Dissertations / Theses on the topic 'Dance action'
To see the other types of publications on this topic, follow the link: Dance action.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Dance action.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Howard, Suzanne, and suzieholidayhoward@hotmail com. "Learning to Dance." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080215.163153.
Full textAbstract:
This research will examine the various techniques of writing stage directions for choreography or dance action within a feature film script. I will discuss and analyse two methodologies for annotating choreography, both developed by experts in dance notation. I will also examine and interpret the observations made by film director, dancer and choreographer Bob Fosse about the purpose and objectives of dance action in feature film scripts. I will examine two case studies of contemporary feature film scripts that contain dance action. The selected scripts are Strictly Ballroom (Australia, 1992) and Flashdance (USA, 1983). These scripts do not use a published system of dance notation to write dance action. I will analyse and investigate the stage directions for choreography and dance action used within both scripts. The exploration of these various approaches to film choreography may form the basis for writing stage directions for choreography or dance action in my own feature length screenplay titled Learning to Dance. As a screenwriter with particular interest in dance I intend to employ dance sequences at different stages throughout my script as a story telling mechanism. It is important to me to be able to clearly communicate and translate choreographic direction into my script in a manner that ensures its eventual interpretation fulfils its original purpose in the story. Therefore I am seeking a methodology for translating and expressing dance sequences in an accurate and concise written form. One key outcome of my research may be the development of a structural and technical framework for providing choreographic direction appropriate to the conventions of screenplay writing. I therefore intend to contribute to the screenwriting field by attempting to develop a framework for providing stage directions for choreography within a film script and then applying this framework within my own screenplay, Learning to Dance. In addition to the study of choreographic notation I will explore the observations made by film theorists such as Adrian Martin, Jerome Delamater, Rick Altman, J.P Telotte and Steve Neal about genres that contain dance action as a defining characteristic. It is my intention to write a screenplay that in part, borrows from the customs and codes of an established genre or subgenre. Therefore my objective is to understand, appreciate and reflect upon the genre the best fits my vision of Learning to Dance. Learning to Dance is the story of Giselle Williams (18) who aspires to be a professional dancer. When Giselle's father is arrested for fraud Giselle is forced to abandon her wealthy surrounds to live and work in one of Melbourne's tough, inner city, high-rise public housing estates. Here Giselle meets her key support roles, Muslim siblings Yasmina (21) a talented belly dancer and her handsome brother and Giselle's future love interest Ali (20) who welcome Giselle into their humble, tight knit and family oriented community.
2
Brady, Adena Michelle. "The Evolutionary and Cognitive Basis of the Perception and Production of Dance." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10562.
Full textAbstract:
Dance is a universal and ancient human behavior; however, our understanding of the basis of this behavior is surprisingly weak. In this dissertation, I explore the cognitive and evolutionary foundations of human dance, providing evidence of two ways in which the production and perception of dance actions are rooted in the functions of more general cognitive systems.In doing so, I aim to both inform our understanding of dance, and use the study of dance to elucidate broader issues in cognition. Chapter 1 demonstrates that the ability to entrain, or move in time with an auditory beat, is not unique to humans. In addition, across hundreds of species, I find that all animals able to entrain can also vocally imitate sound. This supports the hypothesis that entrainment relies on cognitive machinery that originally evolved to support vocal imitation. Chapter 2 investigates the perception of dance-like actions. Previous work shows that we infer the goals of observed actions by calculating their efficiency as a means to external effects, like reaching an object or location. However, dance actions typically lack an external effect or external goal. In two experiments, I show that for dance-like actions, adults infer that the agents’ goal is simply to produce the movements themselves. Furthermore, this inference is driven by the actions’ inefficiency as a means to external goals. This inefficiency effectively rules out external goals, making movement-based goals the best explanation. Thus, perception of both dance and non-dance actions appears to rely the same type of efficiency-based goal inference. Chapter 3 builds on these findings, showing that the inference that the movements are the goal is closely related to our concept of dance. First, I find that participants view movement-based goals as more consistent with dance than with other activities. Second, I find that simply construing actions as having movement-based goals leads participants to view the actions as more dancelike, even when all participants have seen the exact same actions. Thus, even our categorization of actions as dance versus non-dance is rooted in the same cognitive processes as support our understanding of other intentional actions.Psychology
3
Weisman, Eleanor Frances. "A movement and dance residency at a Lakota Indian reservation school : an action research study /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335538536.
Full text
4
Donovan, Samantha Jane. "Professional development supporting the integration of dance in the primary classroom." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16389/.
Full textAbstract:
In 2002, the Queensland Schools Curriculum Council launched the Years 1-10 Arts Syllabus as one of the eight Key Learning Areas. This syllabus requires primary teachers to provide arts learning programs in the areas of Dance, Drama, Media, Music and Visual Arts. This syllabus was a landmark for arts education in Queensland as it became a mandate for primary teachers to teach each strand of the arts. This move is one of many recent changes in arts education evident across the globe reflecting a common move towards a broad arts education in schools. In alignment with the mandatory requirement of the Years 1-10 Arts Syllabus, primary teachers are now required to teach Dance, a subject which most have had little to no training or professional development in. This thesis will explore the research question, 'Which strategies used in professional development build competence and confidence in primary teachers to integrate dance in the primary classroom?' Through a series of school-based professional development workshops conducted at two Gold Coast primary schools, the research project utilized an action research approach (Kemmis, 1988) to investigate the effectiveness of this professional development approach. After collating and analyzing the data gathered from these two research sites, a number of key themes emerged around the initial resistance factors to dance professional development and the integration of dance learning in the classroom as well as the impact and influence of this professional development on teachers' competence and confidence. The research identified a range of professional development strategies including learning experiences, structures, resources and conditions that have impacted on the effectiveness of this professional development. Some of these strategies are dance specific while others are more generic and have broader implications for the development and facilitation of professional development of Queensland primary teachers.
5
Ghelfan-Eliyahu, Rotem. "The experience of a dance-movement rehabilitation programme for cardiac patients in Israel : action research in programme development." Thesis, Anglia Ruskin University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417178.
Full text
6
Altman, Holly Ann 1957. "Focused awareness in action: A system of movement experiences and its contribution to health." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/291484.
Full textAbstract:
Focused awareness in action was designed by the author as a system of movement experiences intended to enhance individual health and self-developmental processes. Drawing on principles of yoga, pranayama, modern dance, movement improvisation, and meditation, with group discussion as a means of integrating the above principles, form components were organized into a methodology for a course of study. The course of study was implemented in a project class and other workshop settings. As a result of these experiences, the thesis describes the structure and implementation of focused awareness in action. Speculations are made regarding its potential contribution to health and self-development. Most significant among the conclusions reached is the role of group interaction and interconnectedness in realizing the potential of the model.
7
Pronsato, Laura 1972. "Em equilíbrio precário : o trabalho do profissional da dança em ações socioeducativas." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253909.
Full textAbstract:
Orientador: Marcia Maria Strazzacappa HernandezTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-24T14:47:48Z (GMT). No. of bitstreams: 1 Pronsato_Laura_D.pdf: 10374868 bytes, checksum: 86f10ada9f92057f0b43c6ce1ff5e752 (MD5) Previous issue date: 2014
Resumo: Esta pesquisa parte da hipótese de que o crescimento de programas e projetos socioeducativos que utilizam a arte como ferramenta educacional instaura ambivalências no campo da dança, de seu ensino e nas condições de trabalho em que os artistas e educadores desta área se inserem. Questões que acarretam deslocamentos de sentidos com relação às concepções sobre a interface arte e educação. A isto soma-se o reconhecimento ou não destes profissionais como trabalhadores nessa esfera em que prevalece a não continuidade dos processos artísticos e educativos pautados por contratos temporários e parciais. Para entender melhor estas questões, o estudo se localiza na cidade de São Paulo e a partir do fim da década de 1980, período de significativas mudanças econômicas, sociais, educacionais e culturais do qual, no processo de redemocratização emerge uma crise discursiva que pode ser percebida na atualidade, entre os artistas e educadores de dança, a partir de conflitos e tensão identitários e conceituais sobre sua própria profissão. Configurou-se como pesquisa de caráter qualitativo em que se ressaltou a dialética e o processo autobiográfico, ao rememorar minhas próprias experiências, em simultaneidade com narrativas memorialísticas, advindas de entrevistas semi-estruturadas, de profissionais da dança que atuaram em ações socioeducativos e governamentais de São Paulo. Esta esfera revelou-se, prioritariamente, como lugar de passagem, entre tantos outros, que configuram as estratégias de obtenção de renda perpetuando um equilíbrio precário, próprio da profissão. As condições de trabalho neste contexto também desvelaram uma precariedade contraditória em que predominam sentimentos de desvalorização e desrespeito, muitas vezes, silenciados ou invisibilizados, pela valorização que cada profissional atribui aos pequenos, mas significativos, momentos artísticos na relação artista-educando. Neste sentido, a sonhada estabilidade não se refere necessariamente à financeira e sim ao reconhecimento como trabalhador da arte
Abstract: This research begins from the hypothesis that the growth of socio-educational programs and projects that use art as an educational tool creates ambivalences in the field of dance and the teaching of dance, and in the work conditions in which artists and educators of this area are inserted. Issues that imply a change of meanings in relation to the concepts on the art and education interface. To this, the recognition (or lack of recognition) of these workers is added, in this sphere in which the non-continuity of the artistic and educational processes prevail, due to partial and temporary contracts. For a better understanding of these issues, this study is located in the city of São Paulo, in a period beginning in the end of the 80¿s, a significant period of economic, social, educational and cultural changes, during which, in a process of re-democratization has emerged a discursive crisis that can be seen nowadays, among artists and dance educators, stemming from identity and conceptual conflicts and tensions in relation to the profession. This work has been configured as a qualitative research in which the dialectics and the autobiographical process are highlighted, in remembering my own experiences, simultaneously alternating with memory narratives, from semi-structured interviews, with dance professionals that have acted in socio-educational and governmental actions in the State of São Paulo. This sphere has primarily been revealed as a passage way, among many others, that constitute strategies to obtain income, thus perpetuating a precarious balance, a characteristic of the profession. The work conditions in this context also reveal a contradictory poorness in which feelings of underestimation and disrespect prevail, many times silenced or made invisible, by the value each professional attributes to the small, but significant artistic moments in the relation artist-student. In this sense, the so dreamed stability does not refer to the financial reality but to the recognition as an art worker
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutora em Educação
8
Salt, Susan. "Exploring the barriers to effective communication between senior doctors and patients in an out-patient setting using action learning (developing the dance of a medical consultation)." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511634.
Full textAbstract:
Background It is estimated that around a fifth of all complaints dealt with within the NHS involves some element of failure of communication between doctors and patients. The underlying hypothesis was that organisational issues were as relevant to episodes of poor communication as the failure of individual doctors. " Methodology Using action learning to explore the complex issue of communication is a novel approach but one that allows the researcher to hold in tension the complexity of the underlying process as well as trying to find themes and insights which might inform practice. The use of qualitative research within medicine is still in its infancy and is not without its limitations, however in the field of communication its use has brought about new understanding and insights through the application of speech act theory, systems thinking and information processing. In doing so it maintains integrity and relevance to clinical practice which, by definition, is often complex and ill defined. Results The research included the evaluation of five study days set up and run for senior doctors within one trust. This showed that giving senior doctors time to share their clinical experience and reflect on their clinical practice improved their confidence. A survey of patients' perceptions of communication within an out-patient setting across the same acute trust demonstrated that most patients felt that communication with doctors was good. A survey of the senior doctors confirmed that most enjoy working in the out-patient setting but that time constraints limit their overall satisfaction with the quality of their interactions. Following the action / reflection cycle a new model of understanding communication based on the metaphor of the dance was developed. Conclusion The model proposes that communication episodes should be seen from an organisational standpoint. Communication should not be seen as a sequential set of steps but rather as a random dance between two parties who have to find a common understanding of the issue being addressed. In finding that common ground external pressures that are both personal (time, energy levels) and organisational (NICE, NHS, GMC) must be acknowledged. Suggestions for further work to validate and expand the model are proposed.
9
Park, Hannah. "MOVING TOWARD "WE ARE!": ENHANCING CULTURALLY RELEVANT CREATIVE MOVEMENT PEDAGOGY FOR URBAN CHILDREN BY EXPLORING PERCEPTIONS OF SELF AND OTHER." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/145139.
Full textAbstract:
DancePh.D.
This study explored best practices for teaching creative movement to twenty-four urban second graders by examining their perceptions of self and others. Creative movement education programs rarely focus on the exploration of self and group identity through the lens of diversity. More importantly, few studies have examined how to implement creative movement programs through pedagogies best suited to urban children. Over 12 weeks of practice, observation, and reflection, extensive data were collected regarding the children's interactions and creative processes. The curriculum focused on individual and group identities and examined the experiences of the children with the aim of developing pedagogical methods that best suited their urban cultural backgrounds. The study sought to answer the following research questions: 1) What are the children's perceptions of themselves and others throughout the creative movement learning process? ; and 2) How can teachers use this knowledge to devise creative dance pedagogy for urban children and create holistic curricula that develop these perceptions? During bi-weekly dance sessions, the students and teachers explored the concepts of "self" and "group" by moving, discussing, sharing different dance styles and images, using props and being actively involved in creative movement and expression. The project culminated in a school performance, in which the children presented dances that they had developed that represented the content explored in the sessions. The data collected included video recordings of the children's actions and comments, reflective drawings and texts that the children created, and observational notes recorded by an assistant teacher and the children's homeroom teacher. The video recordings of each session were transcribed and analyzed. The children's drawings and written texts, and the teacher's observational and reflective journals, were also reviewed. All data collection involved in the study was approved by the Institutional Review Board (IRB) for human subject protocol. A qualitative research approach guided the analysis, with a focus on Action Research and ideas drawn from the philosophical doctrines of Phenomenology and Phenomenography. The recorded video sessions and resulting transcriptions were used to create narrative descriptions that shed light on the children's experiences and uncovered specific elements that were of use in the development and refinement of creative movement teaching practices. Despite presenting occasional challenges as a group, the children spontaneously improvised and developed movements that expressed their preferences. They used the class as a creative outlet-aesthetically, physically and, at times, emotionally. The children danced to express their individual and group cultures as well as their movement preferences, their personal traits, and their perceptions of others. The pedagogical approach to the class promoted identity and diversity in the teaching and learning environment, providing teachers with insight into best practices for teaching urban populations. The study's Action Research methodology involved a reflective cycle of planning, action, and result. It investigated students' perceptions of themselves and others through their responses to creative movement education, and studied how these perceptions impacted creative movement facilitation. It discovered best practices that take into account students' unique cultures and learning styles. These practices can be used as a foundation for facilitators of creative movement classes involving urban children, enabling the development of curricula that explore experience, promote cultural expression, and foster diversity in learning. They also offer disciplinary strategies that cater to the environmental standards and unique needs of urban students.
Temple University--Theses
10
Pinheiro, Ligia Ravenna. "YES, VIRGINIA, ANOTHER BALLO TRAGICO: THE NATIONAL LIBRARY OF PORTUGAL'S BALLET D'ACTION LIBRETTI FROM THE FIRST HALF OF THE NINETEENTH CENTURY." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429443828.
Full text
11
Arnaud-Bestieu, Alexandra. "L'incidence de l'épistémologie pratique des professeurs sur les savoirs co-construits en danse contemporaine : analyse comparative de trois cas contrastés à l'école élémentaire." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00634310.
Full textAbstract:
La thèse s'attache à rendre compte des processus de construction d'une référence en danse contemporaine à l'école élémentaire. Elle s'appuie sur l'observation de trois cycles d'enseignement au cycle 3 (CE2/CM1/CM2) conduits par des enseignantes aux parcours de formation contrastés. Recherche in situ, l'étude s'inscrit dans une perspective comparatiste. Elle prend appui sur la théorie de l'action conjointe en didactique (Sensevy et Mercier, 2007 ; Schubauer-Leoni et Leutenegger, 2008) et sur la théorie anthropologique du didactique (Chevallard, 1999, 2007) afin de mettre en évidence les liens entre phénomènes de co-construction des savoirs en classe et épistémologie pratique des professeurs observés. Elle mobilise par ailleurs la théorie du mouvement dansé de Laban (1947/2003, 1949/2007) qui offre un cadre conceptuel d''analyse du savoir danser permettant de caractériser cette épistémologie pratique. Le recours à une méthode dite "clinique/expérimentale" (Leutenegger, 2009) a permis de créer les conditions de la comparaison inter cas, tout en rendant possible des observations de l'ordinaire de l'enseignement dispensé. La confrontation des trois cas met en évidence l'incidence des rapports aux savoirs des professeurs sur la co-construction de la référence en classe. Les principaux résultats attestent d'une forte incidence des rapports au savoir sur les praxéologies didactiques et disciplinaires mobilisées par les trois enseignantes. La mise en évidence des effets de cette épistémologie professionnelle sur le savoir mis à l'étude permet en conclusion d'interroger le champ de la formation.
12
Bentley, Rosemary Diane. "Dancing with the Shadows of Wellbeing: An Exploration of Participatory Action Research Processes as a Catalyst for Transformation of Staff Wellbeing." The University of Waikato, 2007. http://hdl.handle.net/10289/2505.
Full textAbstract:
My abiding concern with human and planetary wellbeing and an emerging interest in the potential of Participatory Action Research as a method of engaging with restorative, life-enhancing ways of being are central to the research reported here. Chomsky (2003), Kelsey (2002), Roddick (2001), and Stiglitz (2003) are amongst many authors who argue that the way in which we shape and are shaped by our relationships with one another has contributed to an intolerable, inhumane and unsustainable compromise of human and planetary wellbeing. Through a Participatory Action Research (PAR) project with staff from Te Ra, a community based on the holistic ideals of Rudolf Steiner, and thus an organisation explicitly committed to holistic wellbeing of people and planet, we sought to explore the challenges to such wellbeing. While our mutual attention was focused on enhancing staff wellbeing at their place of employment, my wider attention was also given to an investigation of the value of a critical analysis to the wider political and economic context in which this organisation works to meet the aspirations of this community. My deep attention has also focused on the potential for PAR to make a contribution to the transformational aspirations of critical theorists who are concerned to uncover and transform aspects of society that inhibit justice and wellbeing of people and planet. My metaphor of choice, to allow me the engagement in all three spheres simultaneously, is the metaphor of Dance. In my work with the staff of Te Ra, our intent was to 'dance with the Shadows', alluding to Jungian references to hidden aspects of ourselves and this community, to discover if un-wellness and disconnection from self and others could be transformed into flourishing relationships and wellbeing in the organisation. McNiff (2000) proposes that PAR has the potential to generate living theories that redefine the main purpose of organisation theory in terms of human wellbeing. Throughout this research project, principles of PAR are woven in with work of critical organisational theorists, psychologists and anthropologists. The already established ideas of reflection, observation, reflexivity, and action are choreographed with the less often considered ideas of those aspects of the research relationship that may inhibit mutuality. While this organisation is explicitly and deeply committed to underpinning all that is aspired to with a relational ethic, the impact that instrumental practices associated with an intensifying neo-liberal economic external environment have not left this organisation untouched. It took commitment, courage and resources to identify and engage with the Shadows masked by intrinsic and extrinsic pressures and processes that these research participants were experiencing. Engaging in PAR processes allowed us dance 'up close and personal' with their aspirations to begin transforming what was not well, while recognising and reinforcing the organisation's existing strong philosophical and spiritual foundations that emphasized individual freedom and collective responsibility for wellbeing of all. Based on the significant transformations achieved during this project we posit that PAR provides a collaborative opportunity for academics and practitioners to 'dance with the Shadows' of individuals and communities to make a significant contribution to the development of sustainable relationships in workplaces where human and planetary wellbeing is the priority.
13
Yates, Rebecca. "Subjektobjekt och rörelsematerial : en diffraktiv läsning av dansens blivande genom subjektet." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-546.
Full textAbstract:
The aim of this study is to understand how dance is becoming through the subject. What agents are entangled in the process of becoming, and what hierarchies are at work within my practice. I want to find out how they figurate and see if it´s possible for these hierarchies to reach positions that are more anti- essential. The study wants to assist with the understanding of this multilayer of relationships that are ongoing in the becoming of dance. The study moves in relation to posthumanist theories, with emphasis on materialists such as Rosi Braidotti and her nomadic subject. The nomadic subject is significant and fundamental to the study because it uses materialistic understandings of the world while not renouncing the subject's previously situational experience and embodied knowledge and takes special considerations to both the external and internal complexity of the subjects becoming. In posthumanist theories, or materialism, material and non-material things as well as humans and non-humans have agency. It is the relationship between different kinds of matter that creates the understanding of what is in the process of becoming. Through diffractive readings, the understanding of intra-action, and with the nomadic subject as a theoretical base, this thesis wants to make visible the different aspects and relations that are active in the becoming of dance through the subject. In addition, linked to the research topic choreography, the study wants to contribute with knowledge about the expanded field of choreography by understanding how internal and external factors contribute to how dance is becoming through the subject. The study also wants to provide and develop understandings for didactical and pedagogical contexts. My own practice is the material on which this study is based and through it I seek understanding for my questions.
14
Parker, Herb. "A Monologue is an Outrageous Situation!: How to Survive the 60-Second Audition." Digital Commons @ East Tennessee State University, 2016. https://www.amzn.com/1138120014.
Full textAbstract:
A Monologue is an Outrageous Situation! How to Survive the 60-Second Audition explains how to successfully tackle the "cattle call" acting audition with a sixty-second monologue. Through Q&As, tips, director’s notes, and a glossary full of outrageous actions meant to inspire the actor into truly connecting with the piece, this book shows actors where and how to find a monologue, edit it, and give the best audition possible.https://dc.etsu.edu/etsu_books/1155/thumbnail.jpg
15
Martins, Giancarlo. "Uma nova geografia de ideias: diversidade de ações comunicativas para a dança." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4823.
Full textAbstract:
Made available in DSpace on 2016-04-26T18:15:48Z (GMT). No. of bitstreams: 1
Giancarlo Martins.pdf: 9816916 bytes, checksum: b4a396da42ac4d1ed91e23ce1a3a0232 (MD5)
Previous issue date: 2006-09-25Conselho Nacional de Desenvolvimento Científico e Tecnológico
In the last ten years, actions developed in dance, live and in the media, left the focus in Rio-São Paulo. Spread through several places in the country had taken a new geography of ideas that understand dance as a communication process of the body, organized as a thought that questions power structures, artistic procedures and boundaries between languages. This masters essay selects, as investigation corpus, some of these experiences employed in the education, in the circuit (festivals, shows and meetings), and in the research and creation in dance that, as survival strategy, creates decentralized cultural polar regions. The intend is to demonstrate that these experiences have propose new communication actions to dance. They push punctual changes in the dance market and in the development of public politics of cultural motivation and reconfigure, not only the esthetic system in which they are in, but the whole cultural system, contributing, in this way, for the dance survival and your effective insertion in the social fabric. As methodology, it was used a data analysis in a systematic way, that being, understanding the articulations between the investigated elements, based in the evolution theories proposed by the evolutionist scientist Richard Dawkins (2000-2001), in the concept of body and media proposed by the researchers Helena Katz and Christine Greiner (2000, 2001, 2003 and 2005) and in the cultural and political studies such as the ones developed by Bauman (1999), Agamben (2002), Bhabha (1998) and Foucault (1979 and 1996). Both, the bibliographic research and the field investigation (interviews and case studies) show that the strategies have been developed to recommend new ways of understanding and event organization, information flow and company conception and educational projects in dance. Actions that exist in the relation body and environment, in a contaminator flow, co evolutional, and non-determinist.
Nos últimos dez anos, ações desenvolvidas no campo da dança, em contextos presenciais e na mídia, deixaram de se concentrar no eixo Rio-São Paulo. Espraiadas por diversas regiões do país, têm desenhado uma nova geografia de idéias que entende a dança como um processo comunicacional do corpo, organizado como um pensamento que questiona estruturas de poder, procedimentos artísticos e as fronteiras entre as linguagens. Esta Dissertação de Mestrado foca, como corpus de investigação algumas destas experiências empreendidas na área de educação, de circulação (festivais, mostras e encontros) e de pesquisa e criação em dança que, como estratégia de sobrevivência, criam pólos culturais descentralizados. O objetivo é demonstrar que essas experiências têm proposto novas ações comunicativas para a dança. Impulsionam transformações pontuais no mercado da dança e no desenvolvimento de políticas públicas de incentivo à cultura e reconfiguram não apenas o sistema estético em que estão inseridas, mas todo o sistema cultural contribuindo, dessa maneira, para a sobrevivência da dança e sua efetiva inserção no tecido social. Como metodologia, trabalhamos a análise dos dados de maneira sistêmica, ou seja, entendendo as articulações entre os elementos investigados, a partir das teorias evolutivas propostas pelo cientista evolucionista Richard Dawkins (2000, 2001), do conceito de corpomídia proposto pelas pesquisadoras Helena Katz e Christine Greiner (2000, 2001, 2003, 2005) e dos estudos culturais e políticos tais como os desenvolvidos por Bauman (1999), Agamben (2002), Bhabha (1998) e Foucault (1979, 1996). Tanto a pesquisa bibliográfica, quanto a investigação de campo (entrevistas e estudos de casos) evidenciaram que estratégias vêm sendo desenvolvida para propor novos modos de entendimento e organização de eventos, circulação de informação e concepção de companhias e projetos educativos em dança. Ações que se dão na relação corpo e ambiente, num fluxo contaminatório, coevolutivo e não determinista
16
Crecis, Jorge. "Towards Vivencia : a dance training methodology that generates a peak performative state through the ritualisation of actions." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23329/.
Full textAbstract:
This thesis establishes the basis for a dance training methodology entitled Towards Vivencia, which aims to allow performers to modify their initial state of being in order to achieve peak performative experiences through the ritualisation of their actions. This practice as research draws from theoretical investigation and, primarily from the author’s current professional practice as a choreographer/director and from his background in different somatic practices such as martial arts, sports, and contemporary dance. The findings apply a new working term for the peak performative state the author associates with performance presence: vivencia, to refer to this particular state, as well as the experience that remains engraved in the performer’s existence as a result of an episode of extreme awareness of praxis during the continuous present moment in performance. The examination of whirling dervish dance and research on ritual behavior explain the process of ritualisation as an elaboration of the neurobiological propulsion towards constructing temporal communities. The way in which ritualising can be used to reify abstract concepts such as vivencia is explored. By contextualising what constitutes performance training and by analysing the methododology certain other directors and choreographers have employed to train performers, this research distils, condenses and reconstructs selected elements from dance training as well as from selected acting methodologies and adapts, synthesises and applies these for the purposes of Towards Vivencia. The last three chapters of this thesis, together with the videos that accompany it, form the kernel of a training methodology aimed at ritualising action in performance whose objective is to render the concept of vivencia real.
17
James, Reagan. "A Summer Experience as a Paid Actor: It’s Not All Broken Legs." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/406.
Full textAbstract:
A Summer Experience as a Paid Actor: It’s Not All Broken Legs
Thesis Statement: Finding out that you are going to be paid to act sounds like a dream come true, but there is a lot more to it than just the glitz and glam of the final product.
18
COREY, FREDERICK CHARLES. "PRINCIPLES FOR THE USE OF STYLIZED MOVEMENT DURING THE INTERPRETATION AND PERFORMANCE OF LITERATURE BASED ON MARTHA GRAHAM'S USE OF CLASSICAL TRAGEDY IN MODERN DANCE." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184153.
Full textAbstract:
The interpretation and performance of literature is a theatre art in which literary texts are transformed into staged productions. Novelists, poets, playwrights, and essayists use the symbols of written language to create an imagined world for their readers; interpretative performers present their audiences with this world through symbols of both speech and movement. Hence the interpretation and performance of literature incorporates a wide range of literary and performance theory. Unfortunately, little is known about how literary texts can be communicated through symbolic movement. The purpose of this study, then, is to propose principles of stylized movement which would be useful to the interpretative performer of literature. To develop these principles, Martha Graham's choreographic use of classical tragedy was investigated. Using a decriptive methodology based on Aristotle's elements of tragedy, four of Graham's ballets were analyzed in view of their literary sources: Cave of the Heart from Euripides' Medea, Night Journey from Sophocles' Oedipus the King, Clytemnestra from Aeschylus' The Oresteia, and Cortege of Eagles from Euripides' Hecuba and The Trojan Woman. As a result of this investigation, five principles emerged. Stated as descriptions of Graham's work, the principles are: (1) rhetoric shapes the form, (2) movement vocabularies are created, (3) synecdochical movement is expanded over time, (4) stage properties assume multiple meanings through movement, and (5) costumes expose movement and indicate character. By using these principles as guidelines, the interpretative performer may understand, create, and utilize stylized movement that communicates the ideas, images, and actions inherent in the text being staged.
19
Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
Full textAbstract:
Thesis (MDram (Drama))—University of Stellenbosch, 2006.Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
20
Thornton, Matthew Paul. "Finding Voice, The Body Speaks: Original Work and Counter-Hegemonic Performance and Practice." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4767.
Full textAbstract:
Graduate study in theatre has allowed me to understand my work as an artist and educator from a critical academic perspective. I have researched Butoh as a model for original work that employs multiculturalism against hegemonic control of personal identity. From my own training experience, I am recognizing Capoeira, Contact Improvisation, and Devising processes (co-creation or collaborative creative process in dance) as counter-hegemonic forms and techniques that share a physical/philosophical emphasis on communal engagement, improvisation, circularity and repetition. Looking at them together provides points of intersection for me to examine them as an artist, while posing questions for cross-cultural investigations. In this process, it has been crucial to consider my personal relationship with these forms along with the aesthetics and values associated
with them, their potential use in academic contexts, and their support as practices to match theoretical discourse towards a pluralistic and multicultural society.
21
Sirimarco, Gisela Dória. "A teatralidade na dança do grupo Primeiro Ato." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-19112010-091232/.
Full textAbstract:
Este estudo realiza uma reflexão sobre a teatralidade existente na dança do Grupo Primeiro Ato. Tem início em uma breve retrospectiva histórica da dança moderna brasileira, atravessando o período que vai dos anos vinte aos anos setenta do século passado, quando experiências de dança contemporânea começaram a surgir no cenário artístico nacional, traçando assim, um percurso do macro para o micro, do Brasil para a cena mineira e depois para o Primeiro Ato. Um duplo olhar, então, é construído. Primeiramente aquele que parte da dança em direção ao teatro, analisando alguns de seus criadores mais significativos, e em seguida do teatro para a dança, para chegar assim ao amálgama entre essas formas artísticas. Na parte final deste estudo, o espetáculo Sem Lugar foi escolhido como referência através da qual a teatralidade pode ser reconhecida como produto de um diálogo profundo com a dança, processo esse que é gerador, por sua vez, de diferentes dramaturgias que se interrelacionam, caracterizando um tecido poético que torna específico o trabalho do Primeiro Ato.This study represents a reflection on the theatricality developed by the Primeiro Ato Dance Group. It begins with a short historical retrospective of Brazilian Modern Dance, going through a period from the twenties to the seventies of the past century, a moment when aspects related to contemporary dance emerged in the Brazilian dance scene. In this way, a path was designed, from a macro to a micro point of view, from events occurred throughout Brazil to the State of Minas Gerais, and then to the work created by Primeiro Ato specifically. Then, a kind of Double approach was explored. Firstly from dance to theatre, analyzing some of its most important creators, and secondly from theatre to dance, in order to achieve what was called here the amalgam between these art forms. In the final part of this study, a production named Sem Lugar was chosen as a reference through which theatricality can be recognized as a result of a deep dialogue with dance, a process which generates, in turn, different dramaturgies that intertwine, characterizing a poetic layer which makes the work created by Primeiro Ato truly unique.
22
Buckner, Margaret C. "Laban for the Actor: The Mind/Body Connection." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4748.
Full textAbstract:
When it comes to actor training in higher education, an extremely strong emphasis is placed on understanding the voice and interpreting the text. While some institutions do incorporate movement courses into the curriculum of the students, many do not serve the learning actor in the most effective way. The work of Rudolf Laban is a way to strengthen the curriculum taught to actors, specifically in regards connecting actors to their bodies. This thesis discusses and analyses the use of Laban’s movement theory in the movement classroom, and focuses on the most effective way of presenting the material to the student. Included is research on Laban’s theories, the structure of a Laban for the actor course, feedback from participants, exercises crafted to better suit the learning actor, and connections to other acting and movement practitioners. The aim is to provide actors with a well-rounded toolbox that will assist them in creating more dynamic and livable characters. This thesis hopes to serve as a guide for both instructors of movement and students alike, providing all with a resource to refer to when working with the body on or off the stage.
23
Seals, Wesley S. "Collaborating Outside the Lines: Creating a Movement Vocabulary for the Stage." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5339.
Full textAbstract:
What is the role of a movement director in the American Theatre? Why is it vital for a movement vocabulary to be considered when creating theatre? This thesis analyzes the process of collaboration in educational and professional theatre settings. It attempts to show that through collaboration with a director of a piece of theatre, a movement director can help guide a theatrical event to a fully embodied performance that serves the text and fully forms a director’s aesthetic.
24
Donato, Carla di. "Alexandre Salzmann et le théâtre du XX siècle." Paris 3, 2008. http://www.theses.fr/2008PA030146.
Full textAbstract:
Alexandre Salzmann (S. ) est un « protagoniste paradoxal » du théâtre des premières années du XX siècle: on ne le voit jamais vraiment parmi les protagonistes, mais on le trouve toujours dans des évènements de tout premier plan, dont il constitue semble-t-il un des moteurs secrets. Inventeur de génie (dans la triade qu’il forme avec Appia et Dalcroze) d’un système d’éclairage ad hoc pour le spectacle chef d’oeuvre Orphée et Eurydice acclamé par tous les réformateurs et les artistes inquiets du début du Vingtième, S. Est célébré dans toute l’Europe comme le maître des lumières (Craig) et des variations les plus imperceptibles dans les tonalités de couleurs. Son itinéraire, et celui de sa femme Jeanne, épouse ensuite celui de Gurdjieff et de son Institut pour le Développement Harmonique de l’Homme (Fontainebleau-Avon, 1922). La reconstruction historiographique de l’activité de S. à Hellerau, d’abord, et de sa collaboration avec Gurdjieff, ensuite, trouve dans cette étude ses bases dans la recherche du lien existant entre sa première activité et celle avec Gurdjieff, au delà du rapport avec sa (future) femme Jeanne, et des liens existant entre les évènements et les relations qui, pour le théâtre qui ne termine pas dans le spectacle (Grotowski), l’a amené directement au centre de la “science du Mouvement”, fondement de la science du processus créatif, coeur quant à elle du théâtre du Vingtième. En conclusion, dans l’histoire du théâtre, le cœur du parcours de S. Se trouve dans les croisements entre personnes, évènements et lieux, en regardant, volontairement, dans la direction inverse: avec un regard “tête en bas”Alexandre Salzmann (S. ) can be considered a «paradoxical protagonist» of the beginning of the XX Century theatre: he can never be clearly identified among the protagonists, but he can always be discovered in all major events, which he appears to be one of the hidden engines of. Genial inventor (in Hellerau triad with Adolphe Appia and Émile Jaques-Dalcroze) of a lighting system created ad hoc for the masterpiece performance Orphée et Eurydice (1913), highly praised by all the theatre reformers and restless artists of the first half of the XX Century, S. Is celebrated all over Europe as maître des lumières / master of lights (Craig) and of the most imperceptible variations between shades of colours. Afterwards his itinerary (together with his wife, Jeanne) joins the one of Gurdjieff and his Institute for the Harmonious Development of Man (Fontainebleau-Avon, 1922). In this research the historical reconstruction of S. Professional experience in Hellerau, first, and collaboration with Gurdjieff, then, has its foundations laid in the following questions: how were the two mentioned experiences linked, out of his relationship with his (future) wife Jeanne? Which was the junction of events and relationships that, as per the theatre that does not end into the performance (Grotowski), led him straight to the centre of the “science of the Movement”, as hinge of the science of the creative process, heart of the theatre of the XX Century? To conclude, in the history of theatre the core of S. Itinerary can only be intercepted in the complex entanglement of people, events and sites, while intentionally looking at it with an “upside-down” approach
25
Montaud, Dominique. "Le rapport aux œuvres dans l'enseignement de la danse au collège : analyse didactique de l'évolution de l'épistémologie pratique d'un professeur d'éducation physique et sportive." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20002/document.
Full textAbstract:
Cette thèse étudie, dans le cadre de la théorie de l’action conjointe, l’évolution de l’épistémologie pratique d’un enseignant d’EPS non spécialiste en danse, en lien avec des stages de formation continue qu’il a suivis pendant trois ans. L’analyse longitudinale effectuée sur une durée de six ans a été menée selon une approche multidimensionnelle de données d’observation de séances. Un premier niveau s’intéresse au système de didactique-formation mis en œuvre dans chacun des trois stages. Un deuxième étudie les pratiques d’enseignement de la danse en classes de sixième selon deux échelles d’analyse. La première, macro-didactique, s’attache à décrire les pratiques et les savoirs mobilisés par l’enseignant au fil des années et à faire émerger des "jeux d’apprentissage" en lien avec les œuvres chorégraphiques. La deuxième échelle, micro-didactique, étudie plus spécifiquement, à partir de quatre jeux d’apprentissage, l’évolution du rapport aux œuvres chorégraphiques de ce professeur. Les résultats montrent que les savoirs mis à l’étude et les expériences réalisées pendant les stages de formation sont (re)convoqués et remaniés de façon singulière par l’enseignant au cours de l’action conjointe avec les élèves, contribuant à faire évoluer son épistémologie pratiqueThis doctoral thesis studies within the joint action theory in didactics the evolution of a teacher’s practical epistemology that has no expertise in dance. The analysis is in relation with teacher continuing professional learning sessions he followed during three years. A longitudinal six years analysis was conducted using a multi-dimensional approach of observational data lessons. At a first step the didactical system of professional learning sessions was studied. The second step concerns the observation of teacher’s practice in a middle school during physical education classes (students: 11 to 12 years). Two scales were used: the first macro-didactic scale describes the practices and the knowledge enacted by the teacher all over the years and contributes to define “learning games” which are in relation with choreographic artworks. The second micro-didactic scale examines in details the teacher’s relationships to choreographic artworks during four learning games. The findings show that the knowledge to be taught and learned as proposed during the professional learning sessions is remodeled and mobilized in singular ways during the joint action with students. All of this contributing to teacher’s practical epistemology moves
26
Barros, Isis Andreatta 1988. "Formas de contágio : estudo a partir da contaminação entre Mímesis Corpórea e dança contemporânea." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285000.
Full textAbstract:
Orientador: Ana Cristina CollaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T21:27:34Z (GMT). No. of bitstreams: 1 Barros_IsisAndreatta_M.pdf: 3785426 bytes, checksum: ec95e47558acf1536541571a67dfb058 (MD5) Previous issue date: 2015
Resumo: Este trabalho tem como ponto de partida explorar atravessamentos entre a Mímesis Corpórea, metodologia desenvolvida pelo Lume Teatro de Campinas, e a criação em Dança Contemporânea: O que há de mímesis na dança? O que há de dança na mímesis? Nos questionamos também se o contato com procedimentos da mímesis poderia fomentar disparadores teórico-práticos para a criação em dança. Ou qual seria a relevância desse levantamento para a dança na contemporaneidade. E para a minha dança. O interesse foi imergir em um processo investigativo cuja prática se pautou, especialmente, por uma experimentação individual, pessoal e solitária, culminando no desenvolvimento do experimento cênico intitulado "autorretrato em movimento". Assumindo a prática corporal como principal disparadora dos processos reflexivos, este texto contém o exercício de recriação dos laboratórios individuais em forma de escrita, mapeando as principais ressonâncias que o processo criativo suscitou. Nesse sentido, fez-se necessário traçar uma cartografia dos percursos de vida que alimentam esta pesquisa, reconhecendo o trabalho desenvolvido pelo Grupo Vão, coletivo de dança contemporânea do qual faço parte, como principal zona de imbricação da prática artística. Ao final, o trabalho assume como principal pressuposto a busca por um corpo que dança a experiência de "ser outros" a partir do contato com as próprias pulsões, ou seja, o "olhar para o outro" compreende, necessariamente, o "olhar para si". E considerando o movimento dançado fruto da relação de contágio entre o artista e o mundo, um dos interesses foi identificar o caráter autobiográfico da dança contemporânea para, então, reconhecer o corpo que dança sob a noção de uma identidade não fixa
Abstract: The starting point of this work is the exploration of the crossings between Body Mimesis, methodology developed by Lume Teatro de Campinas, and creation in Contemporary Dance: What is there of mimesis in dance? What is there of dance in mimesis? We also question if the contact with mimesis procedures could promote theoretical and practical triggers for creating in dance. In addition, what is the relevance of this survey to contemporary dance? What about my dance? The interest was to immerse in an investigative process, which practice was an individual, personal and lonely trial, culminating in the development of scenic experiment entitled "self-portrait in motion". Assuming body practice as the main triggering of reflective processes, this text contains the exercise of recreating individual laboratories in the form of writing, mapping the main resonances raised by the creative process. In this sense, it was necessary to draw a map of the life paths that feed this research, recognizing the work of Grupo Vão, contemporary dance collective to which I belong, as the main nesting area of artistic practice. Finally, this work takes as its main assumption the search for a body that dances the experience of "being others" as from the contact with its own instincts. In other words, "looking at others" includes necessarily "looking at oneself". In addition, considering danced movement as fruit of contagion between the artist and the world, one of the concerns was to identify the autobiographical aspect of contemporary dance and then recognize the dancing body under the notion of a non-fixed identity
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
27
Brakey, Eric. "Orpheus: The Adaptation of Myth for the Theatre." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1283197360.
Full text
28
Papantoniou, Nowak Stéphane. "Le livre. Dedans / Dehors. Autour des éditions Al Dante : la question du medium : Livre, transmédialité et intermédialité. Contemporanéité et avant-garde. Questions de création littéraire et artistique. L'édition comparée." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEN002.
Full textAbstract:
Cette thèse se propose d’étudier des pratiques poétiques dans et hors du livre à partir de parcours de poètes « passés » par les éditions Al Dante. Il s’agissait de questionner en particulier la notion de « performance », souvent réduite à une dimension scénique. Ou encore l’idée d’avant-garde, trop souvent limitée à une histoire politique close. L’idée d’avant-garde n’apparaît plus comme principe de structuration du groupe, mais comme spectralité agissante, conduisant à mêler des enjeux politiques — critique des institutions, critique de la langue dominante, contestations des places assignées par la culture — avec des enjeux esthétiques. Il est donc question de traduction poétique comme actualisation de la situation politique, et de transmédiation.L’approche stylistique a été progressivement supplantée par une approche médiologique pour problématiser des pratiques hétérogènes. La spécificité de la maison d’édition Al Dante nous permet de replacer le livre dans un écosystème poétique plus général, où le livre n’est plus la seule finalité, mais la médiation entre un processus de création et des manifestations publiques. Aussi peut-on lire ce moment contemporain non seulement comme l’émergence de thématiques dominantes, mais aussi comme une mise en crise de la centralité du livre et de son économie. La pratique des éditions Al Dante nous a donc amenés à défendre une « théorie du geste éditorial » qui ne se réduit pas à la mise en page d’un manuscrit, la production d’un livre et sa commercialisation, mais amène parfois à la création de livres qui ne possédaient pas d’espace éditorial. Repousser les frontières de l’édition, penser la spécificité du livre de « poésie-action » n’est pas sans paradoxes : déstructuration de la linéarité des discours, reconfiguration de l’espace de la page, adaptation spécifique des formats des livres et des polices de caractères. Ces pratiques ont pour enjeu la dimension performative du livre. En cela, on participe d’une manière renouvelée à une « performance typographique »This doctoral thesis offers to study poetic practices in and out of the book from poets’ itineraries published by the Al Dante publishing house. The thesis is questioning the performance's notion, most often reduced to its scenic's dimension, but also the avant-garde's idea, too often limited to a political history which has ended. The avant-garde notion doesn't appear anymore as the element structuring the group but as an acting spectrality, leading to mix political issues - criticism of the institutions, criticism of the dominant language, challenges the places assigned by culture - with aesthetic issues. It is therefore a question of poetic translation as actualization of the political situation, and of transmediation. The stylistic approach has been gradually supplanted by a mediological approach to problematize heterogeneous practices. The Al Dante publishing house specificities allow us to see the book in a more general poetic ecosystem, where the book is no longer the only purpose, but the mediation between a process of creation and public events. So we can read this contemporary moment not only as the emergence of dominant themes, but also as a crisis of the book’s centrality and its economy. The Al Dante publishing house practices has led us to defend a theory of “editorial gesture” that cannot be reduced to the layout of manuscript or the production of a book and its marketing, but sometimes leads to the creation of books that didn’t find an editorial space. To push the boundaries of edition, to think the specificity poetry-action’s book is raising paradoxes: the disintegration of the linearity of the speeches, the reconfiguration of the page’s space, the specific adaptation of the books forms and fonts. These practices concern the book’s performative dimension. So it participates in a renewed way to a "typographic performance"
29
Vallet, Cécile. "L'improvisation dans les pratiques physiques et artistiques : contribution à la compréhension des processus attentionnels et mnésiques en jeu dans la génération d' actions." Bordeaux 2, 2001. http://www.theses.fr/2001BOR28883.
Full text
30
Peter, Caroline Silveira. "Enlace de princípios = dança moderna/Martha Graham e Lume/Unicamp em diálogo." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283953.
Full textAbstract:
Orientador: Renato FerraciniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T18:20:46Z (GMT). No. of bitstreams: 1 Peter_CarolineSilveira_M.pdf: 1050767 bytes, checksum: 65f53ab53b6563fb4924d45b8a44143d (MD5) Previous issue date: 2009
Resumo: A presente dissertação visa a contribuir para a discussão acerca dos procedimentos técnicos para a formação do ator-bailarino. Para tanto, estuda duas propostas formativas de corpo-em-arte, Dança Moderna/Martha Graham e o método de trabalho desenvolvido pelo Lume - Núcleo de Pesquisas Interdisciplinares de Teatro da Unicamp. Também identifica e descreve os princípios norteadores destas duas práticas, correlacionando-os para, assim, analisar as possibilidades de semelhanças existentes entre os mesmos. A partir de experiência prática com ambas as técnicas, especulou-se que pudessem existir princípios comuns entre ambas e relações entre os trabalhos técnicos desenvolvidos, apesar dos resultados cênicos serem diferenciados, não se constituindo como objetos de interpretação neste estudo. Desse modo, foi analisada a possibilidade de diálogo existente entre alguns princípios que compõem o fazer prático dessas propostas, tomando como ponto de partida o trabalho de campo realizado com Carlos Simioni, fundador do Lume, e com Nair Moura, professora de dança moderna e discípula de Cecy Frank
Abstract: The present study aims at contributing to the discussion concerning the technical procedures for the formation of the actor-dancer. In order to do that, it analyzes two formative proposals of body-in-art, Modern Dance/Martha Graham and the method of work developed by LUME - Nucleus of Interdisciplinary Research on Theater from Unicamp. It also identifies and describes the principles of these two practices, correlating them for, thus, analyzing the possibilities of similarities between them. From the practical experience with both techniques, it was speculated that there could exist common principles between both and relations between the technical works developed, although the scenic results are different and do not constitute an object of interpretation in this study. This way, it was analyzed the possibility of dialogue between some principles that compose the practical aspect of these proposals, having as a starting point the field work carried out along with Carlos Simioni, founder of LUME, and with Nair Moura, teacher of modern dance and Cecy Frank's disciple
Mestrado
Artes
Mestre em Artes
31
Vine, Tereza Margarida Morini 1954. "Dança vocal : a voz do movimento, o movimento da voz." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284797.
Full textAbstract:
Orientadores: Veronica Fabrini Machado de Almeida, Sara Pereira LopesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T04:14:25Z (GMT). No. of bitstreams: 1 Vine_TerezaMargaridaMorini_M.pdf: 4171296 bytes, checksum: 510d997e312ab8f4483db70b0238ae9b (MD5) Previous issue date: 2004
Resumo: Este trabalho faz uma reflexão sobre o movimento cênico em seu contexto na contemporaneidade. Ele nasce como resultado das investigações proporcionadas pelo método de Vocal Dance & Voice Movement Integration, organizado por Patrícia Bardi. Analisa o processo do pensamento humano em relação a ser corpo em movimento, discutindo os aspectos da visão dualista de mundo em contraponto aos conceitos que buscam entender o ser humano como entidade única. Este estudo ressalta a importância dos princípios bio-anato-fisiológicos para o processo de desenvolvimento do performer e os aponta como uma possibilidade de entendimento do individuo consigo mesmo e no seu processo do fazer artístico. Sendo o movimento princípio da vida e da arte, a Dança Vocal apresenta-se como uma proposta para exploração e descoberta de processos criativos. É dirigido à profissionais, professores e alunos, bem como àqueles que se interessam pela arte do movimento
Abstract: The focus of this work is concerned with expressive movement within contemporary art. It was developed through the investigations inspired by the Vocal Dance & Voice Movement Integration methods created by Patricia Bardi. An analysis of human thought processes in relation to the body and how they have changed over time is presented. The work then discusses the philosophy of dualism and continues by examining the more recently accepted ideas of a more unified or holistic approach to life. This study looks at the importance of understanding the anatomical aspects of movement as a method for developing artistic works and suggests the use of Vocal Dance techniques for creative exploration. Professionals, teachers, students and anyone interested in body-mind processes will hopefully benefit from the subjects covered.
Mestrado
Artes
Mestre em Artes
32
Costa, Daniel Santos 1986. "Encruzilhadas do corpo (em) processo : f(r)icção arte-vida na criação de uma dança-teatro brasileira." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285211.
Full textAbstract:
Orientador: Grácia Maria NavarroDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T14:55:44Z (GMT). No. of bitstreams: 1 Costa_DanielSantos_M.pdf: 16488446 bytes, checksum: 1c8379dbcd0464841316d500a8d233f2 (MD5) Previous issue date: 2014
Resumo: Esta dissertação apresenta as encruzilhadas de um corpo em processo de criação, profanando possibilidades autorais para a produção de conhecimento nas artes da cena a partir de uma perspectiva dialógica a qual busca friccionar arte e vida. O corpo (em) processo, visto sob um prisma da autobiografia de um sujeito que fala de si, experimenta epistemologias locais advinda do universo da oralidade popular brasileira como tentativa de fuga dos processos centralizadores, além disso utiliza a autoetnografia como uma possibilidade metodológica para projetar seu ponto de vista sobre o mundo através das artes da cena. Nessa práxis, o corpo sensível percebe o mundo e dialoga com ele, destacando um peculiar modo de fazer-pensar a cena contemporânea neste entrelugar que é a encruzilhada, um espaço possível para o híbrido. De tal local, foi possível emergir um ponto de vista privilegiado no sentido da multiplicidade que o referido espaço provoca, seja na possibilidade do novo, do vir a ser, ou, mesmo, nas provocações e referenciais deste. A resultante experimental do processo em questão é apresentada na forma de uma dança-teatro brasileira a qual problematiza uma construção teórica a partir da prática. O diálogo revelou um sujeito/personagem singular que entrecruza, em seu cotidiano, devoções populares ¿ Umbandas e Folias de Reis, realidade e ficção, memória e presentificação, constituindo um personagem que apresenta comportamento cultural de "um brasileiro" dentre as tantas possibilidades de "ser brasileiro" que a pluralidade da cultura nacional promove. Elucida-se, então, a importância da instauração de processos de criação para a produção das especificidades que geram conhecimento nas artes da cena com levando em conta as possibilidades de descobrir caminhos próprios, singulares, além de questionar a inversão ou o descarte de hierarquias, problematizando suas essências e produzindo uma cena pautada na diferença, na desestabilização dos centros reguladores do pensamento dominante
Abstract: This master¿s thesis presents the crossroads of a body in a creation process, profaning authorial possibilities for the production of knowledge in the performing arts, from a dialogic perspective, which desires to friction art and life. The body (in) process, seen by the prism of an autobiographical individual that speaks of himself, experiences local epistemologies coming from the universe of Brazilian popular orality as an attempt to escape from centralizing processes. Moreover, he uses autoethnography as a methodological possibility to project his point of view about the world through the performing arts. On this praxis, the sensible body realizes the world and dialogues with it, highlighting a peculiar way of doing - and thinking over - the contemporary scene in this in-between place, the crossroads, a possible space for the hybrid. From such position, it was possible to emerge a privileged point of view in the sense of the multiplicity that the reported space provokes, either when it comes to the possibility of the new, of something that comes to become something else, or even when related to its provocations and references. The experimental process result under discussion is presented in the form of a Brazilian dance-theater, which will be capable of problematizing a theoretical construction through practice. The dialogue revealed a singular subject/character that intersects in their daily life, popular devotions - Umbanda and Folia de Reis, reality and fiction, memory and presentification, constituting a character presenting cultural aspects of a "Brazilian" among the many possibilities "be Brazilian" that the diversity of national culture promotes. Hence, it is elucidated the importance of establishing creation processes for the production of specificities that beget knowledge in the performing arts taking into account the possibilities of discovering personal, singular ways, besides questioning the inversion or the discard of hierarchies, problematizing their essences and producing a scene based on difference, on the destabilization of centers that regulate dominant thinking
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
33
Colla, Ana Cristina 1971. "Caminhante, não ha caminho. Só rastros." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284047.
Full textAbstract:
Orientador: Suzi Frankl SperberTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-15T18:09:36Z (GMT). No. of bitstreams: 1 Colla_AnaCristina_D.pdf: 8377075 bytes, checksum: ba7c43959a498a2aab38da24874afca5 (MD5) Previous issue date: 2010
Resumo: O presente projeto se desdobrou entre o território da prática e o da escrita. Duas linhas de investigação paralelas e complementares, possíveis no trabalho do ator. Após dezessete anos de pesquisa coletiva no Lume como atriz pesquisadora, tornou-se urgente vivenciar um novo desafio, colocar-me novamente em situação de risco, experimentar um processo prático de pesquisa que conduzisse a uma ressignificação de meus códigos corporais e à ampliação dos mesmos. Propus-me a construção de um espetáculo solo sob a orientação e direção do dançarino de Butoh Tadashi Endo, cujo mote criativo foram memórias de infância. Após meses de investigação deu-se origem ao espetáculo "Você", nossa narrativa poético-prática. Foram realizadas, até o momento, 39 apresentações públicas, nas cidades de São Paulo, Goiânia, Araraquara e Campinas. Quando nos propomos a uma narrativa escrita sobre um processo de criação de um espetáculo teatral e os procedimentos que envolvem essa investigação e a apresentação cênica resultante desse processo, nossa narrativa da cena, circulamos entre duas narrativas distintas, cujos receptores também possuem diferentes expectativas: os que acessam através da escrita, esperam encontrar "viabilidade", comprovação, verossimilhança, nos procedimentos aplicados e o receptor da poética cênica pretende ser encantado. Racional e sensível. Como unir as duas vias na narração escrita, sendo também ela uma criação poética capaz de seduzir, conduzindo o leitor aos meandros da criação, associando a ela a informação, compreensível em si? O que se ambicionou foi que através da narração dos fatos se desse a organização dos procedimentos da experiência adquirida e na vivência das experiências a construção da memória do corpo, na organização dos procedimentos sua repetição e possível transmissão. Experiência, narração e informação. Imagem e memória. O ator que se propõe a escrever sai da cena para integrar outros papéis, o de narrador de uma experiência particular e única, do qual é parte integrante. Qual é a narrativa possível foi uma das buscas desse projeto. Como organizar procedimentos de maneira a auxiliar sua visualização, análise e avaliação bem como sua transmissão, mantendo o princípio do frescor da experiência? Elaborar uma narrativa, também ela, capaz de provocar uma experiência em quem a recebe. Organizar uma experiência singular de maneira a ser plural
Abstract: This Project developed itself among territories of practicing and writing. Two parallel ways of investigation, possible in the actor's work. After 17 years of collective research at "Lume" as a researcher actress, turned out urgent to live a new challenge. To put myself again in a risky situation, to experiment a practical research process that led me to a new position of my body codes and their enlargement. I propose myself to the creation of a solo show under the direction and orientation of a Butoh's dancer - Tadashi Endo - which creative motives were childhood memories. After some months of investigation the show "You" was created, our poetic and practical story. Until this moment, 39 public shows were presented in the following cities: Sao Paulo, Goiania, Araraquara and Campinas. When he propose ourselves to a written narrative about a creative process of a theatric show and all the procedures that involves these investigations and the scenic presentation that results from this process, our narrative scenes, we went through two different narratives which also have two different expectations: those that have the access of the writing expect to find viability, proves and similarity in the applied procedures. And the receptor of the scenic poetry intends to be enchanted, rationally and sensitively. How can you put together these two ways of written narrative which are also the poetic creation, able to seduce, leading the readers to the ways of creation, and associating these ways to the information comprehensive in itself? The ambition was that through the narrative of the facts, the organization of the procedures of the experiences could happen, and in living these experiences, the construction of the body memory, their repetition and possible convey. Experience, narrative and information. Image and memory. The actor that proposes to write gets out of the scene to integrate other parts, the part of the narrator of a unique and particular experience that makes him a full part of that. The possible narrative was one of the searches of this project. How to organize procedures in a way that could help its view, analysis and evaluation, as much as it's convey keeping the principle of the experience freshness? To elaborate a narrative that it's also able to cause an experience to the one that receives. To pass through a singular experience and turn it in a plural way
Doutorado
Artes Cenicas
Doutor em Artes
34
Vors, Olivier. "L'activité collective en classe d'éducation physique dans les collèges ECLAIR : étude anthropologique des situations de travail par ateliers en gymnastique et contribution à la connaissance des interactions dans les milieux éducatifs "difficiles"." Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2011. http://tel.archives-ouvertes.fr/tel-00800276.
Full textAbstract:
L'objectif de cette recherche était d'étudier l'activité collective dans les classes de collèges ÉCLAIR en EPS lors d'un dispositif de travail par ateliers en gymnastique avec des enseignants "réussissants". Dans ces classes, une des difficultés majeures pour les enseignants est la mise au travail durable des élèves. Au cours de la leçon, l'activité collective est particulièrement instable en raison d'une activité des élèves marquée par de nombreux décrochages, un refus de travailler, une agitation continue pouvant aller jusqu'à la violence. Toutefois, certains enseignants "réussissants" parviennent à faire travailler le collectif d'élèves de façon relativement durable au cours de la leçon. Cette recherche a donc analysé le travail collectif dans les classes avec ces enseignants pour identifier sa forme typique et comprendre les processus à partir desquels il se construisait. Elle a été conduite dans le cadre théorique et méthodologique du Cours d'action, permettant d'appréhender l'activité collective à partir d'une entrée par l'activité et le sens pour les acteurs. Les études de cas se sont déroulées dans des collèges ÉCLAIR de la banlieue lilloise, en EPS, lors de 27 leçons de gymnastique par ateliers. Sept enseignants "réussissants" et 37 élèves ont été filmés puis amenés à exprimer leur expérience vécue en classe lors d'entretiens d'autoconfrontation. L'activité collective a été renseignée à deux niveaux d'analyse autonomes et interdépendants : d'une part, celui de l'activité individuelle-sociale de l'enseignant et des élèves par croisement des matériaux relatifs à la description des comportements observés en classe et ceux relatifs aux verbatim d'entretien ; et d'autre part au niveau de la configuration de l'activité de la classe en repérant les points d'articulation entre l'activité de l'enseignant et celle des élèves et en identifiant la forme de l'activité collective qui en émerge. Les résultats montrent que malgré une constante agitation dans les ateliers de gymnastique, une activité collective de travail domine dans la classe sans qu'une perturbation majeure vienne rompre les leçons étudiées. Premièrement, l'analyse de l'activité individuelle-sociale a fait ressortir deux traits typiques : une forme bipolaire organisée par la dyade " travail - jeu " pour les élèves et par la dyade " instruction - contrôle " pour l'enseignant. Deuxièmement, la configuration d'activité collective en classe a une forme studieuse typique : elle repose sur des processus d'ostension et de masquage permettant l'articulation des activités de l'enseignant et des élèves dans la classe. Les conclusions de cette étude permettent de répondre à des visées épistémiques concernant la compréhension de l'activité collective et de sa construction, ainsi que des visées transformatives apportant des éclairages sur les pratiques d'apprentissage et d'enseignement dans les classes issues de milieux " difficiles ".
35
Williamson, Takisha. "New Media Technology Strategies in the Performing Arts: A Case Study on Groundworks Dancetheatre's New Media Project." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1394922038.
Full text
36
Invartsen, Mette. "EXPANDED CHOREOGRAPHY : Shifting the agency of movement in The Artificial Nature Project and 69 positions." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-177.
Full textAbstract:
Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’.LINKS
https://vimeo.com/164552586
https://vimeo.com/164558381
37
ElBashir, Mussa. "La pédagogie de l’acteur dans le "théâtre intermédiaire" de Kassim Bahatly." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080095.
Full textAbstract:
Kassim Bayatly, metteur en scène, pédagogue, acteur et théoricien du théâtre, propose une vision théâtrale mettant en avant le corps de l’acteur en tant qu’unité où s’associent le physique et le psychique, le corporel et le spirituel. Cette approche, qui n’est pas étrangère à l’anthropologie théâtrale, privilégie le mouvement, les signes, les gestes, c’est-à-dire la phase pré-expressive de l’acteur-performer. Pour ce faire, Bayatly est allé se ressourcer dans le patrimoine arabo-musulman, en particulier dans les rituels soufis, dans les mythes, les chants et la danse orientale. Ce retour au passé a permis de découvrir une grande richesse du vocabulaire définissant le corps (jism, badane, jassad) et une variété de voix et de rythmes (iqa’at), de mélodies (maqamat) et de récits (hakawati), dont la force réside dans la capacité de produire des actes scéniques utilisant les énergies cachées du corps. En même temps, il va puiser dans une nouvelle forme de théâtre, développée en Europe et ailleurs par des praticiens comme Brecht, Stanislavski, Brook, Barba, etc. faisant de l’acteur le noyau central de l’activité scénique, d’où l’importance de la notion de pédagogie, de préparation de l’acteur et de sa capacité à improviser. L’accent est également mis sur le rapport intime entre l’acteur et le spectateur, sur cette communion entre les deux protagonistes qui donne vie au théâtre.Cet emprunt fait à différentes cultures théâtrales explique la création par Bayatly du groupe « Al Arkan » et le nom de « théâtre intermédiaire » choisi par l’auteur. Cette orientation soulève néanmoins quelques interrogations : le théâtre intermédiaire de Bayatly peut-il être envisagé comme une manière de poser une synthèse d’expériences diverses nées du contact de l’Occident et de l’Orient ? S’agit-il de dégager des nouvelles techniques qui serviront de méthode d’entraînement de l’acteur-performer, comme semble le suggérer Bayatly ? Et dans ce cas, en quoi la pédagogie de l’acteur dans le « théâtre intermédiaire » de Bayatly serait-elle différente de celle que l’on rencontre dans la pratique théâtrale en générale ?L’objet de cette étude est d’apporter un début de réponse à ces questionnementsKassim Bayatly is a director, a pedagogue, an actor and a theater theorist. In his work, the actor's body is an unity where physical and psychic dimensions, body and mind are one. This way of thinking, close from an anthropological point of view on theater, considers as fondamental : movements, gestures, perceptions, everything in fact that the actor does in the « pre-expressive » phase of the actor-performer.To this end, he went back to muslim-arabic culture, mostly in sufi rites, in oriental myths, songs and dances. This trip in the past enables him to find a huge range of words describing the body (jism, badane, jassad) and many different voices and rythms (iqa'at), tunes (magamat) and stories (hakawati). Their strength comes from the way they arise dramatic actions using the hidden energy of the body.At the same time, he draws in a new theater form from Europe and other countries with directors and actors such as Stanilavski, Meyerhold, Grotowski, Brook, Barba... This modern theater considers the actor as the central core of the stage performance. To this end, teaching work, actor's training and his ability to improvise are very important. So is intimacy between audience and actor so as to create a communion between the two protagonists who gives life to theater.Karim Bayatli borrows elements of various theatrical cultures. Therefore, he creates the « Al Arkan » theater group and gives to his theater the name : « intermediary theater ». This choice can neverthelesse be questionned : Can the « intermediary theater » of Bayatli be considererd as a synthesis of experiences coming from the relationships between East and West ?Must we find in his work news methods to improve technics of actors' training, as Kassim Bayatly claims ?In this case, what is different in Bayatly « intermediary theater » teaching work from the usual way of training actors ?The major aim of this work is to answer this questions
38
Dall'Olmo, Alecsandro. "Bailarino-ator-autor : a experiência do corpo biográfico no fazer de companhias gaúchas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17245.
Full textAbstract:
O estudo busca contribuir para a reflexão sobre a experiência do bailarinoator sobre a cena contemporânea, onde se exige a presença de um corpo concreto, mas igualmente um corpo pensamento; um corpo capaz de captar seu espaço exterior e ao mesmo tempo um corpo transparente, revelador de seu avesso. Na intersecção dança e teatro, o estudo reconhece o papel preponderante de Vaslav Nijinsky, Pina Bausch, Antonin Artaud e Jerzy Grotowski no surgimento deste novo sujeito da cena e a influência do fazer no bailarino em Porto Alegre e examina, à luz de referenciais filosóficos questões referentes ao movimento como impulsão vital, ao corpo-pensamento, a autoria e a presentificação. Nesta perspectiva, o movente imaginado por Artaud e delineado por Nijinsky encontra eco no bailarino-ator de Pina Bausch. Grotowski e a coreógrafa alemã encontramse no empenho pela libertação do corpo e na realização de procedimentos capazes de promover o mergulho profundo do artista sobre si mesmo. Assim, o bailarino aparece, em última instância, como autor de um novo corpo, obra artística que incita à recriação da organização do mundo.This study seeks to contribute on the reflection about the dancer-actor experience on the contemporary scene, which demands the presence of a concrete body but equally a thought-body: a body able of capturing its external space and at the same time able of being a transparent body, that reveals its inside out. On the theatre-dance intersection, the study acknowledges the preponderant role of Vaslav Nijinsky, Pina Bausch, Antonin Artaud and Jerzy Grotowski in the emergence of this new scene subject and on the influence of Porto Alegre's dancer performance. Through philosophical references, the thesis looks at questions concerning movement as vital impulse, as well as the thought-body, the authorship and the presentification. In this perspective, the dancer imagined by Artaud and shaped by Nijinsky finds his/her resonance on Pina Bausch's dancer-actor. Grotowski and the German choreographer meet on the commitment for the body freedom and in the creation of procedures that promote the deep immersion of the artist on him/her self. Therefore, the dancer emerges, as last resort, as author of a new body, work of art that arouses to recreate the world organization.
39
Haung, Lin-Hsuan, and 黃齡萱. "An Action Research on Applying Labanotation into Teaching Modern Dance for Young Dancer." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/75884338998018100377.
Full textAbstract:
碩士台北巿立體育學院
舞蹈碩士班
95
This research aimed to explore the application of Labanotation in modern dance teaching by raising the question that how Labanotation can be incorporated into the teaching process, in particular for young dancers. ( Junior high students in my case) Having gone through both teacher’s journal and students’ learning sheets, the researcher observed the method of triangulation, via which the researcher carried in-depth discussions with observers and dancers as well. Eventually, some inspiring findings came out of my research. 1. Given the fact that repetition enables students more familiar with dancing movements as well as notation symbols, four major forms of Labanotation teaching approaches- telling, flash cards, demonstration, and group performance- were placed evenly in each teaching unit. 2. For most students, the notation symbols in the intermediate Labanotation were easier to memorize than to dance to. Despite their efforts to read out the intermediate Labanotation, they still made little progress in catching up with it or following it to make proper paths and movements. 3. Labanotation symbols had certain influences on their movement cognition, alternation and observation, students, however, agreed that interactive peer activities actually reinforced their understanding for Labanotation, reflecting on their own movement from others’. Finally, Labanotation as an approach fundamental to dance teaching/learning was strongly recommended to be introduced to students before tertiary education. Moreover, dance teachers should further their research on the application of Labanotation for young learners, helping students with an easier learning experience.
40
HUANG, YU-CHING, and 黃郁菁. "Action Research for Hakka Tong Flower Image into Action of Dance Teaching." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/y7mg4n.
Full textAbstract:
碩士國立臺灣藝術大學
舞蹈學系
106
The Current study was based on the theme of the Tonghua imagery, knowledge culture which was integrated into the dance courses. The action research method and the text analysis method in the qualitative research were both adopted in this study. From the collaboration between the power of scholars and experts, they were planned to solve the problems encountered in practice by the reflection, feedback, practical work, the analysis and validity of the audit. The study is presented to teachers and researchers, the courses were practical and it was the ideal of practice. The study will continue to be modified by researchers and teachers in order to enhance teaching methods and learning quality. Through the practice of teaching and student participation in learning where the knowledge level to the subjective cognition was founded. Tonghua imagery from Hakka culture was highly anticipated by researchers and students in which developed of physical ability and enhance the image of Hakka Blossom Flower and to achieve the goal of integrating Hakka culture into teaching.
41
Lin, Min-Ping, and 林敏萍. "Action Research on the Integration of Street Dance into the Teaching of Creative Dance." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/54823909477623077528.
Full textAbstract:
碩士臺北巿立體育學院
舞蹈碩士班
100
This research explored the experience of teaching street dance within the framework of creative dance. Street dance was used as the medium of creative dance to stimulate the students’ learning motivation. Sessions were arranged into a process of action research, through which the progress of students were examined and the teaching experience of the teacher was accordingly pondered upon. The findings suggested that using street dance may effectively promote the motivation of students. The creative dance may well lead to the self-exploration of one’s mind and body. Correspondingly teachers may emphasize the development of imagination and the creative process as games.
42
Hu, Hsin-Yin, and 胡馨尹. "An Action Research of Applying Creative Dance Elements in Dance Education for Hearing Impaired Children." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/66238437639246015269.
Full textAbstract:
碩士臺北市立大學
舞蹈學系
104
This study focused on how a dance teacher developed a dance class for children with hearing loss. The learners were eight children at third or fourth grades with the degree of congenital hearing loss between mild and profound. All of them need to wear hearing aids or cochlear implants in order to hear some sounds. The research method employed was action research, through which a seven-week course was conducted with 2 sessions per week, 50 minutes per session. A total of twelve creative dance elements were included in this dance course for the learners to explore, by which it was expected to help the learners find joy of movement, enhance self-expression, and develop interpersonal communication skills. Through the cyclic research process of planning, implementation, reflection, and revision, the teacher (as the researcher) collected the data of her reflective teaching journals, the learners’ learning sheets, the critical friend’s observation sheets and interviews, and video-recordings for further narrative analysis and thematic analysis in order to enhance the learning results. Addressing to trustworthiness in study design, in addition to use triangulation, participants check, and peer examination, the researcher invited observers with professional criticism to challenge the study design in order to improve the researcher’s teaching skills. The conclusions for this research study were as follows: 1. First, the class design for children with hearing impairment to learn dance should include: (1) leaving sufficient time for students to understand the instructions; (2) adjusting learning activities case by case; (3) utilizing teaching strategies of multisensory games or interesting activities to attract children’s attentions; (4) maintaining a learning environment that is friendly for children with hearing loss. 2. In the dance class that incorporated creative dance elements for children with hearing impairment, the children’s learning process began with imitation. With proper guidance and well-adapted games and activities, children could eventually be motivated to express their creativity in movements. 3. By conducting an action research on her teaching, the teacher could develop her professional abilities in terms of teaching strategies, teaching aids, and teacher-student relationships with children with hearing impairment.
43
QIHUI, MO, and 磨琪卉. "An Action Research of Creative Dance Applying in General Dance Class on College Students’ Cooperation Ability." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/z72gz6.
Full textAbstract:
碩士中國文化大學
舞蹈學系
106
This study intends to design and implement a creative dancing method in a college general dancing course, and aims to explore its influence on student’s ability to cooperation which includes the attitude, the skill and quality of cooperation. The sample is from a general dancing course of liberal education in a Beijing university during 2017-18 and the sample size is 14 college students. It applies the method of action research, requires 8 times in class (100 minutes for each session) observation with pre- and post- test of the whole course, and videotaping the whole process. After analyzing both students’ and teachers’ journals, inter-grading of the students, as well as the visual footages, the findings are as followed: 1. The creative dancing can improve the college students’ cooperation ability significantly. 2. The teacher has improved professional skills throughout the course. 3. The creative dancing method meets the need of college students who take the general dancing course. Further researches and suggestions to the course designs, teaching methods, and extension of the collegial general dancing course are provided.
44
Tang, Ya-Hsuan, and 唐稏璇. "An Action Research on A Whirling-dance Curriculum and Instruction." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/67zpzz.
Full textAbstract:
碩士國立東華大學
課程設計與潛能開發學系
100
This research intended to develop a whirling-dance curriculum and instruction based on meditation and to explore the implementation strategies and teaching skills for this curriculum. The researcher developed an 11-week whirling-dance curriculum, including three stages: meditation preparation stage, whirling-kung practice stage, whirling-dance practice stage. Through the cycles of “plan-action-reflection” of typical action research, this research produced the following research outcomes: 1. The essential elements of whirling-dance curriculum include: mindfulness of breathing meditation, body-scanning meditation, free style yoga, one-leg standing yoga, sacred dance, whirling-kung, free style taiji-quan, whirling-dance, creative dance. 2. The principles of arranging the contents and sequence of whirling-dance curriculum: (1) Arrange the progress of learning new topics gradually. (2) Arrange the appropriate amount of break between two training sessions in order to keep the warmth of training. (3) Combine the practice of whirling with the practice of meditation. (4) Adjust the course content and progress appropriately according to the learners' learning conditions. (5) Arrange the appropriate amount of activities in one training session. (6) Arrange the whirling practice at least one hour after the meals. 3. Points to pay attention in leading whirling-dance instruction: (1) Try to bring the learners closer to the teacher. (2) Use clear and definite oral expressions. (3) The rhythm of teaching should not be too fast. (4) Pay attention to the learners’ learning situation at any time. (5) Soft music is more suitable for meditation activities. 4. Strategies to help learners to master the cruxes of whirling: (1) Stick to the three cruxes of whirling in every learning activity: centering, choiceless awareness, feeling one’s own feeling. (2) Remind the learners repeatedly the three cruxes of whirling during the process of practice. (3) Clarify the learners’ confusions according to their sharing and feedback. 5. The influences of whirling-dance curriculum on the learners: (1) Some of the learners report the improvement of physical and spiritual conditions. (2) Some of the learners report the improvement of body flexibility and sense of balance. (3) Some of the learners report that they feel more easily to be centering and attentive to oneself, be calmer and less vulnerable to outside influence, and more easily to fall asleep.
45
Huang, Nuan-Chen, and 黃暖真. "The Use Royal Academy Of Dance in children age 4 to 8 interest in learning dance Action Reseach." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/07297969049904597628.
Full textAbstract:
碩士國立臺灣藝術大學
舞蹈學系
102
This study were to investigate the use of the Royal Ballet Teachers College Preparatory level textbook on 4-8 year-old children's interest in learning dance action process, to achieve the ideal of teachers' professional teaching practice. Researchers as the trainer to Kaohsiung xx Dance Centre 8 students for the study, qualitative action research method, the implementation of ten teaching activities. Then by observation, teaching province Sizha mind, student learning feedback sheets, questionnaires, records and other media, data collection and practical course of action, in-depth reflection, analysis and conclusions are summarized as follows: 1, RAD preparatory grade textbook teaching guide through the narrative, and music clearly improves the strength of the students in action learning difficulties. 2, Through the RAD preparatory class action dance teaching in the imagination helps to enhance students' self-confidence and interest in learning. 3, To solve the researcher's own teaching expertise grew, the researchers through ten weeks of teaching process, from the process of reflective teaching content and gain a lot of places and learning, and problem-solving skills Keywords: interest, RAD, preschool, action research
46
Wu, Hsin-Ying, and 吳欣穎. "An Action Research on Dance Teaching to Adolescents with Mental Retardation." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/10297498643238522870.
Full textAbstract:
碩士臺北市立大學
舞蹈學系
103
An Action Research on Dance Teaching for Adolescents with Mental Retardation Abstract In this study, with dance teaching as the medium, adolescents with mental retardation were guided to explore their own movements through the most direct and natural expression using their limbs. The progress of the course and the researcher’s professional growth were also explored. Dance, in addition to strengthening movements of the limbs and muscles, more importantly, elicited the involvement of the body and mind to derive pleasure. The action research was adopted in this study, with adolescents with mild and moderate mental retardation as research participants. The research period was four weeks, during which time teaching was imparted twice a week and for 100 minutes every time. The dance teaching design implemented in this study was summarized into the following results: (1) Complete the design and implementation of teaching plans in compliance with dance teaching activities for adolescents with mental retardation. (2) Dance teaching can elicit the movements expressed by adolescents with mental retardation and their self-awareness capabilities. (3) The course of dance teaching activity implementation can enhance researchers’ expertise and movement ability. Keywords: Action Research, Adolescents with Mental Retardation, Dance Teaching, Vocational High School
47
Chen, Ya-Yun, and 陳雅雲. "Action Research on Integrating Motif Notation in Dance Pedagogy for None-Dance-Trained Teachers in the Junior High Schools." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/17914273723461424836.
Full textAbstract:
碩士國立臺北藝術大學
舞蹈理論研究所
97
The performing arts class of the Grade One-Nine Curriculum has been implemented for years. The purpose of this research is to integrate Motif Notation developed from Labanotation into the in-service dance curriculum for none-dance trained teachers in the junior high school in Taiwan. The research participants included six junior high school teachers with the training in drama, music, fine art and science who worked in Taipei area. The curriculum of this study included dance movement experience and dance teaching presentation in order to inspire the teachers’ creative thinking in dance curricular design and teaching. The researcher provided ten three-hour training lessons of Motif Notation for the teachers. Then the teachers taught the self-designed lessons to each other. The research methodology was Action Research. Through qualitative data collection and analysis, this study aimed for investigating the process of teaching/learning dance with the assistance of Motif Notation. The research results showed that Motif Notation could guide the teacher-participants to engage in movement exploration and creation, to increase their understandings of dance and to enhance their abilities to design and implement the integrated curriculum of dance that integrated Motif Notation.
48
Shih, Chih-Ru, and 石志如. "Action Research on Graham Technique Teaching-Exemplified by Modern Dance Course in the Dance Class of Chia-Yi High School." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/95872268514218605508.
Full textAbstract:
碩士國立臺灣體育學院
體育研究所
91
Abstract The purpose of the study was to use Cycle Modeling of Action Research for seeking the improvement of Behavior Modeling of dance teaching and establishing an ideal for putting professional teaching of an individual teacher into practice. The object of the study was based on a total of 21 students in the dance class of Chia-Yi Junior High School to carry out the method improvement of dance teaching through action research. Subsequently, the study uses the methods of technique triangulation and statistic description for analyzing data from case studies and observations. The results show that 1) prior to the Graham technique teaching, students shall acquaint themselves with the importance of the physical structure and muscle control; 2) to enable students to memorize the technique, the main points on the explanations of motions should be outlined, listed and analyzed through the Association Method; 3) the coordinates evaluation of Eukinetics Dance Notation helps students to reinforce their learning; 4) the cognitive written test design helps teachers to find out students’ cognition levels; 5) a total of 18 weeks of Graham technique training is of benefit to those students’ muscle strengths, their back muscles and abdominal muscle are remarkably strengthened; 6) it is found from the self-examination diaries of the researcher that the attitude of the researcher to handle teaching difficulties is improved; 7) the researcher has obviously gained personal professional teaching knowledge; 8) there is an obvious change in the attitude of the researcher when the researcher encounters problems in the classroom, so that any problem of each student has been concerned in the overall teaching process; 9) the researcher utilized the “problem”-centered cooperative learning strategy for students to think by themselves, in addition, to proactively learn through a kind of body observation learning environment; 10) the researcher clarified self teaching conviction through Action Research.
49
Huang, Chen-ling, and 黃貞玲. "An Action Research of Dance Teaching at Woman Community College in Hsinchu." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/20380500808571163795.
Full textAbstract:
碩士國立臺灣藝術大學
舞蹈學系碩士班
99
Action research was used in this study in order to promote the community college learners’ understanding and interests of Chinese dance, ballet, and modern dance, which are the three most common types of dance performances in Taiwan theaters. The teaching approaches included the practice of basic dance movements, the watching of dance films, the introduction of dance history, and the practical performance on stage. Continuous amendments and revisions were conducted through assessments of, for instance, the class activities, the recorded class videotapes, the learners’ workbooks, the interviews, and the opinions from the critical friend in order to understand the progress of the learners’ understanding and interests of Chinese dance, ballet, and modern dance. The results have shown that it is not the types of dance, but the adequate teaching activities of dance that affects the learners’ interests. On the basis of the reaction and response of learners, the review of the action research, and the strategies of teaching at the community college, conclusions and suggestions are given in the final part of this dissertation.
50
Tseng, Shu-Ling, and 曾淑羚. "The Action Research of Integrating Somatic Movement Education into Belly Dance Instructions." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/873w59.
Full textAbstract:
碩士國立臺東大學
進修部運動休閒管理碩(假日)
100
This study investigated the feasibility of integrating somatic movement education into belly dance instructions. An experimental instruction was designed to examine the effects of somatic movement education on dancers