To see the other types of publications on this topic, follow the link: Dance-drama.
Dissertations / Theses on the topic 'Dance-drama'
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-drama.'
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
Kiriwat, Amolwan. "Khon: masked dance drama of the Thai epic Ramakien." Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/KiriwatAX2001.pdf.
Full text
2
Murdoch, J. L. "Unmasking Talchum: An Embodied Inquiry into Korea’s Masked Dance-Drama." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300734669.
Full text
3
Igweonu, Kenechukwu Nicholas. "Performing Africa: Dance and drama in some recent Yoruba performances." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497544.
Full text
4
Baker, Heidi G. "A Christian dance-drama curriculum for ministry training in Hong Kong." Theological Research Exchange Network (TREN), 1985. http://www.tren.com.
Full text
5
Theodoridou, Danae. "Short (research) stories : drama and dramaturgy in experimental theatre and dance practices." Thesis, Roehampton University, 2013. http://hdl.handle.net/10142/283932.
Full textAbstract:
This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.
6
Cvejic, Bojana. "Choreographing problems : expressive concepts in European dance." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25084/.
Full textAbstract:
This dissertation explores how a recent set of practices III contemporary choreography in Europe (1998-2007) give rise to distinctive concepts of its own, concepts that account for processes of making, performing, and attending choreographic perfonnances. The concepts express problems that distinguish the creation of seven works examined here (Self unfinished and Untitled by Xavier Le Roy, Weak Dance Strong Questions by Jonathan Burrows and Jan Ritsema, heatre-elevision by Boris Charmatz, Nvsbl by Eszter Salamon, 50/50 by Mette Ingvartsen, and It's In The Air by Ingvartsen and Jefta van Dinther). The problems posed by these choreographers critically address the prevailing regime of representation in theatrical dance, a regime characterized by an emphasis on bodily movement, identification of the human body, and the theater's act of communication in the reception of the audience. In the works considered here, the synthesis between the body and movement-as the relation of movement to the body as its subject or of movement to the object of dance-upon which modem dance is founded is broken. Choreographing problems, in the sense explored in this dissertation, involves composing these ruptures between movement, the body and duration in perfonnance such that they engender a shock upon sensibility, one that inhibits recognition. Thus problems "force" thinking as an exercise of the limits of sensibility that can be accounted for not by representation, but by the principle of expression that Gilles Deleuze develops from Spinoza's philosophy. "Part-bodies," "part-machines," "movement-sensations," "headbox," "wired assemblings," "stutterances," "powermotion," "crisis-motion," "cut-ending," and "resonance" are proposed here as expressive concepts that account for the construction of problems and compositions that desubjectivize or disobjectivize relations between movement, body, and duration, between performing and attending (to) performance. Developed through a careful analysis of how problems structure these performances, this thesis on expressive concepts further contributes to a redefinition of performance in general by making two additional claims. The first concerns the disjunction between making, performing and attending as three distinct modes of performance that involve divergent temporalities and processes. The second regards the shift from performance as the act in the passing present towards the temporalization of perfonllance qua process, where movement and duration are equated with ongoing transformation, a process that makes the past persist in the present.
7
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.
8
Mckee, Tori Lynn. "A rich reward in tears : Hippolytus and Phaedra in drama, dance, opera and film." Thesis, Open University, 2017. http://oro.open.ac.uk/48796/.
Full textAbstract:
This thesis is a study of thematic clusters in the performance reception of the Hippolytus and Phaedra tradition – the body of reception material based on Euripides’ Hippolytus, Seneca’s Phaedra, and/or Racine’s Phèdre. This is the first comprehensive study of these three major source texts as a collective whole, challenging not only the idea of a single original ‘source text’, but also the idea of a directly linear reception pattern. I visualise the reception of the Hippolytus and Phaedra tradition as a porous membrane, containing a number of different items, from texts to performances, interacting in a multi-dimensional, fluid way, manifesting itself in different forms depending on the political, social, historical or literary context in which this story has emerged since Racine himself reworked Euripides and Seneca in the late seventeenth century. Each chapter has a particular thematic focus, within which I provide more detailed case study analyses from particular works across multiple genres. The Introduction provides close readings of the source texts and outlines my cross-genre theoretical framework. The second chapter focusses on the question of consanguinity and the impact of the incest motif on early adaptations. In the third chapter, I explore two 20th-century adaptations, both of which emerged during a decade dominated by Freud’s discoveries. In the fourth chapter, I focus on adaptations that explore and problematise Hippolytus’ sexuality. My fifth chapter focuses exclusively on the operatic and dance traditions, arguing that these genres lead to a prioritisation of the Phaedra character. The thesis concludes with a final chapter which traces the role of the divine within the reception tradition of Hippolytus and Phaedra examining in particular how recent adaptations move away from an earlier focus on psychology and human emotion to a new emphasis on the supernatural forces in the wider world.
9
Grogan, Samuel. ""I'm doing it, but I'm so in the moment ..." : an articulation and understanding of 'absorption' for the performer towards an 'optimal' 'mode of being/doing' in 'dance theatre'." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16004.
Full textAbstract:
This thesis explores how we understand and articulate the idea of ‘absorption’ as a necessary aspect of an ‘optimal’ ‘mode of being/doing’ for the performer. By drawing upon pertinent aspects of the fields of phenomenology, consciousness studies, cognitive neuroscience and play theory coupled with Csikszentmihalyi’s notion of ‘flow’, the study develops a lexicon of terminology with which to articulate and understand the nature of ‘absorption’ for the performer in the context of ‘dance theatre’. By developing a focused articulation of the actual nature of ‘absorption’ for the performer in performance, seen as necessary to an ‘optimal’ ‘mode of being/doing’, the study intends to contribute to the language of discourse in this area of performance studies, and, importantly become a useful resource for the enquiring performer and practitioner. Consequently, in developing an understanding of ‘absorption’ for the performer, in order to edge closer to articulating an ‘optimal’ ‘mode of being/doing’ for the performer, the work and actions of the performer remain the focus of the study. The study is anchored in practice through examination of the work of three companies working within the genealogy of ‘dance theatre’. This multi-company approach gives a chronological and genealogical overview of ‘dance theatre’ practices useful in understanding ‘absorption’ for the performer, whilst also facilitating examination of individual points of practice within that overview. The companies profiled are: Pina Bausch, DV8 and Vincent Dance Theatre (VDT). The examination of work by Bausch and DV8 draws upon and reframes extant documentation of performance currently in the public domain. Examination of VDT’s work draws on original footage and interviews undertaken by the researcher during fieldwork.
10
Skelton, Gerald P. ""Unpack my heart with words" : a proposal for an integrated rehearsal methodology for Shakespeare (and others) combining active analysis and viewpoints." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/38119/.
Full textAbstract:
The performance of Shakespeare represents a distinct challenge for actors versed in the naturalistic approach to acting as influenced by Stanislavsky. As John Barton suggests, this tradition is not readily compatible with the language-based tradition of Elizabethan players. He states that playing Shakespeare constitutes a collision of 'the Two Traditions' (1984, p. 3). The current training-based literature provides many guidelines on analysing and speaking dramatic verse by Shakespeare and others, but few texts include practical ways for contemporary performers to embrace both traditions specifically in a rehearsal context. This research seeks to develop a new actor-centred rehearsal methodology to help modern theatre artists create performances that balance the spontaneity and psychological insight that can be gained from a Stanislavsky-based approach with the textual clarity necessary for Shakespearean drama, and a physical rigour which, I will argue, helps root the voice within the body. The thesis establishes what practitioner Patsy Rodenburg (2005, p. 3) refers to as the need for words, or the impulse to respond to events primarily through language, as the key challenge that contemporary performers steeped in textual naturalism confront when approaching Shakespeare and other classical playwrights. The research offers a rehearsal methodology to meet this challenge. The methodology synthesises Stanislavsky's late-career extension of the 'system' referred to as Active Analysis, and Viewpoints, a technique of movement improvisation derived from contemporary dance by choreographer Mary Overlie and further adapted by directors Anne Bogart and Tina Landau. Active Analysis is an innovative method of textual analysis that centres on a series of improvisations, or études, which serve as successive blueprints toward performance. Viewpoints is a technique that offers a clear and accessible vocabulary related to principles of time and space as a way to create and evaluate stage movement. My study illustrates how these two techniques might be used in tandem to invite actors to discover the need for words in a rehearsal context. This combined methodology was developed through a series of three practical research laboratories related to The Comedy of Errors, As You Like It, and Romeo and Juliet by Shakespeare. A fourth laboratory served to extend the combined methodology to a pre-Shakespearean classical text by focusing on the unattributed medieval morality play Mankind. Accounts of these laboratories are used to illustrate a 'director's anatomy' of the development and implementation of the methodology. The thesis concludes with my proposal for an integrated rehearsal practice that can help contemporary actors experience the language-based performance tradition related to Shakespeare and other classical playwrights. The research contributes to the current literature on playing Shakespeare and others by offering a set of principles and a responsive rehearsal model informed by those principles, whilst also providing illustrations of how they might be employed in the production process. The methodology can be utilised in both educational and professional settings. My deep engagement with Active Analysis and Viewpoints means that I am able to contribute to practice, training and scholarship related to each, extending previous enquiries into these systems. The findings can also be applied more generally to the literature and practice of acting, directing and textual analysis.
11
Olson, Grant. "Rediscovering 'invisible communication' : a re-evaluation of Stanislavski's Communion via 'radiation'." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32199/.
Full textAbstract:
This thesis investigates Stanislavski’s unnamed invisible form of communication described within the chapter ‘Communion’ in An actor prepares (1936). The description Stanislavski includes in the chapter is especially difficult to access leading to much neglect in critical studies of Stanislavski’s approach. This thesis explores the concept as it permeated across Stanislavski’s writings and practical work. It then establishes a comprehensive, concise and contained description of the experience Stanislavski sought to achieve through his proposed ‘invisible communication’. Most current literature investigating aspects of this ‘invisible communication’ relate it to Stanislavski’s interest in yoga philosophy and practice. Although Stanislavski did indeed appropriate terms and technique from his readings and interest in yoga practice, this thesis proposes that the concept existed from Stanislavski’s earliest theatrical explorations and helped shape his understanding of acting as art. With the compiled description amassed from Stanislavski’s work, this thesis locates correlations of the experience Stanislavski described within the current paradigm of cognitive studies. These correlations help form a theoretically plausible account of the concept to aid further discussion and evaluation. In addition, this thesis uses abductive reasoning to postulate a working hypothesis accounting for the perception within a framework of current understandings of cognitive function. This thesis is the first stage of a much-needed re-evaluation of Stanislavski’s ‘invisible communication’. With a framework to investigate and discuss ‘invisible communication’ in theoretically plausible manner, this thesis is helpful in future development of performer training and practice.
12
Miller, Louise May Whilhemina. "Classical mythology and the contemporary playwright." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29879/.
Full textAbstract:
This practice-based thesis explores, through the creation of three new full-length plays, the ways in which a contemporary playwright might engage with classic mythology, specifically ancient Greek mythology in the development of new work. The plays form a triptych, each inspired by a single, yet interconnected Greek myth: their mythic inspirations are as follows, Sodium (2010-11) Theseus and the Minotaur, Sulphur (2011-12) Ariadne at Naxos, and Silver (2010) Icarus and Daedalus. Non-dramatically extant ancient Greek myths were selected in order to seek to explore dramatic possibilities beyond Greek tragedy. The diverse ways in which this body of work was approached is framed by the influence of contemporary theatre practice. Alongside this creative enquiry, the thesis explores the impetus which prompted practitioners to turn to classical mythology for inspiration over two millennia since the myths were created. Reflection on the processes which led to the creation of these plays in relation to the author’s own highlights potential conflicts between ancient and contemporary theatre practice, and seeks to explore ways in which the juxtaposition between traditional and contemporary approaches to theatre making can spark creative engagements. The fission between tradition and subversion was a key factor in the creation of the plays now presented, offering possible insights into the ways in which contemporary practitioners can benefit from a playful engagement with traditional practice in order to generate new work.
13
Weinberg, David. "American influence on the alternative theatre movement in Britain 1956-1980." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/32208/.
Full textAbstract:
This thesis argues that American experimental theatre practice was one key factor in the development of an important phase in the history of the alternative theatre movement in Britain during the period 1956-1980. The data for this thesis has been collected through interviews, archival work and a review of existing literature on post-war British theatre including the alternative theatre movement. The theoretical superstructure and modes of analysis build upon key concepts and theories in the work of Elizabeth Burns (1972) and Baz Kershaw (1992, 1999). The main historical developments or phenomena referred to are the activities of the experimental theatre groups associated with Jim Haynes, Charles Marowitz, Nancy Meckler and Ed Berman, four expatriate American theatre practitioners living in Britain during the time period 1956 1980. In addition this thesis examines important American based groups, Living Theatre (1947), Open Theatre (1964), La MaMa (1960) and Bread and Puppet (1965), which performed in Britain and which made an impact during the same period. The study also examines a wide range of indigenous British groups, Pip Simmons (1968), Foco Novo (1972-1989), Joint Stock (1974- 1989), as well as institutions, RSC (1961), Royal Court (1956) and individuals such as Max Stafford-Clark, Thelma Holt, John Arden, Anne Jellicoe and the Portable playwrights (1968- 1972) which in one way or another were influenced by American exemplars. It is important to state clearly that this study does not claim that American experimental theatre and performance practices were the only influence on this important phase in the history of alternative theatre in Britain. This study simply claims that prevailing themes as well as American experimental theatre groups and performance practices had a key impact which has not been properly acknowledged or examined by scholars. Such an examination will contribute to a more comprehensive and dynamic understanding of the forces which shaped the alternative theatre movement in Britain.
14
Goodridge, Janet Elizabeth. "Rhythm and timing in human movement with reference to performance events: drama, dance and ceremony." Thesis, University College London (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489828.
Full text
15
Olander, Kathleen Rae. "A Survey Of Arts Education In Programs In California Public Elementary Schools (Music, Dance, Drama)." Scholarly Commons, 1985. https://scholarlycommons.pacific.edu/uop_etds/3270.
Full textAbstract:
Purpose. The purpose of this study was to describe the arts education programs operating in California public elementary schools in 1984. The goal was to gather data about unique and characteristic features of each program defined by criteria developed from a pilot study, and based on observations of exemplary arts education programs in the state. The data were intended to assist administrators, teachers and legislators in planning appropriate and meaningful arts education programs for elementary students in the state. Procedure. This research investigated how many California public elementary schools in the sample offered arts education programs, as perceived by teachers in those schools responding to the questionnaire survey. A total sample of 150 schools was ranked according to school size. Two teachers per school were each asked to respond to a questionnaire about arts education programs offered in their schools. Descriptive information was obtained by processing the data through the Statistical Package for the Social Sciences (SPSS) at the University of the Pacific computer center. Findings. The research showed that the majority of respondents provided arts programs in their schools. The highest percentage of arts subjects offered were art and music provided on a weekly basis by classroom instruction. These arts subjects were taught by one to three instructors, either credentialed or non-credentialed, during the school day. In most cases, arts programs were supported by district funds. Conclusions. According to the responses of teachers, arts education should be integrated into the general (basic) education of students. Arts specialists were viewed as essential to the success of arts programs. Recommendations. This research suggested that more exact information was needed about the extent of arts education programs offered by elementary schools in the state. In addition, a survey should be made of administrators, parents and students to determine: (1) their interest in arts education programs, and (2) their perception of the level of importance of arts education as compared with other subjects in the curriculum. Furthermore, current reports of the interaction of right and left brain development of students through arts experiences should be investigated. (Abstract shortened with permission of author.)
16
Culley, Sheena. "Comfort : bodies and their boundaries." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/29964/.
Full textAbstract:
The original contribution of this work is its engagement with the conceptualisation of modern bodies and the impact of the bounded body on our understanding of the idea of comfort. The way in which modern bodies are constituted as bounded, immune entities, differentiated from their surroundings, is of paramount importance in defining comfort as protective, compensatory and passive - a zero grade feeling or avoidance of stimuli. Taking a definition of comfort from John Crowley's influential work on the topic as 'a self-conscious satisfaction between one's body and its immediate physical environment' as its point of departure, this thesis interrogates this in-between space to argue for comfort as an affective and intensive experience. Approaching the theme from an interdisciplinary perspective, a genealogical method combined with inspiration from new materialisms challenges dualisms such as nature/culture, body/mind, inside/outside, body/environment and comfort/discomfort. Following the trajectory of work from Nietzsche to Foucault to Deleuze, phenomenological and psychoanalytical ideas of boundedness and identity are displaced with a theory of bodies as fortuitous and dynamic compositions of forces, where affirmative difference replaces negative difference. As a result, the comfort zone, comfortable numbness and sitting comfortably are transformed from states of indifference to intensive events of difference whereby boundaries and borders are reconstituted as thresholds and spaces of transformation.
17
Lark, Christine. "The body finds a voice : an investigation into the dual identity of physical theatre in dance and drama." Thesis, University of Surrey, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298820.
Full text
18
Bugge, Christian Stewart. "The end of youth subculture? : dance culture and youth marketing 1988-2000." Thesis, Kingston University, 2002. http://eprints.kingston.ac.uk/20694/.
Full textAbstract:
This thesis focuses on the concept of youth Subculture, used in both academic and popular discourse to describe a distinct form of youth culture. The thesis focuses on Dance Culture, the dominant youth culture in Britain during the period 1988-1990, but also a unique form of youth culture that challenges previous theories of youth culture, and questions whether youth cultures are organically formed or commercially created. The thesis establishes how the marketing industry has become increasingly adept at understanding and responding to the cultural aspect of young peoples' lives since the youth market was first identified in the late 1950s. The commercial importance of rebellious youth cultures was first established in the 1960s. However, it took the market-driven economy of the 1980s, in which a more style-orientated advertising practice developed, to draw on the style-factor that youth cultures evoke. Due, in particular, to increases in the number of youth-oriented media in the 1980s and 1990s marketing has developed its ability to reach youthful consumers. As a result, it has come to focus on individual youth cultures, re-presenting them to consumers who seek the cultural capital they possess. The central focus is 'youth marketing', an industry which thrived in the knowledge-based New Economy of the 1990s. Interviews .with experts in 'youth marketing' show how marketing interacted with the Dance Culture and its consistent subcultures. It shows, where previous studies of youth Subculture have failed, the crucial role that consumerism, and more specifically marketing, plays in the formation and communication of youth cultures. Marketers have increasingly come to recognise the cultural capital of Subcultures, and have become more influential in the way that they are communicated and adopted by young people. As a consequence, the thesis argues that Youth Subculture is now a concept more readily employed for selling lifestyles to consumers, as opposed to a reliable model for understanding young peoples' culture. Rather than expressions of genuine resistance, youth cultures are, now more accurately viewed as reference points in consumer trends. Previous studies of advertising and marketing have been based on abstract research methodologies, such as textual analysis. This research is unique in interviewing the practitioners who attempt to understand and re-present young people's culture. In this way, it presents a more accurate and grounded analysis of marketing's interaction and comprehension of young people, and also its subsequent attempts to have meaning in their cultural lives.
19
Domene, Pablo A. "Efficacy of Latin dance as a health-enhancing leisure activity for adults." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/34532/.
Full textAbstract:
Despite acceptance that physical activity serves as a protective agent against the burden of non-communicable disease, half of all adults in the developed world remain insufficiently physically active. The promotion of physical activity is therefore of paramount importance to public health researchers and practitioners. Dance, as a leisure or social activity, can play a role in the engagement of adults in physically active pursuits that are not necessarily thought of as traditional exercise per se. This is especially important for those individuals not currently meeting physical activity guidelines and is fully congruent with the current public health message that "some activity is better than none". A holistic exploration of Latin dance was undertaken in this thesis in the context of physical activity and psychosocial health promotion in non-clinical adults. The research encompassed a quantitative assessment of physiological and psychological measures related to dance. Over a 3 yr period, eighty-four women and men were enrolled in a series of four interrelated Latin dance (salsa) and Latin-themed aerobic dance (Zumba fitness) studies. Research grade motion sensing and heart rate monitors were used to evaluate the physiological responses to dance, and a novel activity-specific value calibration method was developed to process the data. The monitors, which are small and unobtrusive to wear, were then utilised for collection of data during performance of dance in naturalistic settings. Psychological measures associated with dance participation were captured using previously validated questionnaires. Results indicate that Latin dance elicits physiological responses representative of moderate to vigorous physical activity when performed primarily for leisure purposes. Modest improvements were observed post-dance in measures of cardiorespiratory fitness, body composition, and inflammatory biomarkers in relation to cardiovascular health. Moreover, participation fostered interest, enjoyment, and a positive psychological outlook, and enhanced well-being, mood, and health-related quality of life with large magnitude effects. The findings of this thesis may be relevant for researchers and practitioners interested in the efficacy of dance as an expressive and creative medium for the promotion of physical and mental health.
20
Pecore, Joanna Theresa. "Sounding the spirit of Cambodia the living tradition of Khmer music and dance-drama in a Washington, DC community /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/196.
Full textAbstract:
Thesis (Ph. D.)--University of Maryland, College Park, 2004.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
21
Coldiron, Margaret. "Trance and transformation : the relationship between the actor and the mask in Balinese dance drama and Japanese Noh theatre." Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327032.
Full text
22
Glynn, John Charles. "Kathakali: A study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala." University of Sydney. Performance Studies, 2001. http://hdl.handle.net/2123/834.
Full textAbstract:
This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Respondents to interviews provide diverse descriptions of their interactions with performances according to their perceived membership to groups of popular spectators or elitist appreciators. They also identify dimensions of performance that may contribute to the development of their own performance competence and their subsequent transition from one group of onlookers to another. The influences that shape the diverse approaches of these groups and have been examined here include traditional Hindu aesthetics, religion, politics, caste structures and the changing shape of patronage, which is itself also a reflection of historical factors of governance. Kathakali is first presented as vignettes of performance that reflect different locations, venues, patronage and program choices. It is then situated in relation to extant, contiguous performance genres that have contributed to its development and/or often share its billing in traditional settings. The politics and aesthetics of the worlds of Kathakali are looked at not only in terms of their traditional, folkloric and classical development but also in contrast to more contemporary, secular and controversial dynamics that are impacting upon Kathakali today.
23
Greenwood, Mark. "The performing body in the event of writing : 'Lad Broke', Camp & Furnace, Liverpool, April 2012." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/27789/.
Full textAbstract:
This thesis centres on the 48 hour performance of Lad Broke in Liverpool on the 20th April 2012. This written component addresses a range of ideas that have emerged in relation to the event of durational performance including modes of inscription, the performing body and its position within a network of performance art and writing practice. By examining Lad Broke within the fields of art and wider cultural practices I am able to draw on ideas of duration that include narrative time, boredom and the effects of duration on the performing body and its spectators. I discuss duration within the context of music by examining rhythm, tempo and time signatures alongside the punk movement, where boredom and a need to act/react immediately remain significant factors in my performance and writing practice. I explore inscription as a physical act of writing, mark making and labour in order to position performance and writing as a combined practical and critical enquiry that intersects in the event of Lad Broke. I also examine notions of the inscribed body in relation to the writings of Michel De Certeau, where he describes the body as written by authority and the law. I refer to experimental writing in order to demonstrate how writing can reveal the materiality of duration and time passing, while also discussing the temporal structure of Lad Broke as a continuous present, displacing traditional narrative structures and emphasising the act of 'doing' rather than the production of a complete and finished object. The performing body is considered in a number of contexts that emerge in the performance of Lad Broke. Ideas around the labouring body are especially useful, where I draw on a lineage of labour practices that have informed my performance works. I look at ideas of labour in relation to wider cultural practice, raising questions around displaced masculinity and the role of the artist as cultural worker. I return to punk where alternative labouring practices position the body as a site of resistance and dissidence. This leads to a discussion of networks and the systems of dissemination that allow post sub-cultural groups to express themselves while evading a capitalist economy. I look at the zine as an art form that successfully provides a model of dissemination and autonomy which relates back to the formation of performance art networks, where the sharing of work displaces monetary exchange and subsumption into a capitalist economy. The event of Lad Broke is examined through a series of viewpoints including the performer, the writer and responsive representatives of the performance art network. The event is then offered to I a wider readership in the form of a zine, where the materials and leftovers of Lad Broke are reconfigured as a material response. The content and structure of this thesis discusses and argues for the performing body to be considered as a site of inscription resistant to the commodification of cultural practice. Yet, throughout this work, it is the immediacy of the live event which remains vital, an event which refuses to be recuperated through these written responses.
24
Milovanovic, Dara. "The Fosse Woman : analysis of femininity, aesthetics and corporeality." Thesis, Kingston University, 2018. http://eprints.kingston.ac.uk/42587/.
Full textAbstract:
Fosse style and ideas regarding gender have radicalised and politicised gender in popular dance on screen. This thesis examines the construction of femininity in Fosse‟s dance repertory for screen through choreography, filmic techniques, and performances by female dancers. Firmly situated in dance analysis, this research relies on an interdisciplinary methodology, which includes dance studies, gender studies, feminist film theory, and post-structuralism. Using theoretical discourses on masquerade, camp sensibility, and feminist film theory the analysis examines the way that female bodies are marked as feminine with choreography and screendance techniques to construct a theatrical performance of hyper-femininity as a political strategy to questions discourses surrounding representations of women in musical films. This thesis critically evaluates the aesthetic properties of spectacle, exaggeration, and artifice in Fosse‟s choreography and its effect on implications of femininity. Representations of femininity are considered in light of aesthetics, specifically excess exhibited through glamour and the grotesque, as a means to comment on gender performativity. This study concentrates on dancing performed by female dancers in Fosse‟s work for screen in order to highlight the construction of femininity as a factor to challenge the hetero-normative, patriarchal system, which surrounds film production and positions images of women as passive. Using poststructural theory, the analysis focuses on the creative labour and corporeal identity of female dancers to challenge Fosse as a sole author of the dances. The examination of historiography indicates that Fosse‟s iconographic dance style and innovation in the way that dance is filmed continues influence on popular dance choreography in the late twentieth and twenty-first century furthers the discussion on authorship and transmission of physical vocabularies through time. Looking through a feminist lens, this study seeks to examine corporeality as subjectivity in order to examine notions of agency and power of female dancers in Fosse‟s work by employing the idea that dance theorises femininity within the film format.
25
Wharton, Rebecca Garner. "Representations of women in the plays of Marina Carr, Enda Walsh, Mark O'Rowe and Deirdre Kinahan : a comparative study." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/39274/.
Full textAbstract:
Irish theatre and its histories typically appear dominated by men and their actions. Drawing on the work of Marina Carr, Edna Walsh, Mark O'Rowe and Deirdre Kinahan, this thesis aims to complicate this masculinist narrative by comparing and contrasting a diverse range of female characters that have appeared in the work of these four important contemporary Irish playwright, since the 1990s. The playwrights and the plays chosen by no means comprise a comprehensive survey of contemporary Irish playwriting, but instead are intended to provide a more focused and illustrative study of male and femeale-authored representartions of women during the period. The study includes male and feamle playwrights and mainstage writers such as Carr, alongside Kinahan who, from a scholarly perspective, is lesser known. My account of Kinahan's work thus represents a new and original contribution to Irish theatre scholarship. In what follows I employ a critical methodology best described as hybrid, combining elements of culturals amterialist analysis, espcially the concept of hegemony as outlined by Antonio Gramsci, with a more performance-oriented mode of textual analysis. My theoretical underpinning draws on a range of existing arguments about the position of women in Irish culture, but also on the work of theatre scholars and cultural historians who have identified the stage as a significant site for cultural transformation. I argue that playwrights are leading the way in encourgaing soical, political and cultural progress for Irish women. I will begin by reviewing existing literature in the field and considering the influence and impact of an earlier generation of Irish playwrights and of the long sustained influence of the state and church on hegemonic depictions of female characters in Irish playwriting. However, my intention is to show that more recent stagings of Irish 'femininity' have been remarkably wide-ranging and anything but hegemonic.
26
Crowe, Susan, and scrowe@ceo balrt catholic edu au. "Dance, Drama and Music - a Foundation for Education: A Study on Implementing the Performing Arts in the Early Years of Education." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080207.135338.
Full textAbstract:
ABSTRACT In the early years of education, the Performing Arts assume a particular significance as learning is both in and through the Arts. When appropriately managed, they are enjoyed in their own right, but also permeate other areas of the curriculum enabling greater relevance and meaning. The Performing Arts are an excellent means through which children, in their early years of schooling explore and express their feelings. Dance, drama and music are Arts disciplines through which children investigate ideas and exhibit opinions about their known and unknown world. The Performing Arts make an effective contribution to the personal and social development of children. The Performing Arts provide an interesting way for teaching young children the values which many adults believe are vital in today's society. Through the Arts children are able to develop social competencies. Participation in the Arts motivates and enhances young children's desire to learn. The Arts have an important role in inspiring and improving the w hole school environment. This research investigated the teaching of the Performing Arts in primary schools in Catholic Education in the Northern Zone of the Diocese of Ballarat. Literature on curriculum development, education in early schooling, and delivery of the arts and education is examined, as well as the impact of the implementation of the Performing Arts stream of the Victorian Essential Learning Standards. Education of pre-service teachers and the continued professional development of experienced teachers is discussed as is the role of education systems in providing this teacher education. Generalist (non-specialist) teachers from primary schools in the Northern Zone were surveyed and interviewed to establish the current situation regarding the Performing Arts in schools. Based on the literature and the data collected and analysed from the survey and interviews, a number of teaching for learning models were proposed. These models placed the child at the centre of the educational experience, linking the school to the community. The models were informed by current Government and Catholic Education policy. The various components included the current curriculum the Victorian Essential Learning Standards, the important roles played by the school, the teacher and parents. The importance of teacher education and further professional development to ensure the teacher has the knowledge, skills and attitudes needed to implement a quality program was also an important aspect of the models. Findings from the research established that many teachers had basic skills in teaching the different areas of Performing Arts, but lacked confidence in their ability to do so. Therefore, in a number of schools, programs in Performing Arts were either based around the annual school concert or were non-existent. Many teachers used simple Performing Arts activities as a means to teaching knowledge and skills in other curriculum areas. As a result of the research findings and the model development, a resource to enable and assist in the teaching of the Performing Arts was developed for the teachers to implement an appropriate Performing Arts program in the early years of education.
27
Cruz, Rosemarie. "The Lighting Design for The 2009 Kent State University School of Theatre and Dance Production of Jane Eyre A Musical Drama." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1239634356.
Full text
28
Westerberg, Nadia. "Integrering av estetiska uttrycksformer i kärnämnen matematik och modersmål : En jämförande studie av en svensk och en rysk lärare." Thesis, Södertörns högskola, Lärarutbildningen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-14714.
Full textAbstract:
The aim of my examination work was to compare and research how russian respective swedish teachers make use of educational aesthetic methods such as drawing, drama, music and dance in the teaching of core school subjects – mathematics and swedish respective russian languages. The aim of this work was to find out which of these methods are used by pedagogues in the process of education and on what level are they integrated into the theoretical pedagogic work. The point was to also analyse the regulation documents used as pedagogical base in schools i've been doing my survey in. This was done to partly find out what arts perspective is given in the curriculum and partly to see what pieces of it are reflected in the process of education. I compared the pedagogic organisation and methods practiced in the classes I've researched. That helped to get the whole picture and possible image of overall students' performance. The questions I used as core: • What aesthetic forms of expression are used by teachers in the process of education? • On what level are they integrated into the theoretical work? • What support to the art perspective is given in the curriculum? Secondary question that helped me to clarify the answers was: • What parts of curriculum are reflected in the education process? My survey was built on a qualitative research method, that included my own observations and interviews with teachers in both Russian and Swedish schools.Summing up, I've learned that aesthetic forms of expression used by the russian teacher were: drawing, drama, dance and music. These methods integrate with mathematics and russian on different levels.The aesthetic forms of expression used by the swedish teacher are drawing, usually integrated with mathematics and language subjects, and music, used mostly in swedish lessons. The comparison of methods and organisation lined out great difference between how the learning proccess is organised by the russian and the swedish teachers. The bad part here is that it can influence pupils' performance, according to PISA studies.To sum up, I've come to a conclusion that the swedish curriculum is more supportive and contains more concrete examples on how the learning process should be organised, taking into account the art perspective, compared to the russian learning plan, that lack the art perspective for the major part.
29
Lau, Yuk-wah Margaret, and 劉玉華. "The role of English in Hong Kong theatre and dance productions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26852792.
Full text
30
Macagnano, Marco. "A centre for the performing arts catalyst for urban regeneration /." Pretoria : [s.n.], 2000. http://upetd.up.ac.za/thesis/available/etd-11282005-124553.
Full text
31
Melia, Matthew. "Architecture and cruelty in the writings of Antonin Artaud, Jean Genet and Samuel Beckett." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20268/.
Full textAbstract:
This thesis examines the complex role and presence of a range of images and ideas of architecture, as well as cruelty, in the work of Antonin Artaud, Jean Genet, and Samuel Beckett. It argues that the obsessive and varied presence of these ideas offers a substantial connection between the thought and drama of the three writers, and that it is linked to major issues in the political and cultural history of the time. Chapter 1 serves as an introduction to the thesis and places architecture and cruelty in the literary and creative culture of post-war France. Chapter 2 examines the urgency of these terms within the specific, historical framework of post-liberation France. Chapter 3 focuses on Artaud and issues of fragmentation, occupation, and resistance in his oeuvre between 1940 and 1948. Chapter 4 focuses on issues of imprisonment, aesthetics, and revolution in the work of Jean Genet. Chapter 5 examines issues of architecture, resistance, and fragmentation in the late plays of Samuel Beckett. In this chapter we will also examine the vital role Beckett's wartime resistance activity played in informing the architecture of the late drama. All of our subjects explore architecture and cruelty in their different and personal ways: Genet in terms of prisons; Beckett in terms of extreme personal states that can be linked to the resistance; and Artaud through a system of revised revolt and personal resistance. In the introduction and at a number of points in the thesis I explore both the connections and differences between the uses of architecture and cruelty by the three writers, and the range of ways in which these uses relate to the politics and philosophies of the era. The thesis argues in its conclusion that architecture and cruelty, used in both literal and metaphorical senses, can be seen to unite the work of Artaud, Genet, and Beckett more closely than has hitherto been acknowledged. The thesis has also proposed ways in which we can see the plays of Genet and Beckett as a form of cruel theatre, in a sense that serves to define and extend Artaud's notoriously complex and ambiguous ideas of theatrical 'cruaute'.
32
Mayhew, Steve. "Becoming John Ford : the silent period 1914-1930." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/27731/.
Full textAbstract:
Drawing on extensive primary research into John Ford’s early films, from the silent era up until the late 1920s, the thesis charts the evolution of what has become known as the ‘Fordian sensibility’ through a close textual analysis of the director’s extant silent films, taking into account the implications of the auteur theory as applied to Ford’s work. A major part of the research process has been devoted to the appropriation of the director’s surviving early titles, in order that all existing film materials relevant to the thesis can be included. Prior to examining Ford’s silent film output, the thesis covers the evolution of the auteur theory, and the nature of the ‘Fordian sensibility’. This chapter also discusses key thematic and visual motifs that have been identified by various film scholars over the years, along with a number of other patterns discerned by the author of this thesis, through a close examination of all of Ford’s sound films, from The Black Watch (1929) through to 7 Women (1966). The main text of the thesis considers whether the identified key thematic and visual motifs can be detected in the director’s early work, and how these themes and motifs evolved chronologically into fully formed components of the ‘Fordian sensibility’. The four main chapters of the thesis cover the following periods: Pre-directing career 1914 – 1917; Apprenticeship at Universal 1917 – 1921; Early 1920s work at Fox 1921 – 1926; Late silent period at Fox 1927 – 1930. This examination of the director’s work analyses how John Ford, the man and the director, became ’John Ford’, the brand, and the label. Using the director’s early silent work as a case study, it questions how the idea of ‘authorship’ is formed and studies how Ford’s style and aesthetic evolved during the silent period due to the influence of other artists; biographical factors; technological innovations; and institutional, cultural and social issues.
33
Field, Andrew Thomas. "How can performance act historiographically? : enacting the New York avant-gardes of 1960s and early 1970s." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3711.
Full textAbstract:
This thesis is concerned with extending the role that live performance might play in our understanding of the work of the interrelated avant-garde performance communities that emerged in New York in the 1960s and early 1970s. This is a practice-led project that uses my own performance work as the site of its enquiry. In the last decade performance itself has begun to play a significant role in our understanding of and relationship to past performances, in the main through the increasing pervasion of re-enactment as an acknowledged historiographical trope. However, as a consequence of its association with re-enactment, the nature of the historiographical role afforded to performance is still primarily determined by its proximity to the archive and institutionalised modes of performance history. Challenging the primacy of the re-enactment as a means of embodied engagement with past performance, this research project explores how manipulation of my own performance practice might generate new forms of historical knowledge. In particular my focus is on using this practice to develop a new understanding of how the work of this earlier period altered y the experience of the urban landscape for those participating in the work, audience and performers alike. Structured around a rigorous analysis of three specific works from across this earlier period, I conceived a series of spatial ‘blueprints’ that were applied to my practice to create three new performance pieces. Using my own research and practice to renegotiate the relationship between live performance and the archive, I demonstrate the possibility for a new historiographical approach to past performance. This approach emphasises the role of the participants in the performance as generators of an alternative form of historical understanding embedded in ways of operating in the city.
34
McKean, Kathy. "'If you sit in the dark long enough something scary's bound to happen' : the ghosts of Phyllis Nagy." Thesis, Kingston University, 2009. http://eprints.kingston.ac.uk/20267/.
Full text
35
Macagnano, Marco. "A Centre for the Performing Arts: catalyst for urban regeneration." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/29892.
Full textAbstract:
Salvokop, the site chosen for this project, is due for some major changes in the next few years. Current development on Freedom Park, the future Gautrain initiative as well as a new drive by the local municipality to integrate the area into the CBD of Pretoria through a major 'Cultural Spine' throught the city make Salvokop a future destination of major interest. The Centre for the Performing Arts seeks to appeal to all facets of South African culture through a medium of expression that all appreciate: the medium of performance art. Specifically speaking, perfromance art applies to music, dance and drama. It is the ambition of this project to cater for al these forms on a level with which both public and performer may participate. Integration into the urban landscape is key, with this Centre engaging with the intended urban fabric of the area in such a way as to create a ariety of indoor and outdoor recreation and performance spaces.Dissertation (M Arch (professional))--University of Pretoria, 2005.
Architecture
unrestricted
36
Robertson, Pandora. "SCRIPT ANALYSIS AND CHOREOGRAPHY: A STUDY OF INTERRELATING SKILLS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1238707399.
Full text
37
Keefe, John. "A spectatorial dramaturgy : ethical principles of recycling, habitus and estrangement." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25507/.
Full textAbstract:
As I have prepared this Commentary, I have come to appreciate the values that exist between the conventions of doctoral research driven by a glimpsed destination and that which brings together previously published works. The particular, and perhaps peculiar, historiographical relationship between the works from 'then' and the Commentary from 'now', turns such research into both a reflection and opportunity to reconsider writing already 'out there'. One cannot re-write the works (although the concept of 're-working' is central to my view of the engaged spectator). But one can reflect on the perspectives that informed each original piece within a body of emerging work. A Commentary, then, becomes not only a process of revelation but also one of acknowledgment of differing circumstances of research, publication and style. The unchangeable outcomes of each published piece are thus seen in a different light, juxtaposition revealing not only advances in one's ideas but also the paradoxes and shifts in thinking that retrospection forces and allows. So a slightly declamatory approach in earlier work evolves into more measured tones, perhaps less shrill. But if we each strive to have our own 'voice', no matter how hard we try for a more mature style some of that driving rawness remains. It is an uncomfortable truth that the shrill, unformed but passionate youth lurks in the shadows. This form of Commentary, then, becomes a revisiting of works and ideas that may have lost some of their currency, or perhaps not (hence my reaching back to both my MA Dissertation and the MiP Report). It becomes an attempt to place each work as part of a series not originally intended as such but in which chosen themes, prejudices and preoccupations play an ever-shaping role. It becomes an attempt to place some posterior coherence, convenient and inconvenient, which emerges from a process of reflection and 'looking again'. It is this mixing and juxtaposition of past work and present position that demands one looks from the side as well as straight on. For this reason I use a relational form of past and present tense as a 'vocal' device to show the ongoing 'live-ness' of the themes and ideas and passions that mark the body of work. The Commentary is therefore exposition and critique, but also an expansion. It is a dynamic process embracing the title of the Commentary itself, becoming subject to inevitable reworking since first being registered. Its preparation has allowed the introduction of current research, new ideas and oblique musings that extend the concerns of the extant works, giving a sense of continuing coherence and possible trajectories. It becomes an attempt to accommodate where I was then with where I am now.
38
Bueno, André Curiati de Paula. "Palhaços da cara preta: Pai Francisco, Catirina, Mateus e Bastião, parentes de Macunaíma nos Bumba-bois e Folias-de-Reis - MA, PE, MG." Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-04122012-094809/.
Full textAbstract:
Trabalho voltado a três brincadeiras populares com personagem negro de máscara, em três Estados brasileiros, e a comparações com o personagem Macunaíma, de Mário de Andrade. Foi realizada pesquisa de campo com registro áudio-visual por quatro anos, em continuidade com pesquisa anterior de Mestrado. O capítulo 1 introduz abordagens de Mário de Andrade, etnomusicologia, semiótica, estudos africanos e afro-brasileiros. O capítulo 2 avalia grandezas reunidas em Macunaíma, da fonte etnográfica às visões dos personagens negros da cultura popular, com índices da própria obra, da correspondência com Bandeira e da crítica. O capítulo 3 tange à experiência de campo, ao registro de Mário de Andrade do palhaço Veludo no Lundu do Escravo e à visão de Tinhorão dos palhaços negros cantores. No capítulo 4 vêm as transcrições dos textos registrados em campo com os personagens Pai Francisco, Catirina, Mateus e Bastião, nos três Estados. E o capítulo 5 traz balanço comparativo dos três registros e coerências com Macunaíma. A conclusão aborda o disfarce social e a vitalidade das representações negras.This is a study of three dramatic dances with masked black character, from three states of Brazil, in comparison with Mario de Andrade´s character Macunaíma. Field research with audio/video capture was done in four years, in continuity with the research for a previous thesis. Chapter 1 introduces Mário de Andrade´s approaches, ethnomusicology, semiotics, African and Afro-brazilian studies. Chapter 2 considers diferent values in Macunaíma, from the ethnographic base to visions of black characters in Brazilian popular culture, referring data from the book itself, from Andrade´s letters to Manuel Bandeira and from the critics. Chapter 3 discusses field experience, Andrade´s register of the clown Veludo in Lundu do Escravo and Tinhorão´s vision of the singing black minstrels. Chapter 4 brings transcriptions of texts registered in field with the characters Black Francisco, Catirina, Mateus and Bastião in three states of Brazil. And chapter 5 brings comparisons of the three narratives, and coherences with Macunaíma. The conclusion approaches social disguise and masks and vitality of black representations.
39
Stapleton, Erin Kathleen Loveday. "The intoxication of destruction : Georges Bataille's economy of expenditure and sovereignty in visual cultures." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29881/.
Full textAbstract:
This thesis traces operations of destruction in visual cultures, describing these operations as they manifest in films and visual art practices. Beginning with Georges Bataille’s general economy of energy, as it appears in The Accursed Share, this thesis deploys the concept of the simulacrum to argue that the operations of destructions in visual cultures produce particular forms of sovereign experience. It argues that while the object of expenditure can only be unique to each site of sovereign experience, appearance of an operation of destruction that produces the possibility of that sovereign experience remains consistent. Bataille’s sovereignty cannot be specified in relation to either the individual or the universal, because, as Bataille demonstrates, sites of sovereign expenditure are temporally, materially and culturally specific, unable to be repeated without differentiation, and unable to be expressed fully after the fact. In order to argue this position, I deploy Bataille’s economics of destruction which operates within the specific realm of visual cultural theory. Orientations derived from Bataille’s work are positioned alongside the work of other theorists, and in particular, Pierre Klossowski and Gilles Deleuze, to produce a unique theoretical basis for the operation of art in culture. The thesis offers a theoretical development in the problem of representation in Bataille’s work in the form of the simulacrum after Gilles Deleuze’s Logic of Sense. Each chapter is paired with another in a conceptual inversion that locates destructions in film, screen media and visual art practices. The thesis engages with operations of destruction in architecture, human extinction, identity and communication (through the performance of the artist and community in film), the physicality of destruction in the body and in sexuality, and finally, the order of destruction in the apparent dematerialisation of the image in digital culture.
40
Stock, Marel Angela. "Puppets, Pioneers, and Sport: The Onstage and Offstage Performance of Khmer Identity." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2944.pdf.
Full text
41
Vergara, Adrianzen Stephanie Carolina. "La narrativa de las piezas de danza de Travis Wall en So you think you can dance : the next generation (2016) y su puesta en escena como acercamiento al drama teatral." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/15464.
Full text
42
Parsons, Michael S. "Fire Dance." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1302553794.
Full text
43
Parker, Alan. "Anarchival dance: choreographic archives and the disruption of knowledge." Doctoral thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32318.
Full textAbstract:
This thesis details a practice-led investigation of the archive, explored through choreography and the creation of three anarchival performances. The research theorises the anarchival as a creative research methodology for archival questioning and epistemological disruption, enacted through the body. Through a critically reflexive thinking-through of choreographic practice, alongside an interpretivist analysis of performance works by six contemporary South African artists, the thesis surfaces specific ways in which an anarchival disruption of the archive facilitates a re-thinking of colonially inherited knowledge systems, implicit in the archive. The research thus frames anarchival disruption within the broader decolonial project in South Africa as a necessary and valuable strategy for developing a decolonial archival praxis. Chapter One positions the archive in relation to poststructuralist and postcolonial critiques and establishes the archive as a system of knowledge production deeply implicated in the proliferation of colonial epistemologies and the subjugation of bodies and embodied ways of knowing. Chapter Two conceptualises the anarchive, through process philosophy and Deleuzian ontologies, as an alternative archive comprised of the virtual traces of the past that the traditional archive excludes. These traces constitute points of contact for creative research and, when engaged with through the body, become sites for recreation and reimagining. Chapters Three, Four and Five each explicate specific approaches to this encounter in creative practice, departing from three forms of archival remains: objects, bodies, and ghosts, respectively. The disruptive effects of these practices are then developed further through the analysis of specific performance works where related anarchival disruption is evident. Chapter Three considers affect as a disruptor of hierarchical divisions between subject and object in Steven Cohen's Put your heart under your feet… and walk!/To Elu (2017) and Dineo Seshee Bopape's Sa koša ke lerole (2017). Chapter Four analyses the blurring of past and present temporalities in Nelisiwe Xaba's The Venus (2009). In Chapter Five, Gavin Krastin's Rough Musick (2013), Sello Pesa's Limelight on Rites (2014) and Igshaan Adams' Bismillah (2014) are each examined as haunted temporalities where the living and the dead co-exist and affect one another.
44
Elias, Marina Fernanda. "Zona do improviso : uma proposta para o desenvolvimento tecnico poetico do ator-dançarino e para a criação cenica." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284646.
Full textAbstract:
Orientadores: Eusebio Lobo da Silva, Sara Pereira LopesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-09T17:05:18Z (GMT). No. of bitstreams: 1 Elias_MarinaFernanda_M.pdf: 1393264 bytes, checksum: b45b1100c2f16ad4983f15813ffd2ed6 (MD5) Previous issue date: 2007
Resumo: Esta pesquisa apresenta um estudo sistemático sobre a improvisação enquanto ferramenta para o processo de criação coletiva nas artes cênicas, e a conseqüente sistematização de um jogo teatral ao qual chamamos Zona do Improviso. Utilizamos como norteadores da investigação dois sistemas com evidentes possibilidades de diálogo e entrelaçamento: o Sistema Effort-Shape, desenvolvido por Rudolf Von Laban, e o exercício do Campo de Visão, desenvolvido pelo Prof. Marcelo Ramos Lazzaratto. A partir do interjogo entre esses dois sistemas e, somando como suporte teórico e prático os estudos sobre jogo e improvisação de Viola Spolin, sistematizamos a Zona do Improviso que nos proporcionou juntamente com os dois citados sistemas, a montagem do espetáculo ¿Alma de Papel¿. Levantamos a hipótese de que a relação de cada intérprete com seu material criativo e espontâneo interfere no seu desenvolvimento técnico poético e na criação cênica em si. O desenvolvimento desta pesquisa se deu a partir da experimentação destes conceitos aplicados a dois tipos de propostas realizadas em laboratórios práticos: um processo pedagógico de sistematização destas idéias (Zona do Improviso) e uma experimentação de criação cênica (Alma de Papel). Participaram dos laboratórios vinte estudantes dos cursos de graduação em Artes Cênicas, Artes Corporais, Artes Plásticas e Música, da Unicam
Abstract: This research presents a systematical study about the use of improvisation as a tool for the collective creation in the performing arts, and the consequent systematization of an improvisation game called 'Improvisation Zone¿. As references of this research, we made use of two systems with clear possibility of dialogue and interlacement: the Effort-Shape System developed by Rudolf Von Laban, and the 'Vision Area¿ game, developed by Prof. Marcelo Ramos Lazzaratto. Starting from the 'intergame¿ between theses two systems and guided by the practical and theoretical studies of Viola Spolin, we systematized the 'Improvisation Zone¿, playing a key role in our creation of the play 'Alma de Papel¿. This research enquires the relationship of each interpreter with his own spontaneous and creative material, and how it interferes with his technique and poetic development and in the scenic construction. The development of this research was based on the experimentation of these concepts, applied on two propositions: the pedagogic process of systematization of these ideas ('Improvisation Zone¿) and the experimentation of the scenic construction
Mestrado
Mestre em Artes
45
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
46
Bauer, Una. "Post 1990s dance theatre and (the idea of) the neutral." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/2333.
Full textAbstract:
The thesis focuses on the concept of neutrality in the works of contemporary European (post 1990s) choreographers. While broad ideas around neutrality are considered, the thesis primarily engages with Roland Barthes’ definition of neutrality as a structural term: 'every inflection that, dodging or baffling the paradigmatic, oppositional structure of meaning, aims at the suspension of the conflictual basis of discourse'. I argue that the minimalist work of Judson Church, New York City, is anticipating the interest in the neutral that will more strongly formulate itself in dance theatre after the 1990s. In the first chapter on Jérôme Bel, the concept of neutrality is introduced as a general idea, together with its inherent problem. The 'problem' is not that this or that element that Bel chooses cannot be perceived as neutral, but that neutral or stage zero can never be neutral enough. The second chapter, dedicated to the work of Thomas Lehmen, explores the idea of 'neutralization' in relation to the notion of the self in Lehmen's performance, where 'It is not I or you who lives: 'one' (une vie) lives in us' (P. Hallward). In the third chapter I argue that in Raimund Hoghe’s performances, love is conceived essentially as a balance between narcissism and pure object-love – as a neutral state. The fourth chapter, on Croatia’s BADco., gravitates around the ways in which group processes function, arguing that the idea of the neutral is located in the ‘invisible hand’ of emergence. The thesis shifts academic performance analysis towards a more concept-based approach, unpicking and/or constructing timeless, abstract and broad concepts and ideas that the work of these choreographers resonates with.
47
Kogut, Kate Berneking. "Connections and confluences the personal and artistic journeys in the writing of Survival dance /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4781.
Full textAbstract:
Thesis (Ph. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 26, 2007) Vita. Includes bibliographical references.
48
Conner, William. "Less Lost: No Touchdown Dance." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5919.
Full textAbstract:
Less Lost is a feature-length film by William Chase Conner, made as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
49
Dennis, Harold Edward Brokaw. "How We Saved the World: A Multimedia Musical Drama." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254032.
Full textAbstract:
Music CompositionD.M.A.
A monograph on the musical composition How We Saved the World, a multimedia musical drama written by the author, describes in detail the history of the writing of the piece, its context within his development as a composer, its context within our times, the writing and structure of the libretto, the characters and character types within the piece, their relationships with one another, the music of the piece and its construction. The two hour long composition requires 44 performers to stage: 14 singers, 8 dancers, and a conducted 21 piece orchestra. In addition to traditional acoustic instruments (winds, brass, percussion, strings) the orchestra includes electric guitars, drum set, and audio and video laptop performers. How We Saved the World is situated in a future time and begins with the premise that the world has been saved. Human beings have found a way to live in peace and harmony with one another and with the ecology of our planet Earth. We, the participants in the performance are sharing among ourselves the story of how human culture changed from the destructive, unsustainable practices and consciousness of the past. The libretto is included as an appendix. The score and all of the audio files needed to perform the piece are included as supplementary material.
Temple University--Theses
50
Wilson, Kirsten Burgess. "Lord of the dance the church and the arts : a tension worth embracing /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.
Full text