Dissertations / Theses on the topic 'Choreographers'
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1
Lamia, Louis M. "Video annotation for choreographers on the NB platform." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/105994.
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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2015.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (page 71).
The NB Platform, originally developed to host discussion on class materials, has been adapted to suit the needs of dance choreographers. A Video Annotator was developed, and features requested by choreographers were added to help suit the platform to their needs. The updated annotator was then subjected to user testing to determine more ways in which software can be developed for the dance community and video annotation software can be improved.
by Louis M. Lamia.
M. Eng.
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Pollard, Nicola Jane. "Folding and withholding : writing with and by choreographers." Thesis, Middlesex University, 2007. http://eprints.mdx.ac.uk/11149/.
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The impetus for the present research comes from questions that arose in projects of collaborative writing by the author with British-based choreographers Rosemary Lee, Kim Brandstrup and Rosemary Butcher. In these projects, the three choreographers differently attempted to word elements of their ongoing choreographic enquiries. The conviction was that such writing might participate in a choreographer's current choreographic research, rather than document research that had already unfolded in the creation of a performance work. The present research thus interrogates the philosophical implications of asking a choreographer for an account of how she or he works. With reference to recent studies in critical ethnography and ethics, the research proposes the development of practices of collaborative writing by a choreographer and a researcher-observer alert to the motivated and implicated positions of each. Included as appendix to the thesis is a book co-written with a choreographer and a CD-ROM of published collaborative writing and open interviews with Butcher, Brandstrup and Lee, performance documentation and journals of studio observation. Published instances of writing by other performance makers are additionally drawn into the enquiry as "research companions". Interrogating relations between writing and choreographers' creation processes, the overall research premise thus concerns the development of writing capable of articulating what matters to choreographers. This research addresses those choreographers who have hesitated when asked about how they work, and asks every dance scholar to hesitate before writing on or about dance-making.
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Senaratne, Tharanga Niroshini. "Homology and Heterology Effects in Drosophila: Cohesin and Condensin as Chromosome Choreographers." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493465.
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The organization of interphase nuclei has numerous consequences for gene expression and genome stability in eukaryotes. Here, we present studies of chromosome organization in Drosophila melanogaster over the course of the cell cycle. We report surprising observations suggesting that cohesin, a protein complex essential in mitosis for holding together the products of DNA replication known as sister chromatids, may not be required to keep sister chromatids in close proximity during interphase. These observations raise questions regarding the nature of cohesin-independent connections between chromatids, why the cell might have such connections in addition to those mediated by cohesin proteins, and how cohesin-independent mechanisms might contribute to other inter-chromosomal associations and nuclear organization throughout the cell cycle. A well-known feature of nuclear organization in Drosophila is the somatic pairing of maternal and paternal homologous chromosomes; we find that certain factors contributing to the pairing of homologs, specifically, condensin II and its regulators, also contribute to the organization of sister chromatids, findings which have interesting implications for the nature of pairing. Finally, we examine another type of inter-chromosomal interaction occurring in Drosophila nuclei, which is the nonhomologous clustering of centromeres, and identify candidate genes that regulate this organization. Overall, this work expands current knowledge on both homologous and heterologous inter-chromosomal interactions, and highlights the relationship between chromosome organization in interphase and in mitosis.Medical Sciences
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Kim, Chan Ji Kim Chan Ji. "I. Composer and choreographer a study of collaborative compositional process. II. The lotus flower : ballet music for chamber ensemble and two-channel audio /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013897.
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De, Boer Kyle Dylan. "Queer transgressions : the choreographing of a male homosexual presence with reference to selected choreographers." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1009442.
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Queer Transgressions: The choreographing of a male homosexual presence with reference to selected choreographers explores queer identity and in particular representations of a male homosexual presence in dance. Within the methodological framework of dance studies and queer theory I explore the ―self fashioning‖ of my male homosexual presence in dance. This is achieved by critically deconstructing my choreographic process when making choreography. Therefore this thesis is informed by both academic research and my self-reflexive experience of choreography and dance performance. The deconstruction of my autobiography and choreographic process is discussed with reference to both international and South African queer choreographers. This means that by accounting for my own experiences and approaches toward representing a male homosexual presence in dance, I explore the history and engagements of other queer choreographers also creating such representations. I therefore examine the works of selected choreographers and chart the development of the representation of a male homosexual presence in dance. By exploring the choreographic process of other queer choreographers I identify choreographic tactics that queer choreographers are using when making work. From this point of departure I shift the focus away from international queer choreographers and provide insight into the choreographic processes of South African queer choreographers. By accounting for the works and choreographic processes of South African choreographers, I provide a context in which my choreographic explorations on the subject matter can take place. This choreographic exploration manifests itself through a self-reflexive/autobiographic account on the research and practice of my choreographic process. During my choreographic exploration I set the challenge to both engage with and explore further, established ―queering tactics. This is done with the intention to reveal and create representations of a male homosexual presence in dance.
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Carroll, Jacqui. "Changing lanes : an exploration of the journey from dance through choreography to directing and the spoken word." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35821/1/35821_Digitised%20Thesis.pdf.
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Snyder, Marie Carmen Alonzo. "Contemporary female choreographers of Asian descent : three case studies of an evolving cultural expression in American modern dance /." Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1178958x.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.Includes tables. Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Ann H. Dils. Includes bibliographical references (leaves 237-248).
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Smith, Darion. "Boosting My Creative Process in Choreography: Analyzing Related Work, Integrating Methods of Select Master Choreographers, Creating a Dance." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23800.
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During a ten week period at the University of Oregon I created a sociopolitically based dance work, The Big Red Button. I researched theories about creativity. I researched a selection of master choreographers in order to integrate their methods of creation with my own. Finally, I created a dance piece with students from the University of Oregon which was shared with the public in a live performance. In this document I discuss this exploration into my creative process in dance with the intention of understanding more about it, expending upon what I already posses as a choreographer, and attempting to find out if the creative process can be enriched, resulting in new methods, new products, and new perspectives on creating a dance work.
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McCombe, Christine. "Slave to the Dance? The role and function of music in the work of four contemporary Australian choreographers." Thesis, Victorian College of the Arts, University of Melbourne, 1994. https://eprints.qut.edu.au/172/1/slavetothedance.pdf.
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In this thesis I wish to examine the ways in which several Australian choreographers have explored a variety of possible relationships between music and dance in their work. By examining their work and ideas I will show how they have each individually met the hallenge offered by modern dance by finding new relationships between the two art forms.
I will focus on four Australian choreographers - Helen Herbertson, Don Asker, Beth Shelton and Sue Healey. Although these choreographers represent a fairly small cross section of the world of contemporary dance in Australia, I feel that their work reveals a diversity of approaches. On the basis of personal interviews with the choreographers about their work and an examination of other materials ( videos, program notes. etc.) I will discuss how they, as choreographers, perceive the 'role' of music and how they incorporate it into their work.
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Borsani, Flávia Brassarola [UNESP]. "O revelar da paixão: as relações estabelecidas entre coreógrafo, bailarinos e obra no processo de criação do Pas de Deux de Bachiana n.1." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/86836.
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borsani_fb_me_ia.pdf: 3239776 bytes, checksum: 0169e27d51456120d22ec29ac8130aa9 (MD5)Esse estudo empírico é fruto de questionamentos relacionados aos processos de criação de dança surgidos ao longo de minha trajetória como bailarina, graduanda em Dança e professora, em que tive a oportunidade de participar e observar processos de criação em diferentes gêneros como coreógrafa e bailarina. Esta pesquisa tem como objetivo refletir sobre um processo de criação em dança para compreender como o coreógrafo concebe sua obra e se relaciona com os bailarinos durante sua criação. Para tanto, foi necessário apresentar uma revisão de literatura acerca dos caminhos da história da dança ocidental organizada a partir dos seguintes autores: Bourcier (2001), Portinari (1989), Garaudy (1980), Garcia (2001), Faro (1986) e Fahlbusch (1990). revelando os papéis do bailarino e coreógrafo e as possibilidades de se criar em dança. Desta forma acompanhei o processo de criação e ensaios da obra Bachiana nº 1 do coreógrafo Rodrigo Pederneiras para a São Paulo Companhia de Dança. Como procedimentos, apliquei entrevistas semiestruturadas junto aos participantes da pesquisa (bailarinos e coreógrafo) para refletir sobre esta criação em particular, tendo em vista a relação entre coreógrafo, bailarinos e obra. Neste processo podemos observar que o coreógrafo necessitou organizar suas ideias e se relacionar com os bailarinos a fim de transmiti-las, compartilhando a criação com os mesmos e com sua assistente, para que traduzissem a sua paixão pela música e sensualidade do ato de amor que tanto almejava. Dar tempo foi necessário para que os bailarinos se familiarizassem com o estilo de Rodrigo Pederneiras, até então, só apreciado pelos mesmos e com a temática proposta por ele.
This empirical study is the result of questions related to the process of creating dance that emerged throughout my career as a dancer, teacher and graduate student in Dance, in which I had the opportunity to participate and observe the creation processes in different genres as a choreographer and dancer. This research aimed to meditate about a process of contemporary dance creation to understand how the choreographer conceives his work, transposes ideas and relates to the dancers during its creation. To do that, it was necessary to present a literature review of organized wetern dance ways of the following authors: Bourcier (2001), Portinari (1989), Garaudy (1980), Garcia (2001), Faro (1986) e Fahlbusch (1990). Revealing then the roles of the dancer and choreographer and the possibilities of dancing creation. So I followed the creation process and tests of choreographer Rodrigo Pederneiras’s nº1 performance Bachiana to São Paulo Dance Academy. As procedure, I applied semi-structured interviews with the research participants (dancers and choreographer) to think about this particular creation, by having in mind the relationship among choreographer, dancers and the performance itself. In this process we could observe that the choreographer had to organize his ideas and relate with the dancers in order to communicate them, by sharing the creation with them and his assistant, for them to translate his passion for music and sensuality of love act which he longed for. It was needed to give a break for the dancers to get used to with Rodrigo Pederneiras’s style, which was so far appreciated only by them and with the proposed thematic by him.
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Borsani, Flávia Brassarola 1986. "O revelar da paixão : as relações estabelecidas entre coreógrafo, bailarinos e obra no processo de criação do Pas de Deux de Bachiana n.1 /." São Paulo, 2013. http://hdl.handle.net/11449/86836.
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Orientador: Kathya Maria Ayres de GodoyCoorientador: Alba Pedreira Vieira
Banca: Ana Cristina Echevengua Teixeira
Banca: Nirvana Neves Gottberg
Resumo: Esse estudo empírico é fruto de questionamentos relacionados aos processos de criação de dança surgidos ao longo de minha trajetória como bailarina, graduanda em Dança e professora, em que tive a oportunidade de participar e observar processos de criação em diferentes gêneros como coreógrafa e bailarina. Esta pesquisa tem como objetivo refletir sobre um processo de criação em dança para compreender como o coreógrafo concebe sua obra e se relaciona com os bailarinos durante sua criação. Para tanto, foi necessário apresentar uma revisão de literatura acerca dos caminhos da história da dança ocidental organizada a partir dos seguintes autores: Bourcier (2001), Portinari (1989), Garaudy (1980), Garcia (2001), Faro (1986) e Fahlbusch (1990). revelando os papéis do bailarino e coreógrafo e as possibilidades de se criar em dança. Desta forma acompanhei o processo de criação e ensaios da obra Bachiana nº 1 do coreógrafo Rodrigo Pederneiras para a São Paulo Companhia de Dança. Como procedimentos, apliquei entrevistas semiestruturadas junto aos participantes da pesquisa (bailarinos e coreógrafo) para refletir sobre esta criação em particular, tendo em vista a relação entre coreógrafo, bailarinos e obra. Neste processo podemos observar que o coreógrafo necessitou organizar suas ideias e se relacionar com os bailarinos a fim de transmiti-las, compartilhando a criação com os mesmos e com sua assistente, para que traduzissem a sua paixão pela música e sensualidade do ato de amor que tanto almejava. Dar tempo foi necessário para que os bailarinos se familiarizassem com o estilo de Rodrigo Pederneiras, até então, só apreciado pelos mesmos e com a temática proposta por ele.
Abstract: This empirical study is the result of questions related to the process of creating dance that emerged throughout my career as a dancer, teacher and graduate student in Dance, in which I had the opportunity to participate and observe the creation processes in different genres as a choreographer and dancer. This research aimed to meditate about a process of contemporary dance creation to understand how the choreographer conceives his work, transposes ideas and relates to the dancers during its creation. To do that, it was necessary to present a literature review of organized wetern dance ways of the following authors: Bourcier (2001), Portinari (1989), Garaudy (1980), Garcia (2001), Faro (1986) e Fahlbusch (1990). Revealing then the roles of the dancer and choreographer and the possibilities of dancing creation. So I followed the creation process and tests of choreographer Rodrigo Pederneiras's nº1 performance Bachiana to São Paulo Dance Academy. As procedure, I applied semi-structured interviews with the research participants (dancers and choreographer) to think about this particular creation, by having in mind the relationship among choreographer, dancers and the performance itself. In this process we could observe that the choreographer had to organize his ideas and relate with the dancers in order to communicate them, by sharing the creation with them and his assistant, for them to translate his passion for music and sensuality of love act which he longed for. It was needed to give a break for the dancers to get used to with Rodrigo Pederneiras's style, which was so far appreciated only by them and with the proposed thematic by him.
Mestre
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Schulze, Guilherme Barbosa. "Distributed choreography : a framework to support the design of computer-based artefacts for choreographers with special reference to Brazil." Thesis, University of Surrey, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418266.
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Williams, G. "Disability, the dancer and the dance with specific reference to three choreographers : Caroline Bowditch, Marc Brew and Claire Cunningham." Thesis, Coventry University, 2014. http://curve.coventry.ac.uk/open/items/49662a71-d15a-48a7-a817-7bae88d03a9b/1.
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This thesis offers critical exploration of the intersection of four elements within the historical space, or field, of UK theatre dance between 2007 and 2012: disability, impairment, dance and artistry. It addresses four questions: What is disability? What is disability in relation to dance? What supports the entry of a disabled dance artist into the field of professional dance in the twenty-first century? How can we approach a critical analysis of the works they create? At the centre of the thesis are case studies of three self-described disabled dance artists, performers and choreographers: Caroline Bowditch, Marc Brew, and Claire Cunningham. The studies attend to the form and content of their creative work, the structures of the dance field in which they practice as artists, and their personal and career trajectories. The studies are both situated by and situate earlier chapters addressing constructions of disability, cultural representations of disability and the emerging field of Disability Arts. They demonstrate that disability, in dance as in other fields, concerns attitudes, arrangements and structures that disable participation. These are attitudes fed by imaginings around the ideal dancing body, and the illusion that variations in bodily form and capabilities are neither normal nor to be expected. I draw on Bourdieu’s concepts of habitus and field to consider the interconnections between structures, external and internalised, that support or limit the disabled artist’s perception of what is possible for them within the professional dance field. Using Cameron’s affirmative model of disability, I argue that when disabled dance artists are freed to use their experiences of living in a disabling world, and to make use of the unique capabilities of their bodies as valid sources for their art, they can and do contribute to the capacity of dance as an art form to explore the full depth and range of human experience.
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Truter, Orlando Vincent. "The originating impulses of Ankoku Butoh: towards an understanding of the trans-cultural embodiment of Tatsumi Hijikata's dance of darkness." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1004454.
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From Introduction: Ankoku Butoh is a performing art devised in Japan in the wake of the Second World War by the dancer and choreographer Tatsumi Hijikata (born Akita, 1928; died Tokyo, 1986). A highly aesthetic and subversive performing art, Butoh often evokes "images of decay, of fear and desperation, images of eroticism, ecstasy and stillness." Typically performed with a white layer of paint covering the entire body of the dancer, Butoh is visually characterized by continual transformations between postures, distorted physical and facial expressions, and an emphasis on condensed and visually slow movements. Some of the general characteristics of Butoh performance include "a particular openness to working with the subtle energy in the body; the malleability of time; the power of the grotesque."
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Boluda, Julián Amèlia. "Poètiques coreogràfiques i autors: ballet contemporani de Barcelona (1977 - 1996)." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/669842.
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La tesi analitza l'ample recorregut del Ballet Contemporani de Barcelona, per la seva peculiaritat històrica i pel seu treball continuat de vint anys, a partir de les poètiques coreogràfiques i dels autors que les van dur a terme, pel fet de ser alguns dels pioners en introduir la dansa contemporània com a nou paradigma de les arts escèniques al nostre país. Un dels trets distintius que s'analitzen en aquesta investigació és que va ser al mateix temps una companyia estable i una plataforma de creació coreogràfica, per on van passar alguns dels coreògrafs més rellevants de Catalunya, en la qual no només hi van treballar creadors de dansa sinó també de teatre i de música. L'anàlisi que es realitza comprèn el llarg període creatiu de la companyia i de les seves diverses, heterogènies, compatibles poètiques que li van atorgar personalitat artística. Es focalitza en aquelles creacions que exploren els problemes que es revelen com a urgents en el període de la transició espanyola i que es van metamorfosant al llarg del temps fins a assolir la seva forma més coneguda en l'estabilitat democràtica dels anys noranta. Mostra els desafiaments als que es veu enfrontada la dansa al llarg d'aquest temps, seguint de ben a prop vuit grans i importants creacions del grup, a partir d'un material crític de l'època. També s'hi recullen els temes de major inquietud, compromís i influència i de la sensibilitat coreogràfica per la que va travessar la companyia, amb les poètiques coreogràfiques que revela i que acaben conformant el corpus del Ballet Contemporani de Barcelona, on s'hi deixa veure una notable influència de "l'esperit dels temps". De tots els temes i problemes urgents que persegueixen aquest ampli corpus, se'n destaquen en aquest estudi dos de valor essencial i de reflexió col·lectiva persistent: la dona i la mort. Aquests dos temes inclouen, com no podia ser d’altra manera, la vida, que ve donada per la dona i és contrapunt de la mort. Mitjançant les poètiques dels diferents coreògrafs estudiats es va caracteritzant la importància de la companyia, per l'obertura i la capacitat d'innovar i de comprendre l'interior d'una tradició que s'havia vist ferida en un país que havia viscut dècades de dictadura. Es tracta d'una investigació que posa de relleu les primeres experiències i la personalitat de la dansa contemporània al nostre país. La forma d'aproximació i les seves conclusions, tal i com es realitzen de manera detallada a cada apartat, permeten rastrejar l'osmosi de les obres coreogràfiques per percebre'n la influència estètica i les característiques específiques, així com els trets distintius dels seus autors que entre altres conformen la història de la dansa contemporània del nostre país.The thesis analyses the long trajectory of Ballet Contemporani de Barcelona, for its historical uniqueness and continuous work over the last twenty years, from its poetic choreographies and authors that realised them, and for being one of the pioneers in introducing contemporary dance as a new paradigm of the performing arts in our country. One of the peculiar features discussed in this research is that the group was both a stable company as well as a platform for choreography creation, where some of the most important choreographers of Catalonia spent time, and in which not only worked creators of dance, but also creators of theatre and music. The analysis performed covers the company´s long creative period and its distinct, heterogeneous and complementary poetries, which gave it its artistic personality. It focuses on those creations that explore the problems that are revealed as urgent during the period of the Spanish transition, and that transform over time until they reach their best-known form during the period of democratic stability in the 1990s. It reveals the challenges that confronted dance during that time, mainly following eight large and important productions of the group, based on material which was critical of the tie. Furthermore, it takes up the issues of greatest concern, commitment, influence and choreographic sensibility that impacted the company, like the poetic choreographies that reveal and end up forming the body of Ballet Contemporani de Barcelona, in what seems to be a strong influence of the "spirit of the times". Of all the issues and pressing problems pursued by this broad corpus, two values, which can be deemed essential and a reflection of creative persistence, are highlighted: the woman and death, these two themes include, as It couldn't be in any other way, life, which is given by the woman which counterpoints death. Through the poetries of the various choreographies studied, the importance of the company will be characterised, for its overture and ability to innovate and to understand the depths of a tradition that had been injured in a country that had experienced decades of dictatorship. It is an investigation that highlights the initial experiences and personality of contemporary dance in our country. The approach and findings, in the detailed way that each section is done, let us crawl into the osmosis of the choreographic works, to perceive their influence, beauty and specific features as well as the distinctive features of their authors, who among others, form the history of contemporary dance in our country.
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Ferraz, Fernando Marques Camargo [UNESP]. "O fazer saber das danças afro: investigando matrizes negras em movimento." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/110346.
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000702783.pdf: 6490053 bytes, checksum: 80a140d0dadfed2ce0a6993a0525bd34 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Nesta pesquisa, analisa-se como coreógrafos e intérprete-criadores identificados com a linguagem da dança afro engendram os saberes dessa arte em suas práticas. Busca-se refletir como esse estilo se inscreve na história da dança brasileira por meio da indicação de linhagens artísticas e da reconstrução das trajetórias de seus personagens. Para tanto, compara-se as diversas perspectivas de seus criadores, vistos como interlocutores na construção de um conhecimento crítico sobre a dança afro. São abordadas as tensões entre suas formações artísticas, identidades sociais e posicionamentos no campo da produção cênica. Também procurou-se refletir sobre as negociações em torno dos engajamentos políticos dos artistas, seus vínculos com as tradições religiosas, o debate com a produção cênica contemporânea e as tensões entre os espaços institucionais onde as performances se realizam com intuito de rever estereótipos e identificar mediações responsáveis pela construção dinâmica de seus repertórios e particularidades
In this research, the aim is to examine how choreographers and creators identified with the language of African dance engender the knowledge of this art in their practice. I reflect how this style enroll in the history of Brazilian dance through multiple artistic lineages and the reconstruction of the personal trajectories. Here I compare the different perspectives of their creators seen as partners in building a critical knowledge about the African dance and also analyze the tensions between their artistic formation (training), social identities and positions in the theatrical production field. I also discuss the negotiations over the political engagement of artists, their links with religious traditions, the debate with contemporary theatrical production and tensions between institutional spaces where they perform in order to review stereotypes and identify mediations responsible for a dynamical building of its repertoires and particularities
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Lau, Tin-ming, and 劉天明. "Modern dance choreography in 1990s Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29511471.
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Ferraz, Fernando Marques Camargo. "O fazer saber das danças afro : investigando matrizes negras em movimento /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/110346.
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Orientador: Marianna Francisca Martins MonteiroBanca: Helena Katz
Banca: Renata de Lima Silva
Resumo: Nesta pesquisa, analisa-se como coreógrafos e intérprete-criadores identificados com a linguagem da dança afro engendram os saberes dessa arte em suas práticas. Busca-se refletir como esse estilo se inscreve na história da dança brasileira por meio da indicação de linhagens artísticas e da reconstrução das trajetórias de seus personagens. Para tanto, compara-se as diversas perspectivas de seus criadores, vistos como interlocutores na construção de um conhecimento crítico sobre a dança afro. São abordadas as tensões entre suas formações artísticas, identidades sociais e posicionamentos no campo da produção cênica. Também procurou-se refletir sobre as negociações em torno dos engajamentos políticos dos artistas, seus vínculos com as tradições religiosas, o debate com a produção cênica contemporânea e as tensões entre os espaços institucionais onde as performances se realizam com intuito de rever estereótipos e identificar mediações responsáveis pela construção dinâmica de seus repertórios e particularidades
Abstract: In this research, the aim is to examine how choreographers and creators identified with the language of African dance engender the knowledge of this art in their practice. I reflect how this style enroll in the history of Brazilian dance through multiple artistic lineages and the reconstruction of the personal trajectories. Here I compare the different perspectives of their creators seen as partners in building a critical knowledge about the African dance and also analyze the tensions between their artistic formation (training), social identities and positions in the theatrical production field. I also discuss the negotiations over the political engagement of artists, their links with religious traditions, the debate with contemporary theatrical production and tensions between institutional spaces where they perform in order to review stereotypes and identify mediations responsible for a dynamical building of its repertoires and particularities
Mestre
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Parker, Alan Charles. "Corporeal tales : an investigation into narrative form in contemporary South African dance and choreography." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1007658.
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In the years following the fall of Apartheid in South Africa, dance and choreography have undergone considerable transformation. This investigation stems from one observation relative to this change that has been articulated by two of South Africa's most respected dance critics, Adrienne Sichel and Matthew Krouse. Both critics have noted a growing concern for narrative in South African contemporary choreography, coupled with an apparent propensity for narratives of a distinctly personal and 'autobiographical' nature. In Part One: 'Just after the beginning', the proposed preoccupation with narrative in South African contemporary choreography is discussed in light of the relationship between narrative and the notion of personal identity. The use of the performed narrative as a medium to explore questions about identity is offered as one explanation underpinning this increased proclivity, where the interrogation of the form of the danced narrative provides a site for exploration of personal identity. Part Two: 'Somewhere in the middle' interrogates the notion of form through an in-depth discussion of the experimentation with form within theatrical and antitheatrical dance traditions over the last fifty years. Specific works by three selected South African choreographers (Ginslov, Maqoma and Sabbagha) are discussed in terms of their general approach to narrative form. This provides an illustration of some of the approaches to narrative form emergent in contemporary South African choreographic practices. Part Three: 'Nearing the end' offers Acty Tang's Chaste (2007) as a case study to illustrate the practical application of the dance narrative as a means to interrogate questions relating to personal identity. A detailed analysis of Tang's particular approach to forming the narrative of Chaste is conducted, exposing the intertextual, multimedia and multidisciplinary approach to creating the danced narrative.
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Hocking, Rachel School of Music & Music Education UNSW. "Crafting connections: original music for the dance in Australia, 1960-2000." Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.
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This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.
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DiLodovico, Amanda. "Choreographies of Disablement." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/479157.
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DancePh.D.
Choreographies of Disablement interrogates the historical relationship between dance and disability to recognize and define ‘disablement’ as a choreographic concept within contemporary dance practice. Working from choreographic analysis, interviews, and theories of sovereignty and crip time I argue ‘disablement’ grows out of the historical nexus in which Western concert dance, through the paradigm of ballet, was cultivated: the seventeenth century French political sphere and the prestige of a sovereign balletomane King. The performances of French kings in the burlesque ballet choreographies of 1624-1627 serve as the historical center of this research because disability has a political role to play at the dawn of concert dance in the West. This insight provides the historical perspective from which I locate the development of ‘disablement’ in the seventeenth century and identify its emergence in twenty-first century choreographies. This dissertation uses the historical and political significance of the burlesque ballets as a touchstone to then analyze three contemporary sites of choreography produced between 2004 and 2016. Chapter 3 considers the repertory of German choreographer Raimund Hoghe, a queer disabled artist. I focus attention on his piece Sacre – The Rite of Spring (2004), which draws upon dance’s historical, canonical past. Chapter 4 focuses on Disabled Theater (2012), devised by French choreographer Jérôme Bel in collaboration with the Swiss-based company Theater Hora, a professional theater company comprised of performers with developmental disabilities. The piece is composed of theatrical tasks, including the presentation of self-choreographed dance solos. Chapter 5 centers on the collaborative performance work, A Fierce Kind of Love (2016), comprised of Philadelphia-based disabled and nondisabled performers with choreography by US dance artist Nichole Canuso. Taken together, my analysis of these sites questions the state of disability within the discursive space of dance studies, and in turn positions ‘disablement’ as a historically inflected site of choreographic thinking materializing in contemporary practice.
Temple University--Theses
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Giallorenzo, Saverio <1986>. "Real-World Choreographies." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7512/1/Saverio_Giallorenzo_-_Real-World_Choreographies.pdf.
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Choreographies are a relatively new tool for designing distributed systems from a global viewpoint. Moreover, choreographies are also free from deadlocks and race conditions by design. Recent theoretical results defined proper Endpoint Projection (EPP) functions to compile choreographic specifications into their single components. Since EPPs are behavioural preserving, projected systems also enjoy freedom from deadlocks and races by construction.
Aim of this PhD is to formalise non-trivial features of distributed systems with choreographies and to translate our theoretical results into the practice of implemented systems. To this purpose, we provide two main contributions.
The first contribution tackles one of the most challenging features of distributed development: programming correct and consistent runtime updates of distributed systems. Our solution is a theoretical model of dynamic choreographies that provides a clear definition of which components and behaviours can be updated. We prove that compiled choreographic specifications are correct and consistent after any update. We also refine our theoretical model to provide a finer control over updates. On this refinement, we develop a framework for programming adaptable distributed systems.
The second contribution covers one of the main issues of implementing theoretical results on choreographies: formalising the compilation from choreographies to executable programs. There is a sensible departure between the present choreographic frameworks and their theoretical models because their theories abstract communications with synchronisation on names (a la CCS/π-calculus) yet they compile to Jolie programs, an executable language that uses correlation — a renown technology of Service-Oriented Computing — for message routing. Our solution is a theory of Applied Choreographies (AC) that models correlation-based message passing. We pinpoint the key theoretical problems and formalise the principles that developers should follow to obtain correct implementations. Finally, we prove our approach by defining a correct compiler from AC to the calculus behind the Jolie language.
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Giallorenzo, Saverio <1986>. "Real-World Choreographies." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7512/.
Full textAbstract:
Choreographies are a relatively new tool for designing distributed systems from a global viewpoint. Moreover, choreographies are also free from deadlocks and race conditions by design. Recent theoretical results defined proper Endpoint Projection (EPP) functions to compile choreographic specifications into their single components. Since EPPs are behavioural preserving, projected systems also enjoy freedom from deadlocks and races by construction.
Aim of this PhD is to formalise non-trivial features of distributed systems with choreographies and to translate our theoretical results into the practice of implemented systems. To this purpose, we provide two main contributions.
The first contribution tackles one of the most challenging features of distributed development: programming correct and consistent runtime updates of distributed systems. Our solution is a theoretical model of dynamic choreographies that provides a clear definition of which components and behaviours can be updated. We prove that compiled choreographic specifications are correct and consistent after any update. We also refine our theoretical model to provide a finer control over updates. On this refinement, we develop a framework for programming adaptable distributed systems.
The second contribution covers one of the main issues of implementing theoretical results on choreographies: formalising the compilation from choreographies to executable programs. There is a sensible departure between the present choreographic frameworks and their theoretical models because their theories abstract communications with synchronisation on names (a la CCS/π-calculus) yet they compile to Jolie programs, an executable language that uses correlation — a renown technology of Service-Oriented Computing — for message routing. Our solution is a theory of Applied Choreographies (AC) that models correlation-based message passing. We pinpoint the key theoretical problems and formalise the principles that developers should follow to obtain correct implementations. Finally, we prove our approach by defining a correct compiler from AC to the calculus behind the Jolie language.
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Fossum, Louis Eric. "Danny Daniels: A life of dance and choreography." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2357.
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The career of Danny Daniels was significant for its contribution to dance choreography for the stage and screen, and his development of concept choreography. Danny's dedication to the art of dance, and the integrity of the artistic process was matched by his support and love for the dancers who performed his choreographic works.
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Hasch, Hannah R. "MY YEAR AS A CHOREOGRAPHER." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/201.
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My Year as a Choreographer analyzes the art and craft of dance choreography. My training as a theatre and dance student at East Tennessee State University from 2010-2014, culminated in my final senior capstone experience as a choreographer for two productions, the ETSU Division of Theatre and Dance’s 2014 Dance Concert and University School’s musical, Sleepy Hollow. Composing a new dance in a concert setting and choreographing for musical theatre provided significant material for analysis, and the following research compares the two processes. In addition, the research of the history and development of dance choreography and its modern practices created a better understanding of the artistic field. Both in theory and in practice, I explored the multitude of artistic responsibilities that are imperative to the process of a choreographer.
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Larsen, Ulrik Martin. "The Choreographed Garment." Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3698.
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Contemporary dance and modern ballet often focus on conveying emotions through patterns of movement which may be abstract, obvious, or anywhere in between, as supported by music, sound, or spoken words that set the mood. Scenography is typically sparse or confined to the available space, leaving the dancers as the main instrument of communication. This work explores choreography and costume design, with a focus on how garments can inform and direct movement, choreography, and performance, and in turn how movement may inform and contribute to the development of dynamic garments. Through a series of live experiments, ranging from self-instigated performance/video work in collaboration with choreographers and dancers to performances of garment interaction associated with everyday life, the performative, spatial, and interactive properties of garments are explored. The results of these live experiments relate to various aspects of choreography, scenography, and performance space, and offer wide-ranging creative potential. The work shows how designers and choreographers can collaborate on performance scenarios within the context of modern ballet and contemporary dance productions, thus creating conceptual garments that influence the design, choreography, and manipulation of conceptual garments. In relation to the act of dressing and undressing, previously unseen types of garment and ways of wearing and performing were found. New models of collaborative interaction are proposed. This work has demonstrated how the agency of garments can function as a manuscript in modern dance, and how performance itself redefines the notion of wearing and the concept of garments.
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Lange, Julien. "On the synthesis of choreographies." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/29310.
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The theories based on session types stand out as effective methodologies to specify and verify properties of distributed systems. A key result in the area shows the suitability of choreography languages and session types as a basis for a choreography-driven methodology for distributed software development. The methodology it advocates is as follows: a team of programmers designs a global view of the interactions to be implemented (i.e., a choreography), then the choreography is projected onto each role. Finally, each program implementing one or more roles in the choreography is validated against its corresponding projection(s). This is an ideal methodology but it may not always be possible to design one set of choreographies that will drive the overall development of a distributed system. Indeed, software needs maintenance, specifications may evolve (sometimes also during the development), and issues may arise during the implementation phase. Therefore, there is a need for an alternative approach whereby it is possible to infer a choreography from local behavioural specifications (i.e., session types). We tackle the problem of synthesising choreographies from local behavioural specifications by introducing a type system which assigns – if possible – a choreography to set of session types. We demonstrate the importance of obtaining a choreography from local specifications through two applications. Firstly, we give three algorithms and a methodology to help software designers refine a choreography into a global assertion, i.e., a choreography decorated with logical formulae specifying senders’ obligations and receivers’ requirements. Secondly, we introduce a formal model for distributed systems where each participant advertises its requirements and obligations as behavioural contracts (in the form of session types), and where multiparty sessions are started when a set of contracts allows to synthesise a choreography.
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Decker, Gero. "Design and analysis of process choreographies." Phd thesis, Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2010/4076/.
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With the rise of electronic integration between organizations, the need for a precise specification of interaction behavior increases. Information systems, replacing interaction previously carried out by humans via phone, faxes and emails, require a precise specification for handling all possible situations. Such interaction behavior is described in process choreographies. Choreographies enumerate the roles involved, the allowed interactions, the message contents and the behavioral dependencies between interactions. Choreographies serve as interaction contract and are the starting point for adapting existing business processes and systems or for implementing new software components.
As a thorough analysis and comparison of choreography modeling languages is missing in the literature, this thesis introduces a requirements framework for choreography languages and uses it for comparing current choreography languages. Language proposals for overcoming the limitations are given for choreography modeling on the conceptual and on the technical level.
Using an interconnection modeling style, behavioral dependencies are defined on a per-role basis and different roles are interconnected using message flow. This thesis reveals a number of modeling "anti-patterns" for interconnection modeling, motivating further investigations on choreography languages following the interaction modeling style. Here, interactions are seen as atomic building blocks and the behavioral dependencies between them are defined globally. Two novel language proposals are put forward for this modeling style which have already influenced industrial standardization initiatives.
While avoiding many of the pitfalls of interconnection modeling, new anomalies can arise in interaction models. A choreography might not be realizable, i.e. there does not exist a set of interacting roles that collectively realize the specified behavior. This thesis investigates different dimensions of realizability.Elektronische Integration zwischen Organisationen erfordert eine präzise Spezifikation des Interaktionsverhaltens: Informationssysteme, die Kommunikation per Telefon, Fax und Email ablösen, können nicht so flexibel und selbständig auf Ausnahmesituationen reagieren wie Menschen. Choreographien ermöglichen es, Interaktionsverhalten genau zu spezifizieren. Diese Modelle zählen die beteiligten Rollen, die erlaubten Interaktionen, Nachrichteninhalte und Verhaltensabhängigkeiten auf und dienen somit als Interaktionsvertrag zwischen den Organisationen. Auch als Ausgangspunkt für eine Anpassung existierender Prozesse und Systeme sowie für die Implementierung neuer Softwarekomponenten finden Choreographien Anwendung. Da ein Vergleich von Choreographiemodellierungssprachen in der Literatur bislang fehlt, präsentiert diese Arbeit einen Anforderungskatalog, der als Basis für eine Evaluierung existierender Sprachen angewandt wird. Im Kern führt diese Arbeit Spracherweiterungen ein, um die Schwächen existierender Sprachen zu überwinden. Die vorgestellten Erweiterungen adressieren dabei Modellierung auf konzeptioneller und auf technischer Ebene. Beim Verlinkungsmodellierungsstil werden Verhaltensabhängigkeiten innerhalb der beteiligten Rollen spezifiziert und das Interaktionsverhalten entsteht durch eine Verlinkung der Kommunikationsaktivitäten. Diese Arbeit stellt einige "Anti-Pattern" für die Verlinkungsmodellierung vor, welche wiederum Untersuchungen bzgl. Choreographiesprachen des Interaktionsmodellierungsstils motivieren. Hier werden Interaktionen als atomare Blöcke verstanden und Verhaltensabhängigkeiten werden global definiert. Diese Arbeit führt zwei neue Choreographiesprachen dieses zweiten Modellierungsstils ein, welche bereits in industrielle Standardisierungsinitiativen eingeflossen sind. Während auf der einen Seite zahlreiche Fallstricke der Verlinkungsmodellierung umgangen werden, können in Interaktionsmodellen allerdings neue Anomalien entstehen. Eine Choreographie kann z.B. "unrealisierbar" sein, d.h. es ist nicht möglich interagierende Rollen zu finden, die zusammen genommen das spezifizierte Verhalten abbilden. Dieses Phänomen wird in dieser Arbeit über verschiedene Dimensionen von Realisierbarkeit untersucht.
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Ruf, Fabian. "Fault handling in BPEL-based choreographies." [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:93-opus-33113.
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McIlvenna, Stephen. "Synthesis of orchestrators from service choreographies." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29162/1/Stephen_McIlvenna_Thesis.pdf.
Full textAbstract:
With service interaction modelling, it is customary to distinguish between two types of models: choreographies and orchestrations. A choreography describes interactions within a collection of services from a global perspective, where no service plays a privileged role. Instead, services interact in a peer-to-peer manner. In contrast, an orchestration describes the interactions between one particular service, the orchestrator, and a number of partner services. The main proposition of this work is an approach to bridge these two modelling viewpoints by synthesising orchestrators from choreographies. To start with, choreographies are defined using a simple behaviour description language based on communicating finite state machines. From such a model, orchestrators are initially synthesised in the form of state machines. It turns out that state machines are not suitable for orchestration modelling, because orchestrators generally need to engage in concurrent interactions. To address this issue, a technique is proposed to transform state machines into process models in the Business Process Modelling Notation (BPMN). Orchestrations represented in BPMN can then be augmented with additional business logic to achieve value-adding mediation. In addition, techniques exist for refining BPMN models into executable process definitions. The transformation from state machines to BPMN relies on Petri nets as an intermediary representation and leverages techniques from theory of regions to identify concurrency in the initial Petri net. Once concurrency has been identified, the resulting Petri net is transformed into a BPMN model. The original contributions of this work are: an algorithm to synthesise orchestrators from choreographies and a rules-based transformation from Petri nets into BPMN.
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McIlvenna, Stephen. "Synthesis of orchestrators from service choreographies." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29162/.
Full textAbstract:
With service interaction modelling, it is customary to distinguish between two types of models: choreographies and orchestrations. A choreography describes interactions within a collection of services from a global perspective, where no service plays a privileged role. Instead, services interact in a peer-to-peer manner. In contrast, an orchestration describes the interactions between one particular service, the orchestrator, and a number of partner services. The main proposition of this work is an approach to bridge these two modelling viewpoints by synthesising orchestrators from choreographies. To start with, choreographies are defined using a simple behaviour description language based on communicating finite state machines. From such a model, orchestrators are initially synthesised in the form of state machines. It turns out that state machines are not suitable for orchestration modelling, because orchestrators generally need to engage in concurrent interactions. To address this issue, a technique is proposed to transform state machines into process models in the Business Process Modelling Notation (BPMN). Orchestrations represented in BPMN can then be augmented with additional business logic to achieve value-adding mediation. In addition, techniques exist for refining BPMN models into executable process definitions. The transformation from state machines to BPMN relies on Petri nets as an intermediary representation and leverages techniques from theory of regions to identify concurrency in the initial Petri net. Once concurrency has been identified, the resulting Petri net is transformed into a BPMN model. The original contributions of this work are: an algorithm to synthesise orchestrators from choreographies and a rules-based transformation from Petri nets into BPMN.
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Mahfouz, Ayman. "Requirements-driven adaptation of choreographed interactions." Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578666.
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Electronic services are emerging as the de-facto enabler of interaction interoperability across organization boundaries. Cross-organizational interactions are often "choreographed", i.e. specified by a messaging protocol from a global point of view independent of the local view of each interacting organization. Local requirements motivating an interaction as well as the global contextual requirements governing the interaction inevitably evolve over time, requiring adaptation of the corresponding interaction protocol. Adaptation of an interaction protocol must ensure the satisfaction of both sets of interaction requirements while maintaining consistency between the global view and the local views of an interaction specification. Such adaptation is not possible with the current state-of-the-art representations of choreographed interactions, as they capture only operational messaging specifications detached from both local organizational requirements as well as global contextual requirements. This thesis presents three novel contributions that tackle adaptation of choreographed interaction protocols: an automated technique for deriving an interaction protocol from requirements, a formalization of consistency between local and global views, and a framework for guiding the adaptation of a choreographed interaction. A choreographed interaction is specified using models of organizational requirements motivating the interaction. We employ the formal semantics embedded in requirements models to automatically derive an interaction protocol. We propose a framework for relating the global and local views of interaction specification and maintaining consistency between them. We develop a metamodel for interaction specification, from which we enumerate adaptation operations. We build a catalogue that provides guidance on performing each operation and propagating changes between the global and local views. These contributions are evaluated using examples from the literature as well as a real-world case study.
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O'Keeffe, Anne. "The art of presence : contemplation, communing and creativity /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7072.
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The Art of Presence: Contemplation, Communing and Creativity reflects on the making of a dance theatre work called Song of Longing presented at Victorian College of the Arts in 2008. Song of Longing was made in collaboration with the cast, who participated in a process centred on improvisation. The resulting performance was a synergy of dance and unaccompanied singing.The thesis is an investigation of the choreographer's ongoing exploration of movement, singing and improvisation, informed by Buddhist philosophy. Both the writing and the performance mirror an embodied practice - making tangible themes and concepts that have emerged into consciousness.
Central interests include the ‘life-world’ of the artist and its influence on the creative process, the concepts of spirituality, spirit and ‘flow’, the experiential focus of the inquiry, improvisation as presence and the value of art as healing and therapy.
While the perspective of the writing is drawn from the subjectivity of the practitioner, the aim of the work is to draw on the broader fields of research in these areas and to connect with the creative practices of other artists. To this end, a conventional survey of the literature has been augmented by writings and teachings on Buddhism and other spiritual practices, documentaries and visual art. Interviews with artists in Australia and India and thoughts from the performers of Song of Longing are also included.
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Manaf, Nurulhuda A. "Generating verifiable service choreographies from SBVR models." Thesis, University of Surrey, 2018. http://epubs.surrey.ac.uk/845645/.
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Guaranteeing the correct coordination of distributed applications that are built up as networks of autonomous participants, e.g., software components, web services, online resources, software as a service (SaaS) peers, is inherently challenging. This is obvious when the current distributed applications involve a collaboration between loosely-coupled services on distinct providers; the ordering of interactions that may further affects the dependencies between different participants, including control flow dependencies (e.g., a given service invocation must occur before another one), time constraints, and transactional dependencies. This complexity of the development of distributed applications illustrates how important the techniques and approaches for designing and coordinating the service interactions between distinct participant services to ensure that the overall goal of the collaboration between participant services is achieved. Standardisation efforts to date have resulted in the Web Services Choreography Description Language (WS-CDL), a specification protocol advocated by W3C. WS-CDL and other modeling languages (e.g., UML2) provide various divergent semantics and less user-friendly graphical notation. On the other hand the formal approach would allow unambiguous specification and verification of the intended collaboraton. In this research work, a declarative approach was proposed for specifying coordination of distributed applications involving distinct participant services which is being able to verify that it is correct. The proposed approach could captures and describing the complex interactions that involves the ordering of service interaction based on the given global constraints. A new model using a declarative approach, an OMG standard Semantics of Business Vocabulary and Rules (SBVR) model was introduced for specifying service choreography. This SBVR model is then formulated and transformed into Alloy model using Alloy Analyzer for verification. A fully automated SBVR2Alloy tool was implemented for transforming from the developed SBVR model into the Alloy model. This proposed model is targeted to enable the practitioners (business analysts, developers) to devise and set up the service choreographies that realise their collaborations by generating the automated verifiable choreography model.
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Steckles, Katrina Mary. "Loop spaces and choreographies in dynamical systems." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/loop-spaces-and-choreographies-in-dynamical-systems(6fce2dbc-7035-4ff3-990c-6dd102389266).html.
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We consider a subset of the set of solutions to the n-body problem, termed choreographies, which involve a motion of particles where each follows the same path in space with a fixed time delay. Focusing on planar choreographies, we use the action of symmetry groups on the spatial and temporal motion of such systems to restrict a space of loops and study the topology of the resulting manifolds. As well as providing a framework of notation and terminology for the study of such systems, we prove various useful properties which allow us to classify the possible groups of symmetries, and discuss which are likely to be realisable as that of a motion of bodies.
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Nikaj, Adriatik [Verfasser], and Mathias [Akademischer Betreuer] Weske. "Restful choreographies / Adriatik Nikaj ; Betreuer: Mathias Weske." Potsdam : Universität Potsdam, 2019. http://d-nb.info/1218169648/34.
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Elliot, Sundlin. "The Power of Choreographed Movement in The City." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-174441.
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Sen, Priyanka M. A. "The Choreographed Landscape:Performance of the Queensgate Rail Yard." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491316158905738.
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Kim, Jane H. "The WT1 Interacting Protein: a choreographer of podocyte morphology and transcription." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1323401670.
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Bernagozzi, Stefano. "Towards artificial creativity: evolutionary methods for generating robot choreographies." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21493/.
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Today robotics is widely used in many fields, from simple houseworks like floor cleaning to more complex tasks like rescuing people in dangerous situations such as earthquakes. Recently it has been expanding to a more creative field: entertainment. For this reason we have thought of developing a genetic algorithm that allows the robot to dance, starting from the codification of movements in order to achieve the creation of true choreographies.We start by analysing Noh choreographies, and then we transpose them ontoa humanoid robot, Nao. We then proceed by going through the implementation of an algorithm that allows the creation of choreographies. One of the hardest challenges that we will face is to create choreographies that are both faithful to Noh theater and new at the same time. We will conclude focusing on the evaluation criteria of the results and presenting some hypothesis for future developments in this field.
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Smith, Sue. "Dancing in the dark : described dances and unseen choreographies." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/13358/.
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This thesis enquires how a rethinking of sight as the primary sense for experiencing dance performance can instigate new choreographies that embody the interplay between seen and unseen, described and not described, inside and outside, subject and object. By ‘unseen’ I mean invisible to the eye but potentially available to other senses or imaginative capacities. Choreography is a methodological and critical lens through which to explore relationships between description, translation and sensory perception in a range of performance engagements that invite multi-sensory attention. The research is launched with implications arising from a consideration of audiodescription: the supposed neutrality of the speaker, the potential for cultural mismatches or power tensions in translation and the challenge of making spoken language more fully represent the body in performance. The thesis argues that rethinking ideas of description, from the beginning of a devising process, can lead to the production of choreographic work that does not privilege vision. The research for this thesis has involved choreographic practice combined with writing. In this writing, the on-going narrative of my choreographic studio work has been deliberately interwoven with analysis and contextualisation of this practice. The different elements enacted in the studio and at the writing desk have continually interacted, back and forth, identifying in the process, appropriate objectives for successive phases. For example, the reflections stimulated at each phase of concurrent theoretical research and studio work have deepened my choreographic enquiries, while also identifying other points requiring further exploration. This exploration has been carried out during further practical choreographic experiments in the studio, triggering still further theoretical analysis, and so on. In this way, the dancer writing becomes, and interacts with, the writer dancing. Sensory and kinaesthetic knowledge can build a more integrated and immersive sensual experience of dance as something to be not just observed but also engaged in. The intention is that insights from the research will inform strategies for original choreography expressed in performance.
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Leijel, Rosemarie Helena. "Quadcopter formation simulated in a choreographed dance to music." Thesis, KTH, Skolan för teknikvetenskap (SCI), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-210823.
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The purpose of this project is to simulate a dance formation for a group of quadcopters, moving in rhythm to music. Focus has lied on getting the dance to move in synchronization to the music. A description of the quadcopter and its dynamics is made. After simplifications was made, the dance was designed by controlling the velocities of the quadcopters. A song was chosen for the music and a beat detection analysis was made to calculate the number of beats per minute (BPM) of the song. The BPM was used when creating the dance formation. Velocity restrictions and the composition of the music was the governing factors of how the dance was designed. A feedback control was implemented into the dance formation. The simulation was performed in MATLAB and a video was made of the resulting dance. The idea is that the simulation can be tested on real quadcopters, additions to the project can be made for future work to implement this.
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Friman, Jacob, and Rosmarie Helena Leijel. "Quadcopter formation simulated in a choreographed dance to music." Thesis, KTH, Skolan för teknikvetenskap (SCI), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-210824.
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The purpose of this project is to simulate a dance formation for a group of quadcopters, moving in rhythm to music. Focus has lied on getting the dance to move in synchronization to the music. A description of the quadcopter and its dynamics is made. After simplifications was made, the dance was designed by controlling the velocities of the quadcopters. A song was chosen for the music and a beat detection analysis was made to calculate the number of beats per minute (BPM) of the song. The BPM was used when creating the dance formation. Velocity restrictions and the composition of the music was the governing factors of how the dance was designed. A feedback control was implemented into the dance formation. The simulation was performed in MATLAB and a video was made of the resulting dance. The idea is that the simulation can be tested on real quadcopters, additions to the project can be made for future work to implement this.
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Cappelle, Laura. "Nouveaux classiques. La création de ballets dans les compagnies de répertoire." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA157.
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Cette thèse a pour objet d’étude les processus d’élaboration de nouveaux ballets dans les compagnies de répertoire. À travers une enquête internationale, elle se propose d’interroger dans une perspective sociologique la situation de création spécifique qui est celle des chorégraphes de formation classique, insérés dans des institutions vouées principalement à l’entretien d’un répertoire d’œuvres existantes. Leurs trajectoires professionnelles et les différences genrées qu’elles mettent en évidence y sont élucidées, ainsi que la dimension fondamentalement collective d’un travail artistique qui implique la coopération d’autres acteurs, notamment les interprètes et les répétiteurs. À partir des formes d’incorporation et de circulation du mouvement, des logiques de création se dégagent, qui permettent d’interroger la nature de l’autorité créative du chorégraphe.Appuyé sur l’observation des répétitions de cinq créations au Ballet du Bolchoï, au Ballet de l’Opéra de Paris, à l’English National Ballet et au New York City Ballet, ce travail est complété par 29 entretiens et une base de données recensant toutes les créations des compagnies étudiées entre 2000 et 2016. Ces données croisées permettent de faire ressortir l’imaginaire commun qui sous-tend le travail des chorégraphes au XXIe siècle, les différences entre les quatre pays ainsi que les tensions propres à une forme de création identifiée comme classiqueCreativity within classical art forms is often underrated, and little is known about what it takes to craft a new ballet. This thesis explores the process of making new works in ballet companies today from a sociological perspective. Drawing on original field work in four countries, it looks at the specificity of the creative endeavours of ballet-trained choreographers, who work in institutional contexts where creation is allowed only limited space in comparison to the existing repertoire. The career trajectories of classical choreographers are addressed along with gender biases in the field. An in-depth look at the ways in which movement is shared, shaped and incorporated in the studio reveals the collective nature of creative processes which closely involve dancers and ballet masters.In addition to sustained periods of observation related to five creations at the Bolshoi Ballet, English National Ballet, New York City Ballet and the Paris Opera Ballet, the data gathered includes 29 interviews and a database listing every ballet created by the four companies above between 2000 and 2016. These findings shed light on the classical imaginary – a network of images and models, I argue, underpinning the work of 21st-century ballet choreographers – and highlight the complexity of classical artistic identities today
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Stiehl, Pamyla Alayne. "The "Dansical": American musical theatre reconfigured as a choreographer's expression and domain." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3303864.
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Traiger, Lisa. "Making dance that matters dancer, choreographer, community organizer, public intellectual Liz Lerman /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1399.
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Thesis (M.F.A.) -- University of Maryland, College Park, 2004.Thesis research directed by: Dance. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Andrijeski, Julie J. "A Survey of the Loure Through Definitions, Music, and Choreographies." Case Western Reserve University School of Graduate Studies / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=case1138130626.
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Morris, Geraldine. "A network of styles : discovering the choreographed movement of Frederick Ashton (1904-1988)." Thesis, Roehampton University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326826.
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Повалій, Тетяна Леонідівна, and Tetiana Leonidivna Povalii. "Актуальність формування компетентності у професійно спрямованому англомовному монологічному мовленні майбутніх хореографів." Сумський державний педагогічний університет імені А. С. Макаренка, 2017. http://repository.sspu.sumy.ua/handle/123456789/3218.
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Висвітлюється професійно спрямований підхід до формування компетентності у англомовному монологічному мовленні, який передбачає підготовку майбутніх хореографів до іншомовного спілкування в конкретних професійних, ділових, наукових сферах, а також у ситуаціях із урахуванням особливостей професійного мислення. Розкриваються основні комунікативні ситуації, в рамках яких має формуватися іншомовна комунікативна компетентність майбутніх хореографів у монологічному мовленні.The professionally oriented approach to the formation of competence in the English monologue speech, which involves the preparation of future choreographers for foreign language communication in specific professional, business, scientific spheres, as well as in situations taking into account the peculiarities of professional thinking, is covered. The main communicative situations are revealed, within the framework of which the communicative competence of future choreographers in the monologue broadcast should be formed.
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Weiß, Andreas [Verfasser], and Dimka [Akademischer Betreuer] Karastoyanova. "Flexible modeling and execution of choreographies / Andreas Weiß ; Betreuer: Dimka Karastoyanova." Stuttgart : Universitätsbibliothek der Universität Stuttgart, 2018. http://d-nb.info/1177040972/34.
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