. „Rehearsing the real : children's identity development in virtual spaces“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100647.
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Children who have grown up with the Internet as a dominant form of cultural production bring to their identity development a complex and unique set of expectations and assumptions about identity fluidity and presentation. In addition, these "cyberchildren" are spending much of their social-interaction time in environments populated and controlled by adults, and yet beyond the purview or authority of the adults in their "real" lives. Understanding the nature of their identity development in virtual spaces and its implications for their real-world behaviors offers new opportunities for interventions that more effectively empower children to navigate and negotiate their experiences in relationship with online audiences. The study proposes that Goffman's dramaturgical metaphor can be productively applied to cyberspace, where children are rehearsing their identity performances in backstage, virtual environments; transferring their most salient and valuable identities to middle-stage spaces in real life, where they are performed for their peers and friends; and finally adopting them for presentation in front-stage, public spheres. The work draws on sociological interaction, dramaturgical analysis, information flow theory, and cyberstudies theory to propose a new theoretical framework. Its mixed-methodology approach incorporates a quantitative online survey, including benchmark questions drawn from three national surveys, and open-ended questions analyzed through qualitative methodologies. Taken together, the results confirmed the author's hypotheses that: (1) Cyberchildren have access to adult information and situations; (2) Traditional interventions to protect children in cyberspace are largely ineffective; (3) Cyberchildren maintain distinct online and real-life identities; and (4) Cyberchildren perceive of their virtual identities as valuable and salient.
2
Moss, Bruce Burbank. „Differential approaches to rehearsing and conducting an instrumental ensemble“. Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225994055.
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3
Willcuts, Bradley. „Devising, Revising and Rehearsing in a 30 Year War“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3865.
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Abstract
DEVISING, REFINING, AND REHEARSAL IN A 30 YEAR WAR
By Bradley Harris Willcuts, M.F.A.
A thesis submitted in partial fulfillment of the requirements for the degree of Masters of
Fine Arts at Virginia Commonwealth University.
Virginia Commonwealth University, 2015
Thesis Chair: David Leong
Devising, Refining and Rehearsing in a 30 Year War is an account of the process
of developing movement and choreography for the production of Mother Courage and
her Children at Arena Stage in Washington D.C. It was my largest project during the
two years I spent at Virginia Commonwealth University studying an MFA. The title
reflects the chronological process that my mentor, director, and colleague David Leong
and I went through to produce the work that earned a Helen Hayes Nomination for
Outstanding Choreography in a Play. The show starred Kathleen Turner and was
directed by acclaimed artistic director of the Arena Stage, Molly Smith. The demands of
the work not only had serious responsibilities, but they also asked for a higher caliber of
iv
work than I had ever been a part of before. It proved to be the single most influential
theatrical experience of my career.
The movement work needed to be approached with great research and merit
due to the highly stylized nature of the project and the national acclaim for it’s opening.
This thesis documents that process and the successful outcome of the work which
David Leong and I spent over 8 months on.
4
Mottin, Monica. „Rehearsing for life : theatre for social change in Kathmandu, Nepal“. Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/28933/.
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The objective in this research is to examine the production and performance of theatrical activities aiming at bringing about social change in both development and political intervention. My investigation began with Aarohan Theatre Group, a Kathmandu-based professional company and subsequently extended to Maoist cultural troupes. I have taken a critical perspective considering theatre as a mode of socio-cultural practice embedded in the wider socio-political reality. Thus, I present an account of what it means to do theatre and live by theatre in contemporary Nepal, from 2005 to 2006, through the artists' perspective. Co-performance, that is participation in some performances, complemented participant observation as a methodology. Theatre provides an outstanding context for both social reflection and symbolic action. In a manner similar to ritual, theatrical performances can become deliberate means for both constructing and de-constructing power and symbolically legitimizing or de-legitimizing authority. In Nepal, modern artistic and political theatre developed side by side. First, an historical overview of its development will set the scene for understanding the role played by theatrical performances in the years 2005-2006. In fact, during my fieldwork, history repeated itself. The restrictions on civil rights imposed by the king through the 2005 Emergency affected both street and proscenium theatre activities. Subsequently, ethnographic descriptions will illustrate the theatrical apparatus that the king employed to legitimize his power and how autocracy was similarly resisted and fought against in the streets through theatrical forms of protest and street theatre, loktantrik natak. I will then narrow my focus to a specific form of participatory street performance, kachahari natak, to describe how it was adopted and adapted in Nepal and how the theatre group developed as an organization. In conclusion, 1 will draw comparisons between different forms of 'theatre for social change', kachahari natak, loktantrik natak and Maoist cultural programmes.
5
Relf, Jan. „Rehearsing the future : utopia and dystopia in women's writing, 1960-1990“. Thesis, University of Exeter, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303370.
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Bergman, Blix Stina. „Rehearsing Emotions : The Process of Creating a Role for the Stage“. Doctoral thesis, Stockholms universitet, Sociologiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-41021.
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This thesis takes as its starting point the dramaturgical metaphor of the world as a stage, which is used in sociological role theories. These theories often presume what stage acting is about in order to use it as a simile for every day acting. My intention is to investigate how stage actors actually work with their roles, in particular how they work with emotions, and how it affects their private emotions. The thesis draws on participant observation and interviews with actors during the rehearsal phase of two productions at a large theatre in Sweden. The results show that the inhabiting of a role for the stage is more difficult and painstaking than has been assumed in role theories so far. Shame and insecurity are common, particularly in the start up phase of the rehearsals. Interestingly, these emotions do not disappear with growing experience, but instead become recognized and accepted as part of the work process. The primary focus is the interplay between the actors' experience and expression of emotions, often described in terms of surface and deep acting, concepts which are elaborated and put into a process perspective. Analysis of the rehearsal process revealed that actors gradually decouple the privately derived emotional experiences that they use to find their way into their characters from the emotions that they express on the stage. Thus private experiences are converted to professional emotional experiences and expressions, triggered by situational cues. When the experience has been expressed the physical manifestation can be repeated with a weaker base in a simultaneous experience, since the body remembers the expression. It is important though, that the emotional expression is not completely decoupled from a concomitant experience; then the expression looses its vitality. The ability to professionalize emotions makes the transitions in and out of emotions less strenuous but can infiltrate and cause problems in the actors' intimate relations.
7
Paz, Moscoso Valeria. „Roberto Valcárcel : renaming repression and rehearsing liberation in contemporary Bolivian art“. Thesis, University of Essex, 2016. http://repository.essex.ac.uk/17659/.
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This study analyses the invisible forms of repression in the Bolivian art system by interpreting Roberto Valcárcel’s artwork in the light of Herbert Marcuse’s ideas on repression and liberation as expounded in Eros and Civilization. It considers, on the one hand, Valcárcel’s artwork in relation to the liberating role that Marcuse attributes to art (via phantasy, polymorphous eroticism, and Orphic paradigm). On the other hand, it explores the strategies devised by Valcárcel against repression, such as self-promotion, multiple texts, play, humour and unmasking certain repressive truths. The reading of Valcárcel’s work via Marcuse is supported by archival research from contemporary newspapers, exhibition documentation and Bolivian art history, which provide relevant information about the sorts of latent repression to which Valcárcel’s artworks responds. The dissertation is organised in five chapters in which examples of repressive beliefs are unveiled. Chapter One examines El Movimiento Erótico (The Erotic Movement, 1983) and the manifold strategies used by Valcárcel to escape the traps of a presumed type of sexual liberation (sexist and genital oriented) and capitalism’s culture industry. Chapter Two discusses artworks where the intentional construction of open meaning challenges the norm of a univocal creation and consumption of art. Chapter Three studies some of Valcárcel’s humorous identities in contrast with the dramatic, and overly serious self-perception of Bolivians artists. Chapter Four explores Valcárcel’s use of play, black humour and deceit as effective devices to escape hidden authoritarianism in society during dictatorial regimes. Chapter Five analyses how Valcárcel’s work unveils the latent repression in the idealisation of indigenous heritage through play and anti-thesis. The dissertation introduces a new topic into the study of art in Bolivia – veiled repression – at the same time that it sheds light on the potential of the artwork of Roberto Valcárcel to open new ways of historicizing and thinking about art in Bolivia.
8
Downing, Brendan J. „Rehearsing for Their Revolution: A Portraiture of Rural Appalachian Young Adolescent Conscientization and Liberation“. Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1565829713271047.
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Jeffs, Kathleen. „Golden Age Page to Stratford Stage : Rehearsing and Performing the Royal Shakespeare Company's Spanish Season“. Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504042.
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Mietola, Matti. „Practicing is listening : practicing viola with the help of self-recording“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2239.
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In this thesis I have examined the benefits of working with a help of self-recording. I wanted to experiment self-monitoring with different working methods to improve my practicing skills as well my performing skills as I prepared for my examination concert. This process consisted of a lot of recording, listening and practicing and repeating this cycle numerous times. I wanted to implement different practice methods and reflect on different aspects of playing the viola. This thesis is written from a violist point of view. The main focus of this work is audio recording as a tool in self-monitoring practice. I have been using two main methods in reviewing the audio material gathered from practice sessions: 1) time between recording and reviewing the material and 2) recording, analyzing and practicing in line with the recordings within a practice session. I wanted to take self-recording process into more regular use because I see it as an essential part of the self-teaching process. A music student has to go through a lot of practicing hours and most of these are spent alone in a practice room. Some of this time is wasted and misused in learning unwanted habits. I wanted to learn to practice in the most deliberate way and use my practice hours as effectively as possible by structuring my practice in self-teaching phases and putting the emphasis on self-monitoring.CONCERT REPERTOAR
C. Stamitz: Viola Concerto in D Major, Op. 1*
Allegro
I. Stravinsky: Elegie
R. Schumann: Märchenbilder, Op. 113**
I. Nicht Schnell
II. Lebhaft
III. Rasch
IV. Langsam, mit melancholischen Ausdrück
B. Bartok: Concerto for Viola and Orchester, Sz. 120, BB 128*
I. Moderato
Pianist:
*= Erik Lanninger
**= Eeva Tapanen
11
Almond, Clare Louise. „Rehearsing modern tragedy : a Benjaminian interpretation of drama and the dramatic in Samuel Taylor Coleridge's writings“. Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2540.
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This thesis offers a reappraisal of Samuel Taylor Coleridge’s dramatic theory and writing. Although critical interest in Coleridge’s dramatic work is relatively small in comparison to other areas, it is increasing. A central aim of the thesis is to add to this field of criticism by suggesting a greater significance of the dramatic in Coleridge’s oeuvre. This is an area of Coleridge’s work that can be illuminated by way of its interpretation using Walter Benjamin’s reassessment of dramatic genres in The Origin of German Tragic Drama. A key assumption of the thesis is that Coleridge’s dramatic work extends beyond the parameters of his activity as a playwright. It therefore positions key moments of his critical theory and poetic writing as dramatic. In viewing selected works in this way, a greater coincidence between Coleridge and Benjamin’s work emerges most significantly through their shared themes of truthful representation and correct interpretation. A short introduction highlights common themes between Coleridge and Benjamin and proposes a view of the two writers that follows Benjamin’s concept of the ‘constellation’. Chapter One draws together key critical interest in Romantic drama. It also aims to connect Coleridge’s dramatic theory and works with key themes in On German Tragic Drama. Chapter Two explores Coleridge’s dramatic theory in his Lectures before 1812 and offers a reading of the ‘Critique of Bertram’ that seeks to reassert the importance of this piece. Chapter Three aims to reveal a dramatic current running through ‘The Eolian Harp’ and The Rime of the Ancient Mariner. The thesis culminates, in Chapter Four, with a reading of Remorse informed by Benjamin’s critical model of the Trauerspiel in The Origin of German Tragic Drama. In conclusion, the thesis offers up aspects of Coleridge’s works that can be termed as dramatic so as to reveal their anticipation of a Benjaminian modernity. In this sense, it proposes that drama should be accorded more significance within Coleridge’s oeuvre as it reveals a better understanding of some of his lesser known material and highlights some of his most original thinking.
12
Simões, Nenita Gouveia. „Rehearsing reality : an interactive docufragmentary exploration of the Theatre of the Oppressed's engagement with the Brazilian Landless Movement (MST)“. Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/5636/.
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This thesis explores the Theatre of the Oppressed's practices at the point of interaction with peasants of Brazil's Landless Movement. It uses the interactive docufragmentary entitled Rehearsing Reality to explore the social and political role of art, and to ask whether particular applications of theatre and film can be used to understand and possibly transform points of view and raise consciousness about contemporary issues in the world. The Theatre of the Oppressed created by Augusto Boal comprises a series of interactive games, exercises and other theatrical methods developed with the purpose of using these drama techniques as a subjective medium contributing both to question and search alternatives for personal and social problems. Amongst its theatrical methods is Forum Theatre, the main practice adopted by Brazil's Landless Movement. This technique breaks with the conventions of the traditional language of theatre. Its main aim is to transform passive audiences into active participants of a theatrical scene. This thesis argues that Forum Theatre is an open medium that offers people the chance to participate democratically in the theatrical space in order to suggest and rehearse new ideas to be applied into their lives. In order to explore how these theatrical experiences work in practice this thesis includes a central element entitled Rehearsing Reality, which is specifically designed to adapt some of the main features from Forum Theatre to film language. Its aim is to activate viewers to interact with the film process. This thesis also explores the historical developments of the Theatre of the Oppressed with major emphasis on Forum Theatre and its practices amongst members of Brazil's Landless Movement living in camps and settlements in the hinterland of Sergipe State, North-East of Brazil. The structure of the thesis is divided into five parts: Chapter One analyses the relevant literature on the subject; Chapter Two provides a reflective account of the filming period; Chapter Three offers an overview of Boal' s life and the development of the Theatre of the Oppressed methods; Chapter Four briefly looks at the history and development of the Brazilian Landless Movement and provides a practical analysis of the experiences of Theatre of the Oppressed amongst the Landless Movement and Chapter Five analyses the creative process of making the docufragmentary Rehearsing Reality. The Conclusion suggests that the social and political aspect of art can significantly contribute to the process of comprehension and transformation of the world.
13
Hlynsson, Baldvin Snær. „Are there benefits to the mistakes? : A comparison between recording jazz music in the studio and a live performance“. Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4154.
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In this thesis, two different ways of music performing will be compared: • Music as recorded in a recording studio • Music performed on stage before an audience. My main focus was to compose music that was complex enough so that the band might face some problems when playing it live but rehearse it well enough to overcome those problems. I started by making “produced” versions of the songs in Ableton, where I recorded every single part with sampled instruments. These versions had the finished arrangements and sounded pretty close to what I wanted to achieve with the band. Then I wrote the sheet music carefully and sent it, along with the recordings, to the band. I made a rehearsing schedule and booked rooms well in advance to minimize the risk of problems later on. I also booked a studio to record the music after the rehearsals and before the concert. In the studio, we first recorded the jazz band and later recorded the string quartet as an overdub. After I had mixed those two recordings together, I listened very carefully to everything that could be improved. Some musicians wanted to overdub their solos afterwards and I overdubbed some solos myself as well. When listening back and going through all the details the days before the concert, I found out what could be improved and made a list of possible improvements for the dress rehearsal. I ended up being more satisfied with the studio recording though than the concert, sound and performance-wise. I had much more control over the sound, which made the end result better to my ears than the concert. Of course, the concert had its pros as well. The concert went very well according to plan thanks to good planning in advance as well as well written-out arrangements and problem-free parts. One of the research questions was if mistakes could possibly benefit the music at the concert.I think mistakes don’t necessarily benefit the music, but the live scenario might sometimes be more exciting since nothing is edited and the players have to find their way back home if they go out of the road. However, the profoundness of a well recorded recording can be very pleasing to listen to as well so both have their strengths and weaknesses. Those two recordings, the one from the studio and the one from the concert are obviously different and in this thesis, the difference between the two will be investigated furthermore.Locomotive - Baldvin Hlynsson
Lost in Translation - Baldvin Hlynsson
Lost but not Least - Baldvin Hlynsson
Milders Mailbox - Baldvin Hlynsson
Psalm - Baldvin Hlynsson
A lullaby for the possessed - Baldvin Hlynsson
Encore: Thank you Maestro - Baldvin Hlynsson
Jazz group:
Tumi Torfason – trumpet
Björgvin Ragnar Hjálmarsson - tenor saxophone
Bjarni Már Ingólfsson - jazz guitar
Baldvin Hlynsson (myself) – piano and synthezisers
Olle Adell - electric bass
Sammy Hsia – drums
Classical group:Sara-Felicia Nyman Stjärnskog – violin I
Emma Alriksson – violin II
Ragnhild Kvist – viola
Hillevi Rasmusson Klingberg - cello
14
Khan, Steven Kamaluddin. „Rehearsing a maroon mythopoetics in mathematics education through consideration of an artefact of mathematics popularization (the pedagogical film All is Number)“. Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43490.
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In this transdisciplinary study I rehearse ideas of communication, discourse, identity, representation, ethics, and responsibility as they relate to mathematics education through critical engagement with the medium of a specific pedagogic film – All is Number – which was produced in the Caribbean and intended for Secondary School and non-specialist audiences. I argue that popularizations of science and mathematics, even as they work to interrupt particular limiting narratives, simultaneously participate in ideological, political moral and aesthetic economies and ecologies in which the discursive enactments of colonial power/knowledge are necessarily implicated and show that mathematics popularization has proselytizing and pedagogic functions.
I consider the film All is Number to be situated with/in the heteroglossia of broader cultural phenomena, viz. the ‘popularization’ of educational consumption, and most specifically, the popularization of mathematics. Specifically, I illustrate how the film constructs an idea of mathematical authority and mathematics that is simultaneously sensitive to concerns in the mathematics education literature about the representation of mathematical practitioners and mathematics yet insensitive to practices of Othering.
I argue that the film is an ethnomathematical artefact representing aspects of a particular culture of mathematics and that the mythopoetic tradition in Curriculum Studies might serve as a useful alloy for ethnomathematical studies. In addition, I contribute towards a language for Caribbean Curriculum Theorizing by arguing that the film and dissertation as anomalous places of learning can be construed as a maroon narrative. I introduce and rehearse the implications of my concept of intervulnerability where rehearsal is taken as being an ethically and epistemologically vigilant mode of dialogical inquiry, a demythologizing critique and recursive elaboration.
15
Huang, Wun-Si, und 黃文熙. „Rehearsing“. Thesis, 2008. http://ndltd.ncl.edu.tw/handle/12000299466843605852.
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Yard, Jaime Dianne. „Rehearsing politics : explorations of North American 'theatre of the oppressed' praxis as embodied pedagogy /“. 2005.
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Thesis (M.A.)--York University, 2005. Graduate Programme in Social Anthropology.Typescript. Includes bibliographical references (leaves 179-188). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11931