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Dissertations / Theses on the topic 'Choreography'

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Published: 4 June 2021
Last updated: 22 June 2024

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1

Fishwick, Emma. "Choreography as landscape: Landscape discourse framing choreographic practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2466.

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At the centre of this research is the notion of landscape and how thinking and talking about landscape impacts choreography. The result of the research is a new work, Dance, Quiet Riot, and an exegesis discussing the process of making it as well an exploration of various art forms, field experiences and the area of cultural geography. I use the development and presentation of Dance, Quiet Riot as a case study or creative artefact, if you will, for how landscape discourse can support and intersect with choreographic practice. This exegetical discussion understands landscape as a relational conversation between the human and non-human, shaping the way one moves through and sees the world. I argue that ideas of landscape can be used as a tool for choreographic practice and propose that this process can be applied effectively to choreography across multiple or singular art forms. Dance, Quiet Riot explores themes of gendered visual materiality and how such ideas (quietly) underpin my way of seeing and moving in the world. These themes are discussed throughout the exegesis, however, they are considered secondary to the focus of the research itself, which is landscape as a tool for choreography. This research asks how might approaching choreography as a type of landscape (symbolic rather than literal) shape how choreography is made, watched and performed.
2

Gorbet, Marsha. "Contemporary choreography at work : a new method of recording the choreographic process." Thesis, Middlesex University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.568527.

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3

Walter, Kathinka Julia. "Social dimensions of choreography : exploring choreography as a multidirectional process." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/17461/.

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The research contributes to the possibilities of challenging and expanding what a choreographer might be when he/she plays an interactive role in the performance event, investigating the artistic and social potentials of structured improvisation in relation to instant composition. It shifts the control between choreographer and dancers, addressing the traditional hierarchy within aspects of conditions of authority (Martin, 1985) and trust and power (Foucault, 1995). The choreographer is confronted with losing and gaining control, which can provoke vulnerability not usually visible in the performance context (Stuart, 2010). Dealing with participation, reflection and process challenges not only the identity of the role of the choreographer, but has consequences for the identity of the whole work. It raises questions of responsibility and ownership, questioning the choreographer’s single authorship for the work, offering opportunities to let the work grow by sharing authorship between all performers (Laermans, 2008, 2015). The unexpected energies of more people involved and the use of improvisation with its changeability allow choreography to be experienced as an open work (Margolis/1981, Rubidge/2000). Agreeing that dance is a social practice (Klien, 2008a), choreography can be seen as an illustration of the functioning (Lehmen, 2004) of the group of performers as a social system, with one element affecting the other, which makes the system constantly evolve (Luhmann, 1995). The interrelationships between all participants, including the audience that shape and form a system with significant features, become visible throughout the performance duration. Considering social interaction more broadly and with relevance beyond dance, choreography performs social norm and structures (Klein, 2013) and can illustrate changes within society to make them more apparent, proposing a springboard for debate. The research offers findings in terms of learning gained through working in groups; working with multi directional processes and the use of reflection provides a democratic, open and liberating space to all participants.
4

Barker, Adam. "Flexible service choreography." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/8980.

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Service-oriented architectures are a popular architectural paradigm for building software applications from a number of loosely coupled, distributed services. Through a set of procedural rules, workflow technologies define how groups of services coordinate with one another to achieve a shared task. A problem with workflow specifications is that often the patterns of interaction between the distributed services are too complicated to predict and analyse at design-time. In certain cases, the exact patterns of message exchange and the concrete services to call cannot be predicted in advance, due to factors such as fluctuating network load or the availability of services. It is a more realistic assumption to endow software components with the ability to make decisions about the nature and scope of their interactions at runtime. Multiagent systems offer a complementary paradigm: building software applications from a number of self interested, autonomous agents. This thesis presents an investigation into fusing the agency and service-oriented architecture paradigms, in order to facilitate flexible, workflow composition. Our approach offers an agent-based solution to service choreography and is founded on the concept of shared interaction protocols. By adopting an agent-based approach to service choreography, active autonomous agents can utilise the typically passive service-oriented architectures, found in Internet and Grid systems. In contrast with statically defined, centralised service orchestrations, decentralised agents can perform service choreography at runtime, allowing them to operate in scenarios where it is not possible to define the pattern of interaction in advance. Application to real scenarios is a driving factor behind this research. By working closely with a number of active Grid projects, namely AstroGrid and the Large-Synoptic Survey Telescope (LSST), a concrete set of requirements for scientific workflow have been derived, based on realistic science problems. This research has resulted in the MultiAgent Service Choreography (MASC) language to express scientific workflow, methodology for system building and a software framework which performs agent based Web service choreography, in order to enact distributed e-Science experiments. Evaluation of this thesis is conducted through case study, applying the language, methodology and software framework to solve a motivating set of workflow scenarios.
5

Pfitzner, Kerstin. "Choreography configuration for BPMN." [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:93-opus-33758.

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6

Bays, Blakely Skylar. "A NEWFOUND PASSION-CHOREOGRAPHY." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/290.

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A Newfound Passion- Choreography analyzes the artistic process and life journey of creating choreography for musical theatre. My training as a dance minor at East Tennessee State University from 2011-2015 culminated in my final senior capstone experience as a choreographer for the ETSU Division of Theatre and Dance’s production of Oklahoma!. Composing a new musical theatre dance and analyzing the original choreography of Oklahoma! (and the art of choreography more generally) provided significant material for analysis, and the following research reflects what I learned and experienced. Overall, the experience of choreographing has changed the way I see myself as a dancer and has instilled in me a new sense of respect for choreographers around the world.
7

Hourigan, Paul William. "Choreographic strategies to achieve visual communication within an original film narrative through academic ballet choreography." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/135200/4/Paul%20William%20Hourigan%20Thesis.pdf.

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This research explored the use of ballet in cinema narrative – specifically its efficacy as a source of visual communication once removed from the stereotypical characterizations, plotlines and cinematic tropes that have become associated with cinematic ballet. To test this efficacy, the project involved the production and choreography of an original featurette film, Nearly Not Me, followed by an audience survey for the collection of qualitative data. The findings identify eight choreographic strategies for the successful use of academic ballet choreography as a means of visual communication in film, inspiring other choreographers to challenge existing traditions to evolve.
8

Whitelaw, Melanie. "Choreographic strategies for secondary school dance teachers." Thesis, Queensland University of Technology, 2002.

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The NSW Dance Syllabus requires students to perform dance, learn how to compose dance and study dance works. These areas are taught under the three compulsory components of Performance, Composition and Appreciation. Dance teachers within NSW must choreograph for their students as a part of the requirements of the syllabus. This study focuses on that aspect of teaching Dance in NSW by investigating the choreographic processes of three professional choreographers working within the educational contexts of New South Wales and Queensland. Through the case study strategy, the researcher will find the similarities and differences between each case and acknowledge the factors that influence how they work, and what they do to produce a high standard of dance performance, technical skill and choreography within their given time frames. It is anticipated that this study will add to the available support of the NSW Dance Syllabus as it aims to document and recommend a range of choreographic strategies for use by the dance teacher.
9

Che, Da. "Toward Humanoid Choreography and Dance." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337187519.

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10

Giese, Wolfgang. "The choreography of yeast mating." Doctoral thesis, Humboldt-Universität zu Berlin, Lebenswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17657.

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Die Forschung an der Hefe Saccharomyces cerevisiae – auch als Bäckerhefe bekannt – hat sich für die biologische Grundlagenforschung als unentbehrlich erwiesen und führte zu wichtigen Erkenntnissen in der Erforschung von Krankheiten wie Krebs. Am Beispiel der Paarung von Hefezellen werden in dieser Arbeit wesentliche Aspekte der eukaryotischen Zellbiologie untersucht. In der Haplophase des Lebenszyklus der Hefe, treten haploide Zellen als Paarungstyp MATa oder MATα auf. Diese Paarungstypen kommunizieren über Pheromone, die in ein extrazelluläres Medium abgesondert werden und von Zelloberflächenrezeptoren des komplementären Paarungstyps erkannt werden. Hefezellen wachsen in die Richtung eines möglichen Paarungspartners, da sie sich nicht aktiv bewegen können. Die Auswertung von empirischen Daten aus der Fluoreszenzmikroskopie und Rasterkraftmikroskopie (AFM) mit mathematischen Modellen ermöglichte die Rekonstruktion wesentlicher Prozesse der Hefepaarung: (i) Interzelluläre Kommunikation über die Sezernierung und Rezeption von Pheromonen, (ii) Aufbau der Zellpolarität als Reaktion auf die Pheromonantwort, (iii) Induktion und Mechanik der Zellformänderung. Folgende Modelle wurden dazu entwickelt: (i) Die interzelluläre Kommunikation wurde unter Verwendung von zellulären Automaten mit Hilfe von Reaktions-Diffusions (RD) Gleichungen modelliert. Das Modell zeigte, dass die gegenseitige Stimulierung und erhöhte Pheromonabsonderung zu einer verbesserten Abstimmung in der Paarung in der Zellpopulation führt. (ii) Ein Turing- und ein Phasenseparations- Mechanismus wurden als Modelle zum Aufbau der Zellpolarität verwendet. Volumen-Oberflächen gekoppelte RD Gleichungen wurden analytisch und numerisch mit der Finite-Elemente-Methode (FEM) untersucht. (iii) Die Zellwandveränderung wurde mit klassischer Kontinuumsmechanik und der FEM Methode modelliert. Dies ermöglichte eine Beschreibung der reversiblen elastischen und der irreversiblen plastischen Verformungen der Zellwand.
Research on the yeast Saccharomyces cerevisiae – also known as baker’s yeast – has been essential not only for fostering basic biological knowledge but even more so for contributing towards understanding diseases such as cancer. In this thesis, general biological phenomena occurring in eukaryotic cells are investigated, exemplified by the mating process of yeast. In the haploid phase of their life cycle, yeast cells occur as mating type MATa or MATα, both of which communicate via pheromones that are secreted in an extracellular medium and can be sensed by cell-surface receptors of the complementary mating type. In order to mate, yeast cells grow towards a potential mating partner, since they are not able to actively move. Mathematical models on the basis of fluorescence and atomic force microscopy (AFM) data were developed. The key aspects of the yeast mating process that I examined were (i) intercellular communication of cells via pheromones, (ii) the initial symmetry break and implementation of cell polarity, and (iii) subsequent morphogenetic changes. The methods used and findings were as follows: (i) Pheromone secretion and sensing motifs were modelled using cellular automata models based on reaction-diffusion (RD) equations. My models show that mutual stimulation and increased pheromone secretion between cells improves mating efficiency in cell populations. (ii) To explain yeast mating decisions, two possible model types for cell polarity were tested: a Turing-type and a phase-separation mechanism. Bulk-surface RD equations were investigated analytically and numerically using the finite element method (FEM). Typical cell shapes were reconstructed in 2D and 3D. (iii) The cell wall was modelled using classical continuum mechanics that allows for reversible elastic and irreversible plastic cell wall deformation. Mathematical modelling demonstrated that all three processes investigated are precisely orchestrated and interlocked during yeast mating.
11

Larsson, Alexander. "Creation and choreography of robotic bird." Thesis, Mälardalen University, Department of Computer Science and Engineering, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-7561.

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In this thesis a dancing swan robot is made utilizing already existing components. Webuilt the neck from stacking servo-actuators on top of each-other.     The legs are a beamconstruction with 1 degree of freedom. The wings have 4 degrees of freedom, of which 3 inthe shoulder joint. From the shoulder joint a beam protrudes outwards to an actuator in theelbow joint which in turn has a beam attached representing the outer wing. Communicationsare handled by USB transceivers making a regular personal computer capable of directlyinterfacing with the actuators. In order to choreograph the motion a recording solution wasimplemented utilizing the sensors in the servo-actuators to periodically sample the positionof the joints. A control program is developed to handle both playback of recorded motionand a prerecorded audio track. While recording the control program periodically polls theengines about their current position and stores the time and position in a table.      Whenplaying the animation the control program periodically polls the table to see if any samplesare due, in which case it instructs the actuator to move towards the sample point.

12

Taušan, N. (Nebojša). "Choreography modeling in embedded systems domain." Doctoral thesis, Oulun yliopisto, 2016. http://urn.fi/urn:isbn:9789526214573.

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Abstract Choreography modelling, as a service-oriented architecture specific technique, is increasingly present in embedded systems development domain. This technique specifies a flow of interactions between participants' services from the global or neutral point of view while the specified models represent an integral part of the overall software architecture. Choreography modelling languages that are currently used in embedded systems domain, however, are not expressive enough to capture the choreography-relevant information in this domain. For this reason, choreography specifications are often lacking information or include ambiguous information. This allows misinterpretation of the specified choreography models and leads to difficulties in communication among stakeholders that use those models. The objective of this research is to advance the design of choreography modelling languages by identifying the information content that is relevant in embedded systems domain and by designing a choreography modelling language that supports that information content. To achieve this objective, this research adopted the design science research framework and five individual studies were conducted within this framework. These studies used methods such as the interviews with practitioners, company specific documents and open standards to understand the challenges in industry, systematic literature review to collect the existing scientific knowledge about the utilization of choreography in embedded systems and the focus groups to evaluate the designed language. Based on these study results, the information content that is relevant for choreography modelling in embedded systems domain was identified and then supported with the design of choreography modelling language. The design of the choreography modelling language is evaluated in academic and industry context. The evaluation in academic context is realized by language implementation while the evaluation in industry is realized with industry experts. Language evaluation showed increased expressiveness of the designed language and indicated on possible benefits from its use in testing and protocol development area. These benefits include the reduction of development time and errors in the testing phase while the reduction of maintenance burden and performance improvement can be expected in the protocol development area
Tiivistelmä Koreografinen mallintaminen on enenevässä määrin käytetty tekniikka sulautettujen järjestelmien palvelukeskeisten arkkitehtuurien määrittelyssä. Tämän mallintamisen avulla pystytään määrittämään palveluiden ja osallistujien välisten vuorovaikutusten virtaa globaalilla tasolla kun taas määritellyt mallit kuvaavat ohjelmistoarkkitehtuurin keskeisiä osakokonaisuuksia. Tällä hetkellä sulautettujen järjestelmien koreografiseen mallintamiseen käytetyt kielet eivät ole tarpeeksi ilmaisuvoimaisia kattaakseen alalla tarvittavien mallien oleelliset tietosisällöt. Tästä syystä koreografiamalleista puuttuu usein oleellisia tietoja tai tietosisällöt eivät ole yksiselitteisiä. Tämä johtaa koreografiamallien tietosisältöjen virheelliseen tulkintaan, joka taas aiheuttaa haasteita malleja hyödyntävien sidosryhmien välisessä vuorovaikutuksessa. Tämän tutkimuksen tavoitteena on edistää koreografiamallinnuksessa käytettävien kielten suunnittelua tunnistamalla ne tietosisällöt, jotka ovat oleellisia sulautetuille järjestelmille sekä suunnitella kieli, joka tukee oleellisia tietosisältöjä. Tavoitteen saavuttamiseksi sovellettiin "design science" (suunnittelun tutkimus) tutkimusmenetelmää, jolla toteutettiin viisi tapaustutkimusta. Näissä tutkimuksissa hyödynnettiin teollisuuden asiantuntijoiden haastatteluita, yrityskohtaisia dokumentteja ja avoimia standardeja, joiden avulla pystyttiin ymmärtämään teollisuuden kohtaamia haasteita tutkimusalueella. Systemaattisen kirjallisuuskatsauksen avulla kerättiin yhteen olemassa oleva tieteellinen tietämys koreografian käytöstä sulautetuissa järjestelmissä. Kehitetyn kielen sopivuutta teolliseen tuotekehitykseen arvioitiin asiantuntiaryhmille järjestetyissä työpajoissa. Saatujen tutkimustulosten valossa koreografiamallinnuksessa tarvittavat oleelliset tietosisällöt sulautettujen järjestelmien alueella pystyttiin määrittämään sekä kehittämään tietosisältöä tukeva koreografian mallinnuskieli. Kehitetty mallinnuskieli on arvioitu akateemisessa kontekstissa toteuttamalla koreografian mallinnuskieli. Teollisessa ympäristössä arvioinnin ovat suorittaneet teollisuuden asiantuntijat. Arviointien tuloksena voidaan todeta, että kehitetyllä mallinnuskielellä on parempi ilmaisuvoima kuin aiemmin käytössä olleilla kielillä. Lisäksi saatiin viitteitä kielen soveltuvuudesta testauksessa ja protokollien kehityksessä. Kieltä soveltamalla saavutettiin lyhempi kehitysaika ja vähennettiin virheitä testausvaiheessa. Lisäksi protokollan kehityksen osuudessa oletetaan ylläpidon kuormittavuuden vähenevän ja suorituskyvyn paranevan
13

ARKENSON, CAROLIN, and ANNAMARIA STIPIC. "Twitter and Choreography- A Sucessful Combination?" Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-136750.

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One of the most common social media platforms of today is Twitter, an open community where content easily could be spread by sharing so called tweets and where the relationship between users is not constrained by accepting the other user. This report discusses the complexity in merging social media and dance by studying a project which used crowdsourcing through Twitter to collect choreographic ideas for a new ballet piece. In order to examine Twitter as a tool in a creative process, a questionnaire was sent to Twitter users and email interviews were held with those responsible for the project of study. The questionnaire showed that most of the Twitter users enjoyed creating and being part of a creative process. However, some of those with an occupation within the dance world voiced concerns about untrained people creating choreography. From the interviews it was found that a lot of thought had to be put into the structure of the project and that the project’s main motivator was to inspire and create with the help of people around the world. It was found in the research that Twitter is a suiting platform for a crowdsourced project since a large and varying group of participants is reached. Twitter allows for the Twitter users to participate regardless of location or occupation as well as bringing good publicity to the dance world.
Twitter är idag en av de största plattformarna inom sociala medier. Plattformen är ett öppet forum där användare enkelt kan sprida material genom så kallade tweets och där användarnas relationer inte kräver att den ena parten accepterar den andre. Denna rapport behandlar komplexiteten i att kombinera sociala medier och dans, genom studien av ett projekt som använde sig av crowdsourcing via Twitter för att samla idéer till ett nytt balettverk. För att kunna utvärdera Twitter som ett verktyg i en kreativ process skickades ett frågeformulär ut till twitteranvändare. Dessutom hölls e-mailintervjuer med dem som var ansvariga för projektet. Formuläret visade att de flesta twitteranvändarna uppskattade att få skapa och ta del av en kreativ process. Dock fanns det negativa åsikter bland användare inom dansvärlden, att otränade personer inte bör koreografera. E-mailintervjuerna visade att mycket tanke hade lagts på strukturen av projektet och att drivkrafterna för att driva ett sådant projekt var att inspirera och skapa tillsammans med hela världen. Genom undersökningen visade det sig att Twitter är en passande plattform för ett crowdsourcat projekt eftersom ett stort antal deltagare kan nås oberoende av var de befinner sig samtidigt som det medför bra publicitet för dansvärlden.
14

Kabatra, Leigh Ann. "Problems in choreography| A sociable solution." Thesis, Mills College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589464.

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Some contemporary choreographers alienate audiences by presenting grossly oversimplified work or creating work so esoteric that audience members feel lost. I argue that audience members are highly capable of abstraction and analysis, and that by creating dance works with layers of information and complexity, choreographers can engage audiences in a sociable exchange of sharing and consumption. Similarly, audience members can enhance their own participation in this exchange by practicing strategies that will help them be more attentive to choreography. By defining concert dance as a conversation between the choreographer and audience and applying some of Georg Simmel’s theories of sociability, both choreographers and audience members can enhance dance’s power as a tool for expression and communication.

15

Tucker, April Nunes. "Activating intersubjectivities in contemporary dance choreography." Thesis, Middlesex University, 2009. http://eprints.mdx.ac.uk/8042/.

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This doctoral project examines Maurice Merleau-Ponty's account of phenomenological intersubjectivity and addresses a gap between his account of intersubjectivity and intersubjectivities present in the contemporary dance event. This gap concerns a specific type of performative practice which highlights the tension between person and persona. In order to focus on this area of the gap, the methodologies of choreological studies, phenomenological intersubjectivity and original choreographic practice have been employed. There are current choreographers such as Jonathan Burrows, Atsushi Takenouchi and Angela Woodhouse as well as choreographers of the past such as those from the Judson Dance Theater whose work has revealed intersubjectivity. However, there has not yet been a reflective practitioner who has undertaken an analysis of Merleau-Ponty's ideas on intersubjectivity, questioned their relevance to the contemporary dance event and proposed developments to his account of intersubjectivity in relation to contemporary dance choreographic practice. The research proposes a new synthesised account of intersubjectivites which is a development of Merleau-Ponty's account of intersubjectivity and promotes this new synthesised account of intersubjectivities as more relevant to the contemporary dance event which values empathy, human connection and immediacy. The doctoral project undertakes a hybrid mode of investigation consisting of practice-based research and practice-led research to produce an outcome which is mixed-mode in format: a combination of academic and creative writing and DVD documentation. These processes of inquiry have prompted a shift in focus towards a part of the gap that addresses Contemporary Dance technique and has provoked a critique of this technique, looking instead to psychophysical training. This research therefore challenges European mainstream Contemporary Dance technical training today with an aim to promote a meaningful, experiential engagement between the maker, performer and audience.
16

Newman, Rosalind. "Moving spaces : choreography, metaphor and meaning." Thesis, University of Kent, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523625.

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17

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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18

Kane, Angela. "Paul Taylor's choreography : in the public domain." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324768.

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19

Perazzo, Domm Daniela. "Dancing poetry : Jonathan Burrows's reconfiguration of choreography." Thesis, University of Surrey, 2007. http://epubs.surrey.ac.uk/609/.

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The starting point for this interpretive study of Jonathan Burrows's (b 1960) choreography is the limited and fragmentary existing literature on his work. Critical essays and performance reviews hint, tentatively, at the idiosyncratic, eccentric and enigmatic qualities of the movement language of this British contemporary choreographer. In this thesis I interrogate the distinctiveness of his performances, arguing that they challenge conventions of co-existing dance genres and techniques, by employing a variety of disciplinary, cultural and theoretical contexts. These frameworks both surround and construct the work, just as they do my interpretations of it: British experimental dance, American early postmodern choreography, recent European performance, ballet and English folk dance; postmodernist and modernist stances. Critical and literary theory provides the methodological framework for the research, which draws on intertextual and hermeneutical perspectives to construct interpretations that take into account the discursive and multilayered nature of the work. Detailed analyses of six pieces created between 1988 and 2006 (Hymns, Stoics, The Stop Quartet, Both Sitting Duet, The Quiet Dance and Speaking Dance) address structural, thematic and conceptual aspects that I have identified as central to Burrows's dance: the composite character of his movement vocabulary, the cultural specificity of his art, his contentious relationship with minimalism and abstraction, his collaborations across arts, and the presence of underlying compositional strategies and intimate motives throughout his work. In moving towards a poetic reading of Burrows's dance, I argue that the specific type of language constructed in his pieces and the distinctive modes of signification they embody, between form and content, rule and transgression, non-referentiality and empathic recognition, suggest an interpretation of his choreography as a form of both poetic language and poetics, that is, as both creative and theoretical practice.
20

Sabisch, Petra. "Choreographing relations : practical philosophy and contemporary choreography." Thesis, University of Greenwich, 2009. http://gala.gre.ac.uk/5650/.

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This thesis undertakes the Deleuzian experiment of a conceptual site development of contemporary choreography through analysis of the works of Antonia Baehr, Juan Dominguez, Xavier Le Roy and Eszter Salamon. It examines the way these works transform choreography qualitatively by elaborating singular methods which couple the issue of movement with the creation of aesthetic regimes. As opposed to a representational outline of choreography’s ontology, my thesis investigates the participatory potential of choreography by focussing on the singular relational assemblages that each choreography creates with the audience. These singular relational assemblages defy practical philosophy insofar as they require a methodology which can account for their dynamic complexity without reducing them either to pre-established categories or to a static analysis. On the basis of Gilles Deleuze and Félix Guattari’s transcendental empiricism, my thesis responds to this challenge by establishing contamination and articulation as methodological concepts for an open ended inventory of what choreography can do. Contamination, on the other hand, accounts for the qualitative transformations that concern bodies in their power to assemble and to be assembled. Articulation, on the other hand, names the qualitative transformations of sense that a choreography conveys through its differential composition. Both concepts are inseparably interwoven and specified in the aesthetic regimes of the Retenu and the Dé-lire. While the Retenu scrutinizes the way movements generate a continuous transformation of body images (cinematic retenu) and sensations (cine-emotional retenu), the Dé-lire explores the choreography of temporal relations. Showing how these singular assemblages and their implicit methods critically redistribute the sensible of choreography at the turn of the twenty-first century, the four concepts of my thesis form the argument in itself. This argument highlights the ethical impact of qualitative experimental research, specifies the prolific capacities of choreography and forces practical philosophy to rethink their relation.
21

Wilczak, Kimberly Marie. "“Skogskyrkogården-Studio-Experience:” A Landscape Choreography Process." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1483716050656925.

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22

Palmer, David Scott. "Light, scenography and the choreography of space." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/11793/.

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This submission for PhD by publication is primarily concerned with the scenographic role of light, especially in relation to; historiography and dramaturgy, embodiment and the use of projected digital light in performance. There is an emphasis on the ability of light to make meaning, its impact on the experience of audiences and its role in the choreography of space. The research encompasses writings on contemporary and historical uses of light in performance and practice-led, collaborative research with digital light that was part funded through the Arts and Humanities Research Council (AHRC). The research also embraces associated concerns relating to collaborative design processes and the creative use of technology within the performance domain. The title of this submission reflects both the nature and scope of the research of a series of outputs created over the decade 2004-2014 and published between 2005 and 2015. The monograph Light: Readings in Theatre Practice (Palgrave Macmillan, 2013) forms a significant, central core since it focuses on the ways in which light is used as a fundamental aspect of dramatic presentation and provides a range of new insights in thinking about lighting as a creative performance practice.
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Orlando, Simone. "Sviluppo di un'applicazione per l'elaborazione di Choreography Automata." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/19602/.

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Le Choreographies sono un paradigma emergente per la descrizione top-down di sistemi distribuiti. L'idea chiave è dare al programmatore la possibilità di scrivere una "coreografia" dei partecipanti e di come questi interagiscono tra loro. A partire dalle Choreographies è possibile ottenere il codice di ogni singolo partecipante tramite l'operazione di proiezione. Il vantaggio delle Choreographies è che, sotto alcune condizioni ben definite, garantiscono per costruzione l'assenza dei problemi tipici della programmazione concorrente come i Deadlocks e le Race Conditions. Sono stati proposti diversi modelli di Choreographies, tra cui di recente quello dei Choreography Automata, basato su automi a stati finiti. In questa tesi viene presentato Corinne: un tool per la lettura, composizione e proiezione dei Choreography Automata.
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Yeung, Hon. "Urban choreography cine-artscape in Ma Tau Kok /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31987400.

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Protopapa, Efrosini. "Possibilising dance : a space for thinking in choreography." Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/possibilising-dance(c23658c6-69a6-4d6e-94dd-1d212c4f8ed6).html.

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Yeung, Hon, and 楊瀚. "Urban choreography: cine-artscape in Ma Tau Kok." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31987400.

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Kallicharan, Rachel. "Edgeless: Seeking a New Choreography of Georgetown's Landscape." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592904027988774.

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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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Mathews, Rachel A. "Postmodern Theory and the Choreography of Michael Clark." Thesis, University of Surrey, 1992. https://eprints.qut.edu.au/74785/6/Postmodern%20Theory%20and%20the%20Choreography%20of%20Michael%20Clark_Mathews_1992.pdf.

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This study addresses two interrelated questions: Can postmodern ‘theory’ illuminate an understanding of Michael Clark’s work? and, a sub-question, In which ways, if at all, does Clark’s work demonstrate a postmodern sensibility? Chapter one, the introduction to this study, provides a ‘portrait’ of postmodernism, that is, it addresses the question What is postmodernism? Chapter two is a biography of Michael Clark. The seminal sections to this study, however, are chapters three and four. Here the author blends a discussion of a) subject matter, treatment and meanings in Clark’s choreography, b) journalistic criticisms of those features of his work, and c) postmodern theory. The outcome of these chapters is to demonstrate that Clark’s works do indeed require re-interpretation and re-evaluation, and to illustrate how these factors might be achieved.
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Sponheuer, Silke. "Music made visible in time and space : concepts of simultaneity in tone-eurythmy choreography." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8251.

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Includes bibliographical references (leaves 105-113).
Eurythmy is an art of movement that expresses music and speech. This dissertation explores eurythmy's musical field, called tone-eurythmy, in its multifaceted appearances, background and within its philosophical context. Tone-eurythmy, carried out by performers moving in space and time, makes music visible. It transforms music into a new movement-art form, that of audible-visible music, by expressing musical components as well as the artistic intentions within a composition and those held by the performing artists. The dissertation examines how musical concepts are seen by eurythmists to integrate ideas of wholeness and to understand music as both audible and inaudible. It draws on studies and findings from music psychology to show distinct effects of musical elements on the human being, and to indicate the similarities between those and the qualitative expressions of music through tone-eurythmy.
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Ölme, Rasmus. "From Model to Module : A move towards generative choreography." Doctoral thesis, KTH, Medieteknik och interaktionsdesign, MID, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-145355.

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The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the relations between the different elements. The MODUL method links movement practice and art production as the topographical movement analysis is also applied to, and conceptualised through, the body. In terms of dance technique the MODUL method works with the same topographical movement analysis to explore bodily functionalities as Choreographic Agents. The technique is called Body-Self Attunement and aims at tuning the self, understood as the symbolic body, with the biological body. Body-Self Attunement does not try to unify the symbolic body and the biological body but affirms the gap as generative. The term Generative Choreography is coined in order to emphasise the performative aspect of choreography that is not defined by what it is, but what it does.

QC 20140519

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Kelly, Kathleen. "CAN A METHODOLOGY BE DEVELOPED FOR MUSICAL THEATRE CHOREOGRAPHY?" Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2679.

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Limited training exists for young, aspiring choreographers who wish to work in the realm of musical theatre. University programs turn you away if your focus is not on concert dance and few good books can be found on library shelves to gain knowledge. Most books that do exist are very outdated and lack the practical knowledge and information necessary to become a successful musical theatre choreographer today. This research will help to determine whether a methodology can be developed for training musical theatre choreographers. The research data collected stems from the creative minds of choreographers and performers. A select group of professional musical theatre choreographers completed surveys in regards to the craft. Three of the participants were observed using their creative teaching strategies in rehearsals. Furthermore, selected performers responded to a set of questions in regards to the selected participants' strategies. All of the collected data was analyzed to determine which choreographic methods and strategies result in the most successful rehearsal periods and products. The favored methods and strategies, as well as other information, assisted with recognizing the necessary knowledge that an excellent musical theatre choreographer must possess. That knowledge was divided into elements that will make up the courses within the desired methodology. The conclusion finds that a methodology for training musical theatre choreographers is obtainable, consisting of the study of the determined elements. With the development of a text and a university to pioneer the program, aspiring choreographers will have a way to gain beneficial knowledge and experience in the craft of musical theatre choreography.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Elsenaar, J. A. "Facial hacking : the twisted logic of electro-facial choreography." Thesis, Nottingham Trent University, 2010. http://irep.ntu.ac.uk/id/eprint/205/.

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This research addresses the development of a computational facial language that enables systematic exploration of the external controlled human face with the aim to identify fundamental electro-facial choreographic patterns. Rewiring the human face to an external digital control system, has sparked a radical new way of thinking about the human facial display. Radical, as facial movement is now rooted in digital instead of neural computation. The human face has become an extension of a digital control system inheriting its characteristics: i.e. temporal accuracy, consistency of execution and high programmability. How do we conceptualize the thinking about the human face as a digital computational display device? What are the implications of the “regime change” from neural to digital? The research addresses these issues within the contextual framework where it also originated, in the practice of hacking. It uses the results oriented methods and strategies of hacking to analyze, explore and contextualize the human facial display as a site for digital computational expression. The contributions of this work include the following. 1) External facial control transgresses the neural performance limitations and enables us to think about facial movement from a digital computational choreographic paradigm. 2) A facial language, the Language of Facial E-motion, that allows systematic computational exploration of possible facial movement patterns. Choreologic probing of dynamic face space has brought about unseen facial movement patterns and has uncovered a latent expressive potential of the facial hardware. 3) An Electro-Facial Choreographic Nomenclature that describes the typical e-facial movement patterns in a binomial scheme that form the fundamental building blocks of electro-facial choreography. 4) External facial control has emancipated the human face from subjugation by the neural brain. Because the human face can be programmed at will, it can move freely, consistently and unencumbered; it metaphorically has attained Freedom of Facial Expression. 5) External facial control allows any external computational process to have unrestricted access to a possibly remote facial display. Consequently, the human facial display is made communist and has attained a Democratization of Facial Access on the hardware level. 6) On the meta level, the human face has found new uses, alienated from its original purpose of displaying the emotions, which is expressed by the German word “Zweckentfremdung.” 7) Facial hacking, as presented in this thesis, can be of value to the discussion about cross- or interdisciplinary artistic research as being clearly positioned in-between disciplines. 8) A facial control system that allows safe and concurrent facial muscle control by means of a multiplexed mono-polar muscle stimulus scheme.
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Robertson, Pandora. "SCRIPT ANALYSIS AND CHOREOGRAPHY: A STUDY OF INTERRELATING SKILLS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1238707399.

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Rawlings, Cara E. "The Civil War: A Collaboration in Direction and Choreography." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.

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This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and choreography applied The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography.
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Irvine, Rosanna. "Processual constructions : towards a non-representational poetics of choreography." Thesis, Middlesex University, 2015. http://eprints.mdx.ac.uk/18410/.

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The thesis advances the notion of non-representational poetics positioning this as a genealogical extension in the field of conceptual dance. Concerned with “the genesis of the act of thinking in thought itself” (Deleuze, 2004: 176) the thesis focuses on modes of thinking by choreographers and performers in developing and performing the works addressed. Acknowledging Dance4’s as yet under articulated support of challenging and experimental choreographic practices in the UK, a non-representational poetics is elaborated through an analysis of works programmed in Dance4’s Nottdance Festival 1999-2003, and through practical and written articulation of works by the author developed while Research Artist at Dance4. Chapter one introduces the multi-modal methods and positions the three text-based elements of works examined - the score for Schreibstück by Thomas Lehmen, The General Rules Score for Project by Xavier Le Roy and Fiona Templeton’s text for Invisible Dances by Bock & Vincenzi - as more-than archival remains. Chapter two presents the contextual and theoretical premise taking Jerome Bel’s critique of representation (Lepecki, 2007: 45) in the work Jérôme Bel as departure point. Chapter three argues that Thomas Lehmen’s Schreibstück expands Bel’s critique by exposing the structural and agential processes of a system that is not representational. The following four chapters are dedicated to four works that operate through the activation of agential relational processes: Xavier Le Roy’s Project, Bock & Vincenzi’s Invisible Dances and the author’s two works what remains and is to come (in collaboration with Katrina Brown) and Perception Frames. Chapters four to seven respectively argue that: what remains and is to come operates through intra-relational material processes, Project through social processes that generate collective decision-making, Invisible Dances through an ongoing embedding of perceptual sensing processes and Perception Frames, through processual instructions for giving attention in perceptual sensing. The research contributes new knowledge through its articulation of a non-representational poetics that operates in the conjoined and processual operations of agency and relations to produce the choreographic work.
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Wortelkamp, Isa. "Namen und Geschichten." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-186736.

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Der französische Choreograph Jérôme Bel setzt in seinem biographischen Zyklus von 2004-2009 das Verhältnis von Werk und Autor, von Choreographie und Choreograph in Szene, vor deren Hintergrund die Geschichten und Namen des Tanzes anders lesbar werden: Die Stücke Bels tragen als Titel die Namen der Tänzer, die in ihnen auftreten. Die Geschichte der Namensgebung in der Arbeit Bels ist auch eine Geschichte, in der sein Name als Choreograph und Autor verschwindet, wenn er erscheint und erscheint, wenn er verschwindet. Von diesem Grenz-Ort aus wäre jene Geste zu befragen, die Jérome Bel vollzieht, wenn er den Stücken, für die sein Name steht, als Titel den Namen der Tänzer gibt, die in ihnen auftreten.
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Milburn, Gayle R. L. "Being between : empathy and presence in the performance of 'open' improvisational dance." Thesis, University of Chichester, 2012. http://eprints.chi.ac.uk/950/.

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39

Preston, Sophia. "Revealing relationships : an analysis of the structural and expressive characteristics of dance and music in Siobhan Davies's Bridge the Distance." Thesis, University of Surrey, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308414.

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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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Fournier, Janice E. "Composing in dance : thinking with minds and bodies /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/7758.

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42

Bench, Harmony. "Choreographing bodies in dance-media." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930322891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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43

Wortelkamp, Isa. "Namen und Geschichten: Lesarten des Tanztheaters im biographischen Zyklus von Jérôme Bel." map - media archive performance ; 2014/5 (E-Journal, URL: http://www.perfomap.de), 2014. https://slub.qucosa.de/id/qucosa%3A6096.

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Der französische Choreograph Jérôme Bel setzt in seinem biographischen Zyklus von 2004-2009 das Verhältnis von Werk und Autor, von Choreographie und Choreograph in Szene, vor deren Hintergrund die Geschichten und Namen des Tanzes anders lesbar werden: Die Stücke Bels tragen als Titel die Namen der Tänzer, die in ihnen auftreten. Die Geschichte der Namensgebung in der Arbeit Bels ist auch eine Geschichte, in der sein Name als Choreograph und Autor verschwindet, wenn er erscheint und erscheint, wenn er verschwindet. Von diesem Grenz-Ort aus wäre jene Geste zu befragen, die Jérome Bel vollzieht, wenn er den Stücken, für die sein Name steht, als Titel den Namen der Tänzer gibt, die in ihnen auftreten.
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Di, Pasquale Vairo. "Verifica di Well-Formedness in un Tool per Choreography Automata." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21752/.

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In questo elaborato viene presentato un lavoro di estensione e miglioramento di Corinne, un tool per la lettura, composizione e proiezione dei Choreography Automata. Questi sono un modello emergente basato sul concetto di automi a stati finiti impiegato principalmente per la descrizione top-down di coreografie di sistemi distribuiti. In particolare il progetto si concentra nel l’implementazione della verifica di Well-formedness, caratteristica fondamentale di un c-automaton al fine di garantirne una correttezza strutturale, priva dei tipici errori della programmazione concorrente, come Deadlocks e le Race Conditions.
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Dellecave, Jessica Spring. "The Againness of Vietnam in Contemporary United States Antiwar Choreography." Thesis, University of California, Riverside, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3731833.

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The Againness of Vietnam in Contemporary United States Antiwar Choreography examines eight twentieth- and twenty-first century postmodern antiwar choreographies in order to uncover the reverberations of Vietnam antiwar protests in these dances. The choreographies I examine in this study are Yvonne Rainer’s 1970 M-Walk and 1970 (and 1999) Trio A with Flags, Wendy Rogers’ 1970 Black Maypole, Ann Carlson’s 1990 Flag and 2006 Too Beautiful A Day, Miguel Gutierrez’s 2001, 2008, and 2009 Freedom of Information (FOI), Jeff McMahon’s 1991 Scatter and Victoria Mark’s 2006 Action Conversations: Veterans. I theorize a concept called “againness,” in order to think through the multiple ways that repetitions specific to these particular choreographies continue to exist and to enact effects through time. I argue that repeated choreographic embodiment offers immediacy, nuanced response over time, expression through the bodies of former soldiers, and sites of mediated resistance such as live-streamed dance protest, to the United States public’s commentary on and critique of war. I conclude that choreography’s irregular and inexact repetitions are one of the ways that dance is especially apt for commenting on the large, never-ending, and ongoing traumas of the world such as war. My research extends established discussions about choreographic repetition and ephemerality, exchanging in questions of exactitude for conversations about impact. In particular, I show how the changes inherent to bodily repetitions reflect societal change, raise energy, garner power, and/or respond to current events. I study how politicized dances do not disappear after the time/space event of the initial performance, but instead linger on and reappear in unexpected moments. I thus parse out the many unbounded ways that protest choreographies happen again and again.

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Mitra, Saayan. "I/O-Automata based formal approach to Web Services Choreography." [Ames, Iowa : Iowa State University], 2009.

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47

Downes, Elizabeth Anne Jaynes 1957. "Psychological Ballet: An analysis of selected choreography by Antony Tudor." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/292068.

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The term "Psychological ballet" has been used in reference to Antony Tudor's ballets dating from John Martin's January 16, 1940, review of "Lilac Garden" in The New York Times. Until this thesis, the psychological ballet as a genre has been overlooked and left undefined. The Psychological Ballet can be defined by: (1) using Antony Tudor's "Pillar of Fire" as a model example and (2) analyzing the term "psychological ballet" into its two components "Psychological," and "Ballet," respectively. The contribution of drama, with attention to character, is explored. Those dance works which do not fall under the category of Psychological Ballet but are works whose themes "have mental origin or are affected by mental conflicts and/or states" will be defined as Psychogenic Works.
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Postle, Julia. "Dancing through the postmodern : Australian choreography in relation to postmodernism." Thesis, Queensland University of Technology, 1996.

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49

Feck, Candace. "Understandings about dance an analysis of student writings with pedagogical implications /." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1039440221.

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Sagolla, Lisa Jo. "Choreography in the American musical, 1960-1969 : the dramatic functions of dance /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11063798.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Includes tables. Typescript; issued also on microfilm. Sponsor: Judith Burton. Dissertation Committee: Nancy BrooksSchmitz. Includes bibliographical references (leaves 173-180).
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