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Dissertations / Theses on the topic 'Dance improvisation'
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Thorndike, Ashley P. "Articulating Dance Improvisation: Knowledge Practices in the College Dance Studio." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275069682.
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McLeod, Shaun, and shaun mcleod@deakin edu au. "Chamber: Dance improvisation, masculine embodiment and subjectivity." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.114658.
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Parrish, Mila. "Discover dance CD-ROM for dance education : digital improvisation and interactive multimedia /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203857248275.
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Sears, Linda R. (Linda Roseanne). "Women and Improvisation: Transgression, Transformation and Transcendence." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935798/.
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This feminist study examines women's use of improvisation in discovering, creating, and articulating various self-identities. To create a theory of identity formation, two feminist theoretical position, essentialism and poststructuralism, are analyzed and merged. This hybrid theory addresses the interplay between the self and society that women must recognize in order to form satisfying identities. Improvisational practices, involving bodily awareness and movement, are demonstrated to have the potential for helping women to actualize themselves in these various identities. For this study, the writer uses her experience as an improviser and interviews three women who use improvisation in their choreographic processes. She also discusses performers whom she has seen and performers about whom feminist performance critics have written. This study examines improvisation in dance and performance art from a feminist perspective. I clarify what improvisation entails and, by doing so, illustrate how improvisational movement in dance and performance art can enhance the lives of women as viewers and performers. Through exploring improvisation from this feminist perspective, I demonstrate the psychological insights I have gained from practicing improvisation and document performances that have been improvisationally inspired by women who feel dissatisfied with the manner in which this society shapes and limits their identities.
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Łucznik, Klara. "Shared creativity and flow in dance improvisation practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11608.
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This thesis investigated shared creative processes and the role of flow experience in group dance improvisation. A literature review suggested that dancers associate high-quality performance with 'being in the flow', and that group flow is a peak experience when a group is performing at its highest level. The first study explored the role of flow in dance creative practice and improvisation through qualitative content analysis of individual interviews with six dancers. Absorption with activity and enjoyment were themes in dancers' reports of flow. Group improvisation facilitated flow and creativity through maintaining desired focus for longer, lowering self-judgment and inspiring novel solutions. The second study investigated the occurrence of flow and its shared character within group improvisation using video-stimulated recall and questionnaire methods (n=16, 4 groups of four dancers). It showed that group flow was rather rare and it was more likely when a group had worked together for longer. Dancers reported that a group in a high-flow state engaged with a task in a more complex way, sharing, transforming and supporting each other's ideas, while low-flow groups worked more with mimicry and bodily manipulation. Dancers perceived tasks performed in a high-flow state as more creative. The third study explored the relationship between dancers' flow experience and creative outcomes from a third person perspective. A total of 203 participants (77 experts and 126 nonexperts) rated excerpts of high- and low-flow dance improvisation (five each) using Consensual Assessment Technique. Experts judged high-flow collaborations as more creative, and more coherent, technically advanced, aesthetically appealing and meaningful, however there were no significant differences in nonexperts' ratings. The fourth study explored whether synchronous arousal, measured by cross-recurrence quantification analysis of heart and breathing rate, was a physiological basis for group flow (n=8 group, 4 dancers per group). Although no relationship between synchronous arousal and flow was found, spontaneous synchronization of dancers' heart and breathing rate in improvisational group tasks was observed, unrelated to synchronized activity. Overall, the studies conducted confirmed that flow was a highly creative state for dancers, in which they performed better. The presence of others and quality of group collaboration supported the occurrence and amount of flow. However, group flow occurred rarely and was more likely when a group had worked together for longer.
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Lavelle, Lise. "Amerta movement of Java 1986 - 1997 : an Asian movement improvisation /." Lund : Centre for Languages and Literature, Lund Univ, 2006. http://www.loc.gov/catdir/toc/fy0701/2006402578.html.
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Woods, Pamela G. "Site as source and resource for sounding dance improvisation." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288376.
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Jolivet, Adèle. "Danse improvisée et processus de création : étude des dynamiques de personnalisation chez des danseurs." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20087.
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Ce travail analyse les processus de personnalisation dans les trajectoires de 23 danseurs improvisateurs, dans une approche psychologique. La danse improvisée est associée à un partage intersubjectif (Bigé, 2015) et à un état d’écoute (Guisgand, 2006) : le développement de cette écoute est ici étudié. Ses dimensions d’incertitude (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) et de recherche de liberté (Kintzler, 2006) associent l’improvisation à une pratique personnalisante, en référence aux théorisations de ce processus (Malrieu, 1979 ; 1994 ; 1995 ; Baubion-Broye, Dupuy & Prêteur, 2013). Des entretiens semi-directifs sont menés ainsi que des analyses thématique et par catégories conceptualisantes (Paillé & Mucchielli, 2012). Nous avons mis en exergue des tensions, des activités de signification et des réorganisations psychologiques et physiques dans les parcours de ces improvisateurs. Leur réflexivité vis-à-vis de leur pratique pousse ces danseurs à des prises de conscience et des analyses critiques : certains ne veulent plus répéter des mouvements ni improviser sans objectif. L’improvisation leur permet alors, par sa dimension de création, de se singulariser. Certains d’entre eux rencontrent des doutes sur leur capacité ou celle des autres à communiquer, à se connecter aux autres. Ils donnent alors à leur pratique de la danse des sens nouveaux : se lier aux autres, aider et coopérer. Créer dans l’instant les centre sur leur corps au moment présent et coopérer favorise l’écoute : ceci consolide la conscience de soi. Le fait de créer leurs propres mouvements et de dépasser ce qu’ils ont appris nourrit leurs besoins de dépassement et de liberté. Improviser permet donc à ces danseurs de se singulariser et de prendre conscience d’eux-mêmes : c’est une pratique personnalisante qui participe à la construction de soiThe present study aims to analyse personalization processes in the trajectories of 23 improvisational dancers. Improvised dance refers to intersubjective sharing (Bigé, 2015) and listening state (Guisgand, 2006): the development of this listening is studied here. Through its dimensions of uncertainty (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) and quest for freedom (Kintzler, 2006), improvisation combines with a personalization practice in reference to the theorizations of this process (Malrieu, 1979, 1994, 1995; Baubion-Broye, Dupuy & Prêteur, 2013). Semi-structured interviews were conducted. Two types of results analysis were used: thematic and through conceptualizing categories (Paillé & Mucchielli, 2012). These results highlight tensions, meaning activities and psychological reorganizations. Becoming aware of formatting, these dancers critically analyse their practises, in order not to repeat learned movements neither improvise without precise goal. The rejection of standard movements leads them to stand out through a personalizing process of creation. Some of them doubt about their ability or the ability of others to communicate, to interconnect. Those of them who are concerned with the lack of communication are trying to bring closer to others through danced improvisation : they cooperate. Cooperation makes them improve their listening and create spontaneously makes them centered on their bodies, which tends to consolidate their self-awareness. Creating their own movements and going beyond what they have learned feeds their need for overtaking and freedom.Through these processes of self-awareness and singularization, they personalize and build themselves
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Carlozzo, Abby. "A STUDY OF DANCE IMPROVISATION IN AFRICANIST AND POST-MODERN CONTEXTS AS EXPERIENCED BY PHILADELPHIA-BASED ARTISTS." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/393830.
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DanceM.A.
This thesis examines the philosophical and aesthetic characteristics of dance improvisation in two enormous contexts: Africanist dance forms and the diverse genres that this term encompasses, and postmodern dance practices that grew out of the work of the Judson Dance Theater in the sixties. The impetus for this study grew out of previous research in Ouagadougou, Burkina Faso in West Africa where I collaborated with a Burkinabe dancer to uncover how our histories influence our approach to movement-making. I soon realized that we possessed different understandings of dance improvisation, and I endeavor to unpack those differences in this study. I seek to evidence the range of understandings of dance improvisation that exist in the United States by including the voices of six Philadelphia-based artists who I have interviewed for the purpose of this research. Although I initially contacted Olivier Tarpaga, Zakiya Cornish, and Cachet Ivey for their work with African dance genres, and Esther Baker-Tarpaga, Marion Ramirez, and Molly Shanahan for their work with postmodern practices of improvisation, the amount of overlap between the two contexts soon became apparent. In exposing the diverse practices of improvisation, I hope to spark a conversation about what constitutes dance improvisation in the United States.
Temple University--Theses
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Schrock, Madeline Rose. "Visual Media, Dance, and Academia: Comparing Video Production with the Choreographic Process and Dance Improvisation." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1306695898.
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Meadows, Zoe. "pillow:you:blanket Dances: an Improvisational Dance Score Designed for a Quarantined World." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619179457863516.
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Jannides, Chris. "The SocioKinetic-bodymAPP : an improvisation tool for a dance and movement practice." Thesis, University of Chichester, 2013. http://eprints.chi.ac.uk/3553/.
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The SocioKinetic-bodymAPP, an Improvisation Tool for a Dance and Movement Practice applies a practice-as-research fieldwork methodology, framed by a sociokinetic form of analysis, to an interrogation of the negative influence of familiarity and habit in the choreographic workplace and practices of contemporary dance. The bodymAPP is an innovative system that offers a uniquely embodied method for exploring and experiencing human movement that is targeted to students, professionals and educators in the dance and performing arts who wish to uniquely enhance and expand their creative skills, expertise and understanding of improvisational techniques and possibilities. The need for such a ‘tool’ arose from my awareness, as a contemporary dance choreographer and educator of over 30 years standing, of the difficulty to avoid ingrained work patterns and practices when attempting to innovate or produce radically different ideas and directions in one’s daily routines as an artist. This thesis demonstrates a structured method and system for re-routing habitual work tendencies towards enterprising new areas of insight and surprise. Through applied concepts and holistic techniques, this research’s devised movement application tool and system, the bodymAPP (a ‘movement APP’ for the body), is formed and informed by a cross-disciplinary triangulation and integration of three key areas: sociology, everyday life and dance. From everyday life, an analytical deconstruction of walking and other pedestrian activities in public space supplies sociokinetic principles of movement that form the backbone of the bodymAPP system. Sociologists of the everyday provide a catalogue of techniques and ‘lenses’ for re-perceiving and re-engaging familiar territories of daily practice. Three in particular, accredited separately to 20th century Surrealism, Georges Perec’s notion of the ‘infraordinary’, and Husserl’s ‘phenomenological reduction’ – oblique, minutiae, epoché - were utilised in the bodymAPP’s development and are ingrained into its processes. Influenced by the legacies and precedents of Rudolf Laban, William Forsythe and Judson Dance Theatre in the areas of improvisational dance and movement analysis, this thesis is predominantly a practical manual containing the many tasks and strategies devised and tested in the studio with the assistance of a team of semi-professional and professional contemporary dancers. These exercises are used to learn the bodymAPP and apply it as an embodied tool to the exploration and invention of new movement experiences and possibilities. Crosspollinating Madeline Gins and Arakawa’s notion of ‘architectural body’ and Drew Leder’s ‘phenomenological anatomy’, the SocioKinetic-bodymAPP can be described as an ‘architected phenomenological anatomy’ whose purpose is to create, in the words of Michel Serres, ‘an exquisite proprioception’. This research centrally contributes to improvisational practices and creativity in the fields of dance and performance.
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Douse, Louise Emma. "Moving experience : an investigation of embodied knowledge and technology for reading flow in improvisation." Thesis, University of Bedfordshire, 2013. http://hdl.handle.net/10547/346585.
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The thesis is concerned with the exploration of the notion of ‘flow’ from both a psychological and dance analysis perspective in order to extend the meaning of flow and move beyond a partiality of understanding. The main aim of the thesis recognises the need to understand, identify and interpret an analysis of the moments of flow perceivable in a dancer’s body during improvisatory practice, through technologically innovative means. The research is undertaken via both philosophical and practical enquiry. It addresses phenomenology in order to resolve the mind/body debate and is applied to research in flow in psychology by Mihalyi Csikszentmihalyi, and flow in movement analysis by Rudolf Laban and Warren Lamb. The significance of this endeavour can be seen in the reconsideration of the relation between mind and body, and art and science which informs the methodology for the research (Part One). The three main outcomes of the research are related to each of the three subsequent parts. The first research outcome is the articulation of a transdisciplinary approach to understanding flow and was developed by expanding on the current definitions of flow through an innovative transdisciplinary methodology (Part Two). Research outcome two addresses the intersubjective nature of flow, which was identified within improvisation. From this two methods were constructed for the collection and interpretation of the experience of the dancer. Firstly, through reflective practice as defined by Donald Schön. And secondly, an argument was provided for the use of motion capture as an embodied tool which extends the dancers embodied cognitive capabilities in the moment of improvisation (Part Three). The final research outcome was thus theorised that such embodied empathic intersubjectivity does not require a direct identification of the other’s body but could be achieved through technologically mediated objects in the world (Part Four). Subsequently, the findings from the research could support further research within a number of fields including dance education, dance practice and dance therapy, psychology, neuroscience, gaming and interactive arts.
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Crawford, Sally. "Inside England's 'tap jams' : improvisation, identity, and community." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10950.
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This thesis examines tap dance practice and performance in England. The study is based on a multi-sited ethnography of two tap dance communities in Manchester and London. Participants in the communities ranged in ages from eighteen to eighty and were from a variety of social backgrounds. The investigation focusses on the tap jam, an informal performance event that showcases improvised tap dance to live music. Many individuals disclosed that they joined the tap communities despite possessing limited knowledge and experience of tap improvisation. Improvisation in tap dance is traditionally studied within the context of performance technique and the historical evolution of tap practice in the United States. American tap practitioners and historians such as Hill (2010), Knowles (2002), Frank (1994), and Stearns and Stearns (1968) state that tap improvisation contributes to unique performance styles but do not clarify how these identities are achieved by tap dancers. In order to understand how performance styles are generated, a symbolic interactionist approach is applied to the act of tap improvisation in the two communities. Viewing tap improvisation through a symbolic interactionist framework revealed that the tap jams are a shared social process that does not limit participation based on dance training or socio-cultural background. The improvised performances at the tap jam created performance identities that focussed on the individual rather than on an English interpretation of tap dance. The thesis delivers an analysis and discussion of how the tap community members cultivate these identities within a social context, exploring how tap dance is evolving beyond American identity and practice.
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Pollitt, Joanna T. "Accumulated response in live improvised dance performance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1038.
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The response project and accompanying thesis aim to affirm the role of the dancer as an authority in revealing patterns and traces of accumulated lived experience, knowledge and ideas through the practice and performance of dance improvisation. The dancing body is investigated as a dynamical and complex system of research that is embedded in a process of continual response to the present. These bodily inscriptions and the process of active response form the seminal grounds for the physical and energetic exchange of improvised dance in performance.
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Picasso, Ailey Rose. "Unearthing edges : constructing gaps." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6835.
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In questioning the complexity of human identity, the multiplicity of the self is uniquely grounded within embodied experience. Unearthing edges : constructing gaps is the result of creative research centered on investigation of the following questions: What can practices of collaborative movement making bring to the process of illuminating, excavating, and perhaps reconciling these alternate versions of the self? In practices supporting the development of individual movement vocabularies and physical agency what can be learned of the complications of the self and identity? What can be revealed of self and community in collective movement practice and in sharing solo practice? How can improvisational work, practiced in the realm of rehearsal and performance, engage with these ideas? Through studio practice utilizing a range of methodologies, this project seeks to contend with ideas of the self, identity, alternate reality, spontaneity, empathy, agency, and community.
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Damian, Jérémy. "Intériorités/Sensations/Consciences : sociologie des expérimentations somatiques du Contact Improvisation et du Body-Mind Centering." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH039/document.
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Je considère deux pratiques « somatiques » nées dans le même contexte culturel des années 70 aux États-Unis, l'une héritière de la postmodern dance — le Contact Improvisation —, l'autre s'inscrivant dans le champ émergeant de l'Éducation Somatique — le Body-Mind Centering. Je m'intéresse à elles en tant qu'elles expérimentent des discours, des pratiques et des savoirs sur les rapports entre le corps et l'esprit, ou encore la « conscience corporelle ». À la croisée de l'anthropologie somatique et de la sociologie des sciences, l'enquête porte sur des expériences qui questionnent l'évidence de notre conception « moderne » de l'« intériorité », réduite à sa part mentale, et qui contestent le partage selon lequel tout ce qui se manifeste « à la surface » du corps est une affaire publique tandis que tout ce qui s'y passe « en profondeur » est une affaire privée. Elle suit des praticiens qui font de leur « intériorité » un lieu de pratique et d'apprentissage, presque un lieu d'intervention publique, en construisant des sensations à la fois intérieures et publiques Ces pratiques instaurent la possibilité de se rendre sensible à des « entités intérieures » (internal material) qui comptent comme autant de ressources pour danser, improviser, composer et, plus largement, sentir, se relier et connaître. Cette recherche documente ce travail de « mise en culture des sens intérieurs » (Luhrmann) par lequel d'autres « versions » (Despret) de l'« intériorité », de la « sensation » et de la « conscience » se mettent à exister, à compter et à guider ceux qui apprennent à les cultiver. Au final, cette thèse ne fait rien de plus que de poser la question « qui danse ? », en s'obligeant toutefois à donner suffisamment d'épaisseur spéculative à cette interrogation pour que l'enquête puisse témoigner du nombre et de la variété de ceux que la réponse requiert et engageThis inquiry considers two different somatic practices coming from the same cultural context: 70's in United States. One emerged whithin Postmodern dance experimentations — Contact Improvisation —, the other belongs to the “somatics” field (Hanna) — Body-Mind Centering. Both practices experiment discourses, knowledge and experiences on the binding of body and mind. The inquiry aims to document the ways practitioners, thanks to their inner sensations and specific training of their attention, allow their “interiority” to transform into a place for practicing and learning, or even into a public space. I intend to describe these practises as practices enhancing an « inner sense cultivation » (Luhrmann) revealing the opportunity for what we normally call « interiority », « sensation » or « body consciousness » to exist in other « versions » (Despret). Somehow, it just points out a recurrent question: “who does the dancing?”. And it brings another one: How could we force ourselves to detail our answers so that these new ‘versions' might start to vividly enter the dance?
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Collard-Stokes, Gemma. "Dissolving borders : the integration of writing into a movement practice." Thesis, University of Wolverhampton, 2017. http://hdl.handle.net/2436/620899.
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This thesis theorises the practice of three female British dance artists, Miranda Tufnell, Helen Poynor and Hilary Kneale. It engages with the central idea that a combined practice of creative writing and movement improvisation enhances the artist's articulation and assimilation of the experience of dance, consequently developing a deeper connection to the experiences of the body in relation to one's environment. Refuting common perception that the inadequacy of language fails to embody the experience of dance, I argue that the approaches used by these women contribute to a distillation of experience thus revealing the essence of movement. Importantly, it focuses on practices that have been born of the feminist consciousness that facilitated the development of both British postmodern dance and women's writing since 1970. As a result, I utilise Elizabeth Grosz's notions of freedom and writing otherwise, and David Abram's Merleau-Pontian ideas on participation to underpin theoretical endeavours. Fieldwork, in the form of interviews and the participation in/observation of various performances, workshops and training programmes, run by each of the dance artists studied, is presented. The development of my own practice resulting from these enquires is documented, analysed and appraised throughout the thesis. The Introduction outlines research questions addressed and methodological approaches undertaken before considering the historical context of each artist's unique practice. Each case study is preceded by a chapter that identifies biographical circumstances, creative choices, and socio-political conditions that have influenced the careers of these dance artists. The function of writing as a bridge between the subjective embodied experience and objective analysis of that experience is examined alongside an assessment of the scope of each practice as a method of harvesting a [re]connection with nature and its power to generate self-affirming stories. Finally, the conclusion offers thoughts on the difficulties of such an endeavour within the framework of contemporary thought that maintains its stance on the split between [body]dance and [mind]written language.
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Wray, S. "Towards embodiology : modelling relations between West African performance practices, contemporary dance improvisation and 'seselelame'." Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/813172/.
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This inquiry concerns dance improvisation as a mode of performance demonstrated in West African cultures, raising questions concerning the knowledge, skills and techniques performers display in related dance and drumming practices. Improvisation in West African contexts resists contemporary dance practice’s universalising concepts; this investigation is undertaken to allow a neo-African perspective of improvisation to emerge and take its place within dance studies. I thus examine practices of several ethnic groups which consistently reveal uses of six component-principles: Dynamic Rhythmic, Fractal Code, Inner Sensing and Balance, Play and Decision Making, Collaborative Competition and Audience Proxemics. Combined to form a hypothetical model of improvisation-asperformance practice, I interrogate this group of aesthetic concepts and their interrelations using Practice as Research (PaR) and autoethnographic methods. A multi-phased and multimodal investigation ensues, combining textual and video analysis, studio workshops in the USA and UK and fieldwork in Ghana, leading to the generation of new improvisation methods that employ and demonstrate West African knowledge. Dissecting rhythmic acuity builds performers’ capacities to generate and sustain improvised performance. An examination of the relationship between dance and music and an emergent theory of culturally specific sensory knowledge - seselelame - are both central to developing a fuller understanding of this neo-African aesthetic. I apply a decolonising filter throughout this research, clearing a space for performers’ expertise, weaving a range of critical positions to emphasise the need for a more contemporary and inclusive analysis of non-Western approaches to improvisation–as-performance. Thus, within intercultural contexts I observe, participate, create, collaborate, teach, train and perform: all of which serve to move toward a new field of knowledge, “Embodiology”. This West African-informed theory of improvisation-as-performance contains an analytical tool useful to evaluate improvisation in dance and other contexts. Research modes intersect analytically throughout the 70:30 ratio split between the written submission and documented practical work.
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Fredricson, Flodin Fia. "Improvisationsförmågan som dansstudentens fronesis : En danspedagog synar sin praktiska kunskap." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-9427.
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This essay is an attempt to scrutinize dance improvisation in terms of Aristotle’s concept of the practical knowledge phronesis. By remembering and reflecting upon lessons and my own practical knowledge and experience as a teacher in the subject of dance improvisation, I want to examine the ability to improvise as the dance students´ phronesis. Awareness, spontaneity and intuition are vital elements for the comprehension of phronesis and even represented in the basis training in dance improvisation. During the contemplation I have used philosophical books and texts mainly about practical knowledge, intuition and reflection.
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Black, Laura. "{Sati} {Natya} / Mindfulness in Movement: An Investigation of Practicing Mindfulness in Improvisational Dance Through the Lens of Non-Attachment." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18746.
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This thesis describes the unique development and execution of a practice of improvisational dance through the lens of non-attachment. The ephemeral nature of dance as discussed by Maxine Sheets-Johnston is compared to a method of engaging the world with acceptance of what is without expectation or judgment as described in writings on various Eastern concepts of non-attachment through mindful practice. Parallels are noted between the aforementioned writings and works on non-attachment by Sahdra, Shaver, and Brown as well as Patanjali's Yoga Sutras to demonstrate the capacity of improvisational dance as a mode of practicing non-attachment. The author's experience in exploration through her own improvisational practice is compared with other movement practices stemming from eastern traditions interested in non-attachment as a mind-balancing pursuit. Progress toward non-attachment as a result of this committed practice is quantitatively demonstrated through the use of a Likert-style scaled questionnaire.
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Vilas, Boas Priscilla 1980. "A improvisação em dança : um diálogo entre a criança e o artista professor." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251273.
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Orientador: Márcia Maria Strazzacappa HernandezDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A presente pesquisa versa sobre a improvisação como proposta de iniciação à dança com crianças entre sete e dez anos de idade. Por meio da etnografia, estuda e analisa aulas de dança por mim ministradas na Escola Municipal de Iniciação Artística de São Paulo/SP, usando como recorte o ano de 2011. A partir do conceito de experiência de Jorge Larrosa Bondía, discute sobre procedimentos metodológicos que possibilitem a participação efetiva da criança na elaboração de seu próprio aprendizado em dança. Para o aprofundamento do estudo sobre a improvisação como forma de aprimorar as habilidades físicas e as capacidades sensíveis e criativas da criança, traz como referencial teórico pesquisadores que estudam a fenomenologia (Machado 2010), a educação em dança (Strazzacappa, 2001, 2006) e a improvisação (Gouvêa 2012). As aulas de dança pautadas na improvisação mostraram que é possível proporcionar às crianças um denso conhecimento em dança e a construção de uma experiência estética autoral.
Abstract: This research deals with improvisation as proposed initiation to dance with children between seven and ten years old. Through ethnography, studies and analyzes dance classes taught by me at the Municipal School of Art Initiation of São Paulo / SP, using as clipping the year 2011. From the concept of experience Bondia Jorge Larrosa, discusses methodological procedures which enable the effective participation of children in constructing their own learning in dance. To deepen the study of improvisation as a way to enhance the physical abilities and capacities sensitive and creative child brings as theoretical researchers studying phenomenology (Machado 2010), education in dance (Strazzacappa, 2001, 2006) and improvisation (Gouvea 2012). Dance classes in guided improvisation showed that it is possible to give children a dense knowledge in dance and the construction of an aesthetic experience copyright.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestra em Educação
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Bingham, Robert. "Improvising Meaning in the Age of Humans." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/450625.
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DancePh.D.
This dissertation is an ecological philosophy rooted in dance as a somatic mode of knowing and as a way of perceiving the world through and as movement. It is phenomenological, drawing meaning from a dedicated practice of improvisational dance and from extensive dialogue with dance and somatics artist/philosopher Sondra Horton Fraleigh. This emergent knowledge is integrated into discourses and practices addressing the relationship of the human and more than human world in the context of a deepening environmental crisis in the 21st century. Employing both somatic and conceptual ways of knowing, I investigate dance as a tool for restoring a sense of ecological kinship with nonhuman co-habitants of planet Earth. The pretext for the dissertation is the emerging concept of the Anthropocene, a term introduced by Paul Crutzen in the early 2000s which defines human activity as the dominant geophysical force affecting the movements of the Earth system, including weather patterns and chemistries of soil, air and water. This concept, while subject to debate both in and out of the sciences, highlights the entanglement of humans and Earth and calls into question anthropocentric notions placing humans at the center of the universe of significance and meaning. In light of growing challenges associated with the Anthropocene, including climate change and mass extinction, the dissertation makes a case for greater inclusion of ecological and environmental contexts in dance studies scholarship as an epistemological move towards increasing reciprocity with Earth. I argue that environmental crisis, while daunting, presents an opportunity for radical creativity in re-thinking the interconnected movements of human bodies and planet Earth. In summer 2015, I conducted a one-month, fieldwork-based interview with Fraleigh, which included verbal dialog, dancing, and exploration of the landscape of southern Utah, where she lives following retirement from university teaching. Fraleigh, whom I had known personally and professionally for twelve years since studying with her as an MFA student in the early 2000s, is a dance artist, philosopher and somatic educator widely known within and outside the academic dance community for her writing and teaching in phenomenology, dance aesthetics, somatics, and butoh. Her decades of inquiry into the nature and meaning of dance and human embodiment have consistently included questions about the relationship of humans and nature, and she has argued that humans are ecological as well as cultural beings. Through collaborative somatic and intellectual processes, we extended questions we shared about the relationship of humans with Earth through its contextualization within the emerging paradigm of the geologic Age of Humans. The dissertation is organized into two parts. Part One describes the onto-epistemological context for the fieldwork I conducted in Utah and includes background literature on the subjects of body, perception, matter and environmental ethics, followed by an explanation of the research methodologies I employed. Part Two is a phenomenological account of the fieldwork, which spirals between thick description of specific experiences and theoretical reflections on emergent meanings. Through this format, I integrate somatic and conceptual ways of knowing and illuminate dance as a mode of meaning making and response to geologic transformations taking place on Earth. By engaging dance as a tool for thinking about and with the Anthropocene, I aim to promote more scholarly inquiry into ways that dance can and does transform, heal, revitalize and aestheticize human-Earth relations in the context of a planet in crisis.
Temple University--Theses
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Tico, Jenna N. "Body Language: Representations of Dis/Ability in Life Writing and Improvisational Dance." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/87.
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This thesis looks into autobiographical representations of disability and illness in life writing, a flexible form of creative nonfiction, and Contact Improvisation, a postmodern dance form, to argue how the structure of representation must incorporate the physical and emotional/intellectual in order to convey the necessary overlap between the mind and body.
Chapter One looks at Plaintext, by Nancy Mairs, to analyze the way her sporadic writing style mirrors the unpredictability of her multiple sclerosis. Chapter Two focuses on Autobiography of a Face, by Lucy Grealy, and examines how the irregularity of the author's face--and the various roles that she takes on throughout her life--undermine the idea of any singular self in life-writing and otherwise. Analysis of Grealy's text is paired with Truth and Beauty, a memoir written by the author's best friend, Ann Patchett, in order to demonstrate the linguistic/cultural distinction--but significant overlap--between dependency and independence. Chapter Three expands upon this idea in relation to disabled dance companies, and highlights Contact Improvisation--a dance form based on the transfer of weight--as a revolutionary forum that incorporates mind and body in an "intratext" of representation. Because it is based on exchange of impulse and a blurring of bodies, CI allows for a fluid negotiation between multiple identities, accommodating the moment-to-moment nature of living with or without a disability.
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Bigé, Romain. "Le partage du mouvement : une philosophie des gestes avec le contact improvisation." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEE083.
Full textAbstract:
Comment les êtres, humains ou plus-qu’humains, en viennent-ils à partager leurs mouvements ? Qu’est-ce qui exauce, soutient ou empêche la confluence de leurs gestes ? Ces questions sont des questions métaphysiques (question de la comobilité des êtres), anthropologiques (question du vivre-ensemble) ou biologiques (question de la symbiose) : pour y répondre, il est de bonne méthode de lire des philosophes, des anthropologues, des biologistes. Nous avons décidé de les adresser à une pratique chorégraphique : le Contact Improvisation, une forme de danse initiée par le chorégraphe américain Steve Paxton en 1972, et où danseurs et danseuses se sautent les un-es sur les autres, entrent en contact les un-es avec les autres, roulent par terre et tombent dans les airs, considérant que la philosophie avait tout intérêt à reconnaître que danseurs et danseuses non seulement savent bouger ensemble, mais, plus important, savent s’apprendre et penser la manière dont ils bougent ensembleHow do human and more-than-human beings come to share movements? What supports, hinders or ignites the confluence of their gestures? These questions are metaphysical (how do things coexist?), anthropological (how to live together?), and biological (how do we merge and exist symbiotically?): to answer them, our anthropo-phenomenological “philosophy of gestures” offers a reading of contemporary philosophers, anthropologists and biologists. But next to those field specialists, the investigations also led us to ask our questions to dancers and to a dance practice—Contact Improvisation, a movement form that was initiated by North American choreographer in 1972, where dancers jump at each other, enter in contact, roll on the ground and fall in the air. Our hypothesis was simple: we are in urgent need to renew our understanding of movement and specifically of our ways of moving together (with other, humans or more-than-humans), who better than dancers to lead the inquiry with?
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Agg, Katia. "Máscara corporal : aspectos técnicos-poéticos na composição do corpo cênico sob a perspectiva do intérprete interativo." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284581.
Full textAbstract:
Orientador: Marília Vieira SoaresTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A partir do olhar sobre a máscara e sua efetiva atuação no corpo cênico, desencadeou-se o interesse em pesquisar a maneira pela qual a essência deste elemento milenar, presente desde a origem da dança, pode manifestar-se na dança cênica da atualidade. Para tanto, este estudo parte da premissa de uma perspectiva integralizadora dos elementos de cena, tais como iluminação, cenário e figurino, para a expansão do entendimento e conseqüente composição da Máscara Corporal. Tal entendimento passa pela reflexão realizada por meio dos registros históricos no que se refere ao uso da máscara na dança cênica ocidental e dialoga com personalidades do cenário artístico atual da dança e do teatro. Os Laboratórios Corporais (LabCor 1 e 2) consolidaram a busca por referências aos questionamentos de como, quando e de que maneira a máscara corporal atua no processo criativo e potencializa o corpo cênico. Os laboratórios contaram ainda com o uso da saia e da luz negra como provocadores criativos do exercício cênico Aliança. Reconhece-se, assim, a máscara corporal como impulsionadora desse processo, ao propiciar ao corpo a sua desterritorialização, ou seja, um estado de suspensão promovido pelo distanciamento do corpo cotidiano e de seus referenciais já conhecidos. Ademais, a potencialidade transformadora, inerente à máscara, revela-se na relação do corpo com outros elementos cênicos na busca pela emergência de um Quem que dança ao interagir com o corpo cênico em outro tempo/espaço
Abstract: From the glance on the mask and its effective acting in the scenic body, the interest was awoken in investigating the way for which the essence of this thousand-year-old, present element, that is present since the origin of the dance, can manifest itself in the current scenic dance. To that end, this study starts from the premise of an integrated perspective of the scenic elements, such as lighting, scenery and costume, for the expansion of the understanding and consequent construction of the Physical Mask. This understanding occurs through the reflection carried out by means of the historical records of the mask use in the scenic western dance and interacts with personalities from the artistic current scenery of the dance and of the theater. The Physical Laboratories (LabCor 1 and 2) consolidated the search for references to the following questions: how, when and in which way the physical mask acts in the creative process and it intensifies the staging body. Over the laboratories there was still the use of the skirt as well as the black light as creative provocateurs of the scenic exercise Aliança. The physical mask is recognized like an impulse of this process, while it provides the body its deterritorialization, in other words, a state of suspension promoted by the distance of the daily body and of its already known referential systems. Furthermore, the transformative potentiality, which is intrinsic to the mask, is exposed in the relation of the body with other scenic elements in the search of the emergence of the one who dances while interacting with the scenic body in another time / space
Doutorado
Artes Cenicas
Doutor em Artes
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Morrison, Faith. "Creating and Conveying a Kinesthetic Experience of Place." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19277.
Full textAbstract:
This research uses dance and film to investigate the creation and conveyance of a kinesthetic experience of place. The choreographer, dancers, and videographer participating in the study aimed to create a kinesthetic experience of place by engaging the senses in a sensory experience of place and exploring the different feeling states of place. The study utilized choreographic methodologies of site-specific dance and screendance to facilitate a creative process rehearsed, performed, and filmed in the Oregon Dunes National Recreation area at Eel Creek. The footage from this choreographic process was edited into a screendance intended to convey a kinesthetic experience of place to viewers. The pilot study, At Eel Creek, and the final screendance, ensō, can be viewed through supplemental files included with this document. The evaluation of the study has resulted in key discoveries into the components necessary for the creation and conveyance of a kinesthetic experience of place.
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Hutchison, Stephanie. "Work: A poetics of endurance within the viscous solo." Thesis, Deakin University, 2012. https://eprints.qut.edu.au/95371/7/95371.pdf.
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This project developed a new approach to movement practice and performance through a solo performance that used physical paradigms of endurance and work to integrate the normally divergent movement practices of contemporary dance, circus and improvisation. This work contributes to developing dance and movement curricula relevant to contemporary hybrid aesthetics.
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Pereira, Daniele Fumagalli. "O processo de criação sob a perspectiva da Psicologia Analítica = Danças Circulares Sagradas coligadas ao processo de criação em dança." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283936.
Full textAbstract:
Orientador: Elisabeth Bauch ZimmermannDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho trata do processo de criação artística, especialmente no campo da Dança, sob a perspectiva da Psicologia Analítica de C.G. Jung. De acordo com ele, o anseio criativo do ser humano deriva do inconsciente, especificamente do Inconsciente Coletivo, e se configura através de imagens simbólicas. O processo criativo depende do acesso às imagens do inconsciente, os Arquétipos. O objetivo principal deste trabalho é verificar a possibilidade de contribuição das Danças Circulares Sagradas no processo de criação em Dança. Parte-se do princípio de que as Danças Circulares são práticas que favorecem o estado meditativo, o que pode permitir o acesso aos arquétipos; além disso, as Danças Circulares Sagradas podem favorecer a colaboração e a troca entre os membros participantes do grupo. Para isso, foram realizados laboratórios com bailarinos, alunos do curso de Dança da Unicamp, utilizando, como incentivo inicial, as Danças Circulares Sagradas, em exercícios meditativos e proporcionado um espaço para a improvisação do bailarino. Através do uso de questionários, aplicados antes e depois da realização dos laboratórios, pode-se concluir que o exercício com as Danças Circulares - como preparação física e mental para o bailarino criador - foi eficiente para criar um estado favorável para a criação. Os participantes afirmaram sentir-se mais concentrados, disponíveis e receptivos às imagens do inconsciente. Também afirmaram ter percebido o grupo receptivo e harmônico, favorecendo a criação
Abstract: This work deals with the process of artistic creation, especially in the field of dance, from the perspective of Analytical Psychology of CG Jung. According to him, the creative urge of the human being derives from the unconscious, specifically the Collective Unconscious, and is configured through symbolic images. The creative process depends on access to images of the unconscious, the Archetypes. The main objective of this work is to verify the possibility of Sacred Circle Dances contribution in dance's creative process. It is assumed that Circle Dances favor the meditative state, which can allow access to the archetypes; in addition, Sacred Circle Dances may encourage collaboration and exchange among the participating members of the group. In order to do that we have performed laboratories with dancers and students from third year of dance at Unicamp, using as initial incentive Sacred Circle Dances in meditative exercises, providing a space for dancer's improvisation. Through the use of questionnaires before and after the completion of the labs, it can be concluded that the exercise with the Circular Dances as physical and mental preparation for the creating dancer was efficient to provide a favorable condition for creation. Participants said they felt more focused, affordable and responsive to the images of the unconscious. They also said they felt the group as harmonic and receptive, encouraging the creation
Mestrado
Artes
Mestre em Artes
30
Ferreira, Rousejanny da Silva. "Balé sob outros eixos: contextos e investigações do coreógrafo norte-americano William Forsythe (1949) entre 1984 e 1994." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5707.
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This dissertation aims at discussing the contexts and the reformulations on the vocabulary for the ballet proposed by the North American choreographer William Forsythe (1949), from the decades of 1980 to 1990. The excerpt delimited on the research is within the period which Forsythe directed the Frankfurt Ballet, in Germany. He has been considered an important revitalizer of the patterns of traditional ballet by many art and dance critics as well as by historians. For a better understanding of the trajectory and importance of Forsythe in the transformation of this dance, I first present some of the problems of the uncritical historic discussion of ballet. Following that I point out how ballet has raised aesthetical and political provocations about its performing up to the context of the subject here being investigated – William Forsythe. Next I investigate the social, political and artistic constructions which are designed by this choreographer in order to develop his references about the conception, performing and composing of ballet in the contemporaneity. In this perspective I also investigate the material that registers this period of his career: the CD-ROM Improvisation Technologies. I present the organization of the CD together with the description and analyses of the technology and the studies developed in the field of Labanian Choreutics as well as the description and analyses of all of the categories presented in its first edition, which has influenced the creation of the material. This work problematizes ballet as a web of meanings of our time, presenting the dancer as researcher of his choreographic practice.
Este trabalho discute os contextos e reformulações no vocabulário do balé propostos pelo coreógrafo norte-americano William Forsythe (1949) entre 1984 e 1994. O recorte delimitado na pesquisa compreende o período em que William Forsythe dirigiu o Balé de Frankfurt – Alemanha, sendo considerado por muitos críticos e historiadores da dança e da arte um importante revitalizador dos moldes tradicionais do balé. Para melhor entender os percursos e a importância de Forsythe na transformação desta dança, primeiramente apresento alguns problemas na discussão histórica acrítica do balé e, em seguida, aponto como, em três momentos distintos de sua história, o balé levantou provocações estéticas e políticas sobre seu fazer, chegando, então, ao contexto recente do sujeito aqui pesquisado, William Forsythe. Investigo em seguida as construções sociais, políticas e artísticas traçadas por este coreógrafo para desenvolver suas referências sobre a concepção, atuação e composição de balés na contemporaneidade. Nesta perspectiva, investigo o material que sela este período de sua carreira, o CD-ROM Improvisation Technologies. Apresento os estudos da tecnologia e da corêutica labaniana, que influenciaram a criação do material, e a organização do CD, juntamente com a descrição e análise de todas as categorias apresentadas em sua 1ª edição. Este trabalho problematiza o balé como teia de sentidos de nosso tempo, apresentando o bailarino investigador de sua prática coreográfica.
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O'Keeffe, Anne. "The art of presence : contemplation, communing and creativity /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7072.
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The Art of Presence: Contemplation, Communing and Creativity reflects on the making of a dance theatre work called Song of Longing presented at Victorian College of the Arts in 2008. Song of Longing was made in collaboration with the cast, who participated in a process centred on improvisation. The resulting performance was a synergy of dance and unaccompanied singing.The thesis is an investigation of the choreographer's ongoing exploration of movement, singing and improvisation, informed by Buddhist philosophy. Both the writing and the performance mirror an embodied practice - making tangible themes and concepts that have emerged into consciousness.
Central interests include the ‘life-world’ of the artist and its influence on the creative process, the concepts of spirituality, spirit and ‘flow’, the experiential focus of the inquiry, improvisation as presence and the value of art as healing and therapy.
While the perspective of the writing is drawn from the subjectivity of the practitioner, the aim of the work is to draw on the broader fields of research in these areas and to connect with the creative practices of other artists. To this end, a conventional survey of the literature has been augmented by writings and teachings on Buddhism and other spiritual practices, documentaries and visual art. Interviews with artists in Australia and India and thoughts from the performers of Song of Longing are also included.
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Vine, Tereza Margarida Morini 1954. "Somos todos anjos... caidos ou não : dança vocal: a pura poesia da imagem do movimento." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283956.
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Orientador: Elisabeth Bauch ZimmermannAcompanha 01 CD-ROM
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho faz uma reflexão sobre o movimento cênico em processos de criação no contexto da contemporaneidade. Nasce do aprofundamento das pesquisas sobre a Dança Vocal, que tem por principio o entendimento do ser em sua totalidade. Aborda os processos de criação fundamentada na Dança Vocal e as possibilidades de encontro com as diferentes linguagens artísticas. Este estudo ainda pesquisa as práticas meditativas como um dos modos de lidar com o processo de criação em Dança Vocal. É dirigido a profissionais, professores e alunos, bem como àqueles que se interessam pela arte do movimento
Abstract: The focus of this work is the analysis of the creative processes within Vocal Dance in its relationship with contemporary art. It is a further development of research that began many years ago. Vocal Dance is a study of movement based on the principle of seeing the human being as a total entity. The work examines the creative process via Vocal Dance and its relationship with a wide range of artistic genre. Meditation techniques are also evaluated as a method utilized within Vocal Dance. Professionals, teachers, students and members of the public interested in body-mind processes will hopefully benefit from the subjects covered
Doutorado
Doutor em Multimeios
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Gouvêa, Raquel Valente de 1967. "A improvisação de dança na (trans) formação do artista-aprendiz = uma reflexão nos entrelugares das artes cênicas, filosofia e educação." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/250995.
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Orientador: Márcia Maria Strazzacappa HernándezTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Investiga-se a Improvisação de Dança como experiência de criação imediata da dança, visando compreender este (meta)fenômeno em suas condições de apresentação e especificidades. A pesquisa dá continuidade aos estudos iniciados no Mestrado em Arte (UNICAMP), no qual propomos um conjunto de procedimentos dirigidos à preparação do dançarino-improvisador baseados na experimentação, esvaziamento e em princípios técnicos do movimento corporal, chamado "prática corporeoenergética". Neste doutorado, apresentamos uma reflexão do tema nos entrelugares da Dança, Teatro, Filosofia e Educação, a fim de poder contribuir para a elaboração de outros pensamentos sobre as vivências artísticas e pedagógicas da improvisação de dança. Encontramos nas filosofias de José Gil e Gilles Deleuze paisagens conceituais que nos ajudam a pensar o encontro criativo do improvisador com a dança.
Abstract: Dance Improvisation is investigated as an experience of immediate dance creation, in order to understand this (Meta) phenomenon in its performance conditions and specific. The research gives continuity to the studies initiated during the Master Degree in Arts (UNICAMP), in which we proposed a set of procedures for the preparation of the dancer-improvisor based upon experimentation, emptying, and on technical principles of body movement, called "corporeal-energetic practice". On this doctor's degree, we present a reflection on the topic in the spaces between Dance, Theater, Philosophy, and Education, in order to contribute to the elaboration of other thoughts on artistic and pedagogical experience of dance improvisation. We have found on José Gil and Gilles Deleuze philosophy, conceptual landscapes that help us to think the creative conjunction of improvisor and dance.
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
34
Almeida, Karina Campos de 1984. "A composição como decomposição = um olhar sobre a criação em dança = Composition as decomposition : an insight regarding the dance creation." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284570.
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Orientadores: Eusébio Lobo da Silva, Sara Pereira LopesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente pesquisa apresenta um estudo sobre composição como decomposição em dança, sob o ponto de vista da experiência de atuação do ator-dançarino. Para tal, realiza se uma investigação teórica sobre o processo de elaboração formal em dança e seus possíveis elementos de construção, a partir das referências apresentadas principalmente por Dantas (1999) e Smith-Artaud (2000). Com o objetivo de agregar outras vozes sobre composição como decomposição em dança, a pesquisa apresenta reflexões elaboradas a partir de entrevistas realizadas com três artistas da Tanztheater Wuppertal Pina Bausch: Helena Pikon, Julie Anne Stanzak e Morena Nascimento. A pesquisa compreende uma investigação prática, através da observação e participação ativa de três diferentes processos criativos: a criação do espetáculo "Era... Uma vez?", da companhia Terraço Teatro; "Impressões", da Seis + 1 Cia. de dança e o projeto "Narrativa e poética no processo de elaboração de dança para o vídeo", desenvolvido em um formato de residência artística na cidade de Londres, Reino Unido. A partir de uma articulação teórica-prática, pretende-se discutir como composição e decomposição se integram nos processos de criação das obras citadas nesta dissertação
Abstract: This research presents a study about composition as a decomposition process in dance, from the performance's actor-dancer experience point of view. We performed a theoretical investigation regarding the formal elaboration process in dance and its building elements suggested by the references, mainly Dantas (1999) and Smith-Artaud (2000). In order to incorporate other voices to the composition as decomposition in dance, the present research exposes reflections developed from interviews with three different artists from Tanztheater Wuppertal Pina Bausch: Helena Pikon, Julie Anne Stanzak and Morena Nascimento. Additionally, the research comprehends a practical investigation monitoring three distinct creative processes: the "Era... Uma vez?" piece creation, from Terraço Teatro; "Impressões", from Seis + 1 dance company and "Narrative and poetics in the process of devising dance for the screen", project developed during an artistic residence in London, United Kingdom. Linking theory and practice, it is intended discuss how composition and decomposition merge during the creation processes the works mentioned in the present dissertation
Mestrado
Artes da Cena
Mestra em Artes da Cena
35
Passos, Juliana Cunha 1983. "Rolf Gelewski e as inter-relações entre forma, espaço e tempo = uma proposta pedagógica de improvisação para processos criativos em dança = Rolf Gelewski and inter-relationships between form, space and time: a pedagogical proposal of improvisation for creative processes in dance." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284564.
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Orientadores: Elisabeth Bauch Zimmermann, Marilia Vieira SoaresDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Pesquisa de Mestrado em Artes da Cena sobre as inter-relações entre forma, espaço e tempo no movimento da dança, a partir de estudos teórico-práticos de propostas didáticas de Rolf Gelewski com um grupo de artistas voluntários do Instituto de Artes da UNICAMP, para processo de criação em dança. ...Observação: O resumo, na íntegra, poderá ser visualizado no texto completo da tese digital
Abstract: ...Note: The complete abstract is available with the full electronic document
Mestrado
Mestra em Artes da Cena
36
Hillion, Toulcanon Marie-Muriel. "Maloya dance and music: Réunionese Créole togetherness." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2532.
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La Réunion is a former French colony where the coffee, vanilla — and later the sugarcane industry — brought together the mostly enslaved and indentured people from Madagascar, Africa, India, China and France. A quintessential part of this hybrid culture has been the development of maloya, an improvised music-and-dance form that so alienated French colonial authorities and landowners that it was unofficially banned until 1981. While maloya music has been taught since 1987 at Conservatoire de La Réunion and has reached international stages, maloya dance itself has rarely been explored academically, often relegated to the rank of superficial entertainment. The aim of the present research is to interrogate maloya: what it means to me as a practitioner of maloya and what it means as a culturally embodied art form.
Using the principles of practice-led research methodology and the research methods of a/r/tography (including qualitative interview methods, as well as studio practice, performance creation, teaching activities and narrative writing familiar with autoethnography), the research interrogates my subjective experience as a maloya artist, researcher and teacher in Australia. As an art form, the research identifies the improvised technique of maloya dance. The research argues that maloya is comprised of elements of La Réunion’s history: dislocation, slavery, ‘third space’, hybridization and freedom. Thus, analysing the teaching of maloya in Australia is the teaching of Réunionese identity. The different spaces, the different audiences and the different intentions of the dancer all play into how the dancer moves. When performed at an International Arts Festival, maloya is different to its presence at a backyard neighbourhood party or in a sacred ritual honouring the ancestors.
The research is neither definitive nor interested in providing a generalisable formula for a transnational theory on adapting dance for different audiences or for different purposes (such as for performance or for teaching), rather the motivation behind the research is to fully interrogate an underexplored dance form and to better understand the origins and composition of a dance form that I carry in every step of my feet. Maloya is the conceptualisation and representation of who I am and how key Réunionese artists see themselves through maloya. The research argues that maloya contributes to identity formation, maintenance and evolution and that the history of surviving dispossession and oppression informs a certain type of cultural, linguistic and artistic identity, similar to the powerful idea of batarsité.
As a teacher of maloya in Australia, it became clear that the dance as an artistic representation informs the negotiation of intersecting identities and that this perspective — in conjunction with the participant observation, field trips and interviews with maloya artists and experts — sits comfortably alongside my subjective experience of teaching and performing maloya. The research is an important critical yet subjective interrogation of a dance form that is embraced by its people as not only a powerful symbol of freedom from oppression, but also emblematic of everyday life on a post-colonial island.
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Godfroy, Alice. "Ecrire, danser : prendre corps et langue : étude pour une 'dansité' de l'écriture poétique." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC012.
Full textAbstract:
Cette étude s’affronte à des poètes qui ne parlent plus spécifiquement de la danse. Elle parcourt les œuvres d’Henri Michaux, de Paul Celan, d’André du Bouchet et de Bernard Noël pour entendre sous le silence thématique de la danse la quête d’une forme de convergence plus élémentaire. D’un pli en deçà des mots qui s’opère à la genèse des gestes expressifs et convie danseurs et poètes à une même expérience du corps interne, de ses sentis infra-motiles et de ses inchoations de mouvement. De là naît un nouvel horizon comparatiste qui rend possible une autre façon de lire la poésie. Car un poème certes ne danse pas, mais il est porté par une certaine dansité qui renvoie au mouvement corporel qui le sous-tend et qui mobilise la motricité du lecteur. Cette trajectoire de l’infra nous déporte aux racines de tout acte créateur et nous permet d’envisager une poétique des arts à partir de l’expérience chorégraphique. Une réévaluation esthétique qui s’ente sur le savoir-sentir du corps dansant et fonde le concept de dansité en lui construisant un abécédaire (ressources motrices communes aux actes de danser et d’écrire) et une grammaire (principaux rythmes qui ressourcent le mouvement)This study meets poets who don’t properly write about dance. Immersing ourselves in the works of Henri Michaux, Paul Celan, André du Bouchet and Bernard Noël, we try to perceive beneath the thematic silence of dance, the quest for a more elementary form of convergence. This quest is also a confluence out of which expressive gestures are born, before words are formulated; soulful movements which invite dancers and poets to enjoy a common experience of the inner body, its infra-motile stirrings, its inchoate motion. This gives rise to a new comparatist horizon, paving the way for a different experience of reading poetry. For a poem indeed does not dance, but is supported by a certain « dansité » -dancity-, which alludes to the corporeal movement underlying the poem and which appeals to the reader's own motricity. Following this trajectory at the limbo and origin before movement happens, transports us to the root origin of every act of creation, and enables us to envision a poetics for the arts, one which would have the choreographic experience at its core
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Muñoz, Åhlén Anna-Maria. "Dansimprovisation och motivation : Hur olika metoder påverkar motivationen i en skapandeprocess av dans." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-35254.
Full textAbstract:
Syftet med det här utvecklingsarbetet har varit att pröva olika metoder att arbeta med dansimprovisation på gymnasieskolans estetiska program dansinriktningen. Jag har upplevt att detofta har varit svårt i början för eleverna att släppa hämningar och krav och att våga utforskaegna rörelser i tid, rum och kraft. I det här utvecklingsarbetet prövades som metod tre olikauttryck: rörliga bilder, en text eller ett musikstycke. Därför var jag nyfiken på hur elevernaupplevde de olika estetiska inspirationskällorna och om någon kunde öka elevens motivationatt arbeta med dansimprovisation. Samtidigt ville jag knyta ihop några moment ur kursernascentrala innehåll med förhoppning om att eleverna skulle få en ökad förståelse för denskapande processen i dans. För att få en uppfattning av hur eleverna upplevde det härupplägget utvärderades arbetet genom egna observationer och intervjuer av eleverna.Resultatet visade att eleverna upplevde en ökad motivation att improvisera till rörliga bilderoch musik. Eleverna uppfattade även att de hade fått en bredare förståelse avdansimprovisation verktyg för att skapa dans när några moment ur kursernas centrala innehållsamverkade som en helhet. Samtliga elever upplevde arbetet med de olika metoderna som enpositiv erfarenhet.The aim of this developing project has been to try different ways of inspiration when workingwith dance improvisation at the dance programme in upper secondary education. The sourcesI used in this project were moving pictures, a piece of music and a text. I was interested toexplore if the dance students experienced a greater inspiration from any particular source thatcould result in increased motivation to work with dance improvisation. I also wanted to linkrelevant parts of the purposes of each subjects from the curriculum of the dance programmehoping to bridge the gap between the practice of dance and dance theory and to see if thestudents gained a better understanding of the creative process in dance. The project was assessed through my observations and interviews of the students. The results showed that thestudents felt more motivated to improvise to moving pictures and to music. Students alsoperceived that they had received an increased understanding of dance improvisation as a toolfor creating dance when relevant contents of the different courses interacted as a whole. Allstudents experienced the work of the various methods as positive experience.
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Alves, Flavio Soares. "Face a ecaF : quando "tu" dança." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285090.
Full textAbstract:
Orientador: Marilia Vieira SoaresDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de artes
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Resumo: O objetivo é compreender a natureza do processo criativo, observando a experiência do corpo, que encerra, na tensão entre forças opostas, o movimento da dança. A investigação penetrou no interior da linguagem da dança, seguindo os rastros da atuação energética que emana do corpo. ¿Quem dança em mim quando danço?¿. Este ¿quem¿ pode não ter uma identidade concreta, mas nos mobiliza a criação. Frente a este estímulo intangível, de um atuante elíptico de si mesmo, o artista se encontra "Face a ecaF", ou seja, face ao estranho dentro de si. Aberto a esta atraente estranheza, o corpo dá vazão à experiência sensível, e é a partir deste rastro que nos lançamos à criação de uma obra artística. O caminho investigativo trilhado deixou a mostra um processo metodológico vulnerável à inscrita do instante, o que torna o criador um aventureiro que desbrava as brumas de um espaço-tempo por vir ¿ a dança ¿ no curso intempestivo de estados alterados da consciência
Abstract: The objective is to understand the nature of the creative process observing the body experience that embodied in the tension between opposite forces in the dance movement. This study concentrated in the dance language following the tracks of the energy performance that emanates from the body. "Who dances in me when I dance? This "who" may not have a concrete identity but it mobilizes us to the creation. In front of this intangible stimulus, of a performer occult of himself the artist is "Face a ecaF", that's, in front of a stranger inside of himself. This ¿attractive stranger¿ mobilized us to the creation of an artistic work. The investigation indicated a methodology process vulnerable to inscription of instant so the creator becomes an adventurer who tames the mist of a spacetime for coming - the dance - in the untimely course of states changed of the conscience
Mestrado
Mestre em Artes
40
Grogan, Jayden. "Embodied sampling as a process of developing an individual moving identity for male dance professionals." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205869/1/Jayden_Grogan_Thesis.pdf.
Full textAbstract:
This research project investigated individual Australian professional male contemporary dancers’ creative practice, to consider how the concept of ‘moving identity’ develops over a professional dance career. The results from the research study demonstrated that each ‘moving identity’ of the three independent Australian professional male dancers interviewed developed in multivariate ways over their careers as dance practitioners. Established inside the researcher’s practice-led research were a publicly archived series of choreographic scores and improvised online videos entitled 'The Museum of Curiosities'. In conjunction, a resourceful toolbox of 'embodied sampling' strategies was developed from the researcher’s creative practice when investigating his moving identity.
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Silva, Camila Ferreira. "Processo de criação = improvisação como caminho para a composição coreográfica." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283945.
Full textAbstract:
Orientador: Antonieta Marília de Oswald de AndradeDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação observa, descreve e analisa o processo de criação do espetáculo Acasos e suas transformações no período entre os anos de 2004 e 2009. A estratégia para a criação deste trabalho foi a improvisação como exercício de articulação de idéias-movimento, quebra de padrões mecânicos, re-locação de idéias em outros contextos. Um recurso técnico, instigador e produtor de material cênico que a posteriori é organizado em Composição Coreográfica
Abstract: This research observes, describes and analyzes the process of creating the show "Acasos" and its transformations in the period between 2004 and 2009. The strategy for this work creation was the improvisation as a path of ideas-movement articulation, breakdown of mechanical patterns, release of ideas in other contexts. A technical resource, instigator and producer of theatrical material that is organized a posteriori in Choreography Composition
Mestrado
Artes Cenicas
Mestre em Artes
42
Andraus, Mariana Baruco Machado 1977. "Dança e arte marcial em diálogo = um estudo teórico-prático sobre o sistema de gongfu louva-a-deus e o ensino de improvisação em dança = Dance and martial art in dialogue : a study about praying mantis gongfu system and dance improvisation teaching." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284585.
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Orientador: Inaicyra Falcão dos SantosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese apresenta uma reflexão acerca das diferentes formas de apropriação, pela dança moderna e pós-moderna, de técnicas e artes corporais orientais como meio de treinamento técnico e embasamento estético para processos criativos. Nas figuras de Ruth St. Denis, Martha Graham, Deborah Hay e Steve Paxton, entre outros coreógrafos, um diálogo com o oriente se estabeleceu na história da dança e redefiniu as fronteiras entre treinamento e criação. Partindo deste pressuposto, desenvolvemos um estudo baseado em nossa vivência com a dança e com o sistema de gongfu louva-a-deus, especulando especificamente sobre como as técnicas de contato presentes nesta e em outras artes marciais chinesas podem ajudar um bailarino no tocante à criação de movimentos em dupla. Aplicamos laboratórios de improvisação com artistas marciais e com bailarinos, sendo que estes últimos instrumentalizamos, também, com técnicas de louva-a-deus; registramos os resultados em vídeo e colhemos as impressões dos participantes mediante questionários e depoimentos, que foram posteriormente analisados e discutidos. Concluímos que a arte marcial pode ser profícua na formação de um bailarino, não somente no que diz respeito à questão do contato, mas, também, pelo trabalho com a alteridade e pela constante busca de autossuperação pelo sujeito que se dedica a esta forma de arte
Abstract: This thesis presents a reflection about the different forms of appropriation of oriental techniques and body arts by modern and postmodern dance as a medium of technical training and aesthetic foundation for creative processes. With figures of Ruth St. Denis, Martha Graham, Deborah Hay and Steve Paxton, among other choreographers, a dialogue with the East settled in dance history and redefined the boundaries between training and creation. Under this assumption, we developed a study based on our experience with dance and with praying mantis gongfu system, speculating specifically if contact techniques present in northern praying mantis and other Chinese martial arts can help a dancer in regarding the creation of partner movements. We applied improvisation laboratories with martial artists and dancers, and with dancers we also worked with mantis techniques; the results were recorded on video and the participants impressions were collected through questionnaires and interviews, which were subsequently analyzed and discussed. As a result, we argue that martial arts can be profitable in dancer formation, not only with regard to the issue of contact techniques, but also by working with otherness and the constant quest for improvement of oneself by those dedicated to this art form
Doutorado
Artes da Cena
Doutora em Artes da Cena
43
Millás, Claudia Regina Garcia 1985. "Trajetórias de risco, treinamento e criação : experiências vividas nos espaços vertical e aéreo." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285205.
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Orientador: Ana Cristina CollaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Falar de criação cênica a partir do uso dos espaços vertical e aéreo é sobretudo falar de uma prática híbrida que requer diálogo com diversas formas de conhecimento como a dança, o circo, o teatro e a escalada. Partindo de um estudo de caso, realizado com a Cia Suspensa de Minas Gerais, a pesquisa avançou para a experimentação prática dos espaços em laboratórios com um grupo de estudos a partir de três frentes: o espaço aéreo com o uso de uma cadeira suspensa, aparelho construído especialmente para a pesquisa; o espaço vertical por meio de uma parede de escalada; e exercícios de preparação no solo com treinamentos corporais. Destas práticas surgiram reflexões, diálogos de experiência e a composição de dois estudos cênicos, Ao Vestir Vertigens e De Olhos Fechados, apresentados em eventos culturais ao longo dos anos de 2013 e 2014. Tem-se como desafio colocar em palavras as experiências vividas e torna-las partilháveis, trazendo para isso parceiros de escrita e a cartografia como procedimento de trabalho. Discute-se sobre os riscos envolvidos na prática, os treinamentos necessários e as possibilidades de criação cênica a partir do uso dos espaços vertical e aéreo. Propõe-se que os espaços em questão possam servir como catalisadores do processo criativo, colocando o sujeito no campo de experiência, que gera conhecimento
Abstract: Discussing scenic creation based on vertical and aerial spaces is above all discussing a hybrid practice requiring a dialogue between several areas of knowledge, including dance, circus, theater and climbing. After starting with a case study, accomplished in collaboration with the Cia Suspensa of Minas Gerais, this research then moves on to explore those spaces in three different contexts: the aerial space, using a suspended chair built specifically for this research; the vertical space, using a climbing wall; and ground warm-up exercises with body training. This exploration gave rise to reflections, dialogues, and the elaboration of two scenic studies, "Ao Vestir Vertigens" and "De Olhos Fechados", performed in cultural events during 2013 and 2014. We then faced the challenge of putting our experiences into words so that we could share them with others; to achieve this, we enlisted the aid of writing partners and cartography techniques. Here, we discuss the practical risks, required training, and possibilities for scenic creation based on vertical and aerial spaces. We propose that such spaces can act as catalysts for the creative process, placing the subject in the field of experiment and thereby generating knowledge
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
44
Pitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.
Full textAbstract:
‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and improvised music as well as improvised dance in the performance. The performance took place in a former psychiatric hospital. In the outcomes and conclusion I present my expectations for the performance and describe how those where met. I also examine the role of cross-artistic collaboration in the project. I give examples of my own artistic development as well as my development as a project leader. I also reflect on the relevance of the project to the community. The outcomes are presented through my own reflections and through discussion where I point to literature concerning the differences and similarities between different art forms. The outcomes of the project include audience feedback from the performance. This is presented in the appendices. My conclusion shows that I was also able to create a rich and diverse performance by using simple (low-tech) methods. The performance was inspired by my experiences, interests and background. In my thesis I also show how creating and structuring the ‘Metsän väki’ performance can help me to develop as an artist doing cross-artistic collaboration.Professional Integration Project
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Agg, Katia. "Contato, tecnica energetica e improvisação : investigação na construção da personagem Maraba." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284751.
Full textAbstract:
Orientador: Marilia Vieira SoaresDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de artes
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Resumo: A presente pesquisa vem refletir sobre as possibilidades expressivas do corpo cênico no processo de construção da personagem Marabá, fundamentadas no diálogo experimental das técnicas de Contato, Técnica Energética e Improvisação. A inspiração desta pesquisa foi o poema indianista de Gonçalves Dias, Marabá, que resultou na apresentação da performance homônima, buscando retratar cenicamente o caráter experimental da junção, re-significação e reflexão das técnicas acima citadas. Em decorrência dos laboratórios experimentais e da literatura que fundamenta este estudo, estruturou-se uma linha de trabalho de composição de personagem, denominada Dança Cênica, por meio da qual acenou-se que a ruptura com o cristalizado conceito do ¿belo¿ e o 'mergulho¿ no ato, na ação e na manifestação criativa, podem significar uma ação facilitadora para a proximidade com o Corpo Sagrado na dança
Abstract: The aim of this research is to show the possibilities of expression of the scenic body in the process of the Marabá character¿s construction, based on the experimental approach of Contact, Energy Technique and Improvisation. This research was inspired by Gonçalves Dias¿ poem Marabá, which resulted in the homonymous performance. It tries to portray scenically the experimental attempt of the junction, re-definition and reflection of the techniques mentioned above. Due to the experimental laboritories and the literature on which this study is based, a line of work was carried out for the construction of the character, named ¿Scenic Dance¿. Such line of work showed that putting an end in the crystallized concept of beauty and going deeply into the act, the action and the creative manifestation can make easier the approach to the Sacred Body in the dance
Mestrado
Artes
Mestre em Artes
46
Pollitt, Joanna Tollemache. "Writing as dancing: The dancer in your hands , a novella <>." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2191.
Full textAbstract:
With the premise to ‘write like I dance,’ Writing as dancing investigates new methods of accessing and revealing choreographic thinking in three distinct ways; writing as a soloist, writing for the ensemble and writing responsively in collaboration. Resulting iterations have variously emerged in the form of performance, novella, play, artist-book, exhibition and long form poem; the novella The Dancer in Your Hands, being the primary solo work presented alongside this exegesis.
The research posits engagement with solo dance improvisation practice as a dynamically charged, and tangible way of thinking that is transferable to the practice of writing. It draws on the quick shifting associational response systems and states of heightened attention as developed in the response project in my MA (2002). Writing as dancing proposes the activation of the ‘State of Dancingness’ in mobilising the act of writing as the centralisation of embodiment, and investigates the capability of the professional dancing body to reorient the relationship between dancing and the act of writing. This reorientation is discussed through examining fields of performance writing, feminist texts and queer phenomenology to excavate the liminal spaces between disciplines and the unhiding of emergent content. The agency of the dancer as author provokes new publishing platforms and an expanded readership for dance via the publication of embodied texts. She breathes.
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Leal, Patricia Garcia. "Amargo Perfume : a dança pelos sentidos." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284661.
Full textAbstract:
Orientador: Elisabeth Bauch ZimmermannTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente pesquisa se configura a partir de processos criativos em dança, tendo os sentidos do olfato e do paladar como estímulos primeiros à criação. Propõe uma escolha específica no que se refere às técnicas corporais, utilizando a improvisação em sua possibilidade integradora entre preparação corporal, interpretação e criação. O resultado da pesquisa, além dos três espetáculos decorrentes dos processos criativos desenvolvidos, é a configuração de propostas metodológicas em dança contemporânea. Os primeiros perfumes destacados pela tese apresentam as referências de pesquisa em relação aos sentidos do olfato e do paladar, justificando o recorte escolhido. Referências interdisciplinares entre psicologia, história, literatura, cinema, neurociências, ciências cognitivas, entre outras, evidenciam como estes sentidos aparecem e são tratados nestas áreas do conhecimento focalizando, finalmente, sua utilização em metodologias artísticas na dança e no teatro. No que concerne aos processos criativos, o primeiro espetáculo desenvolvido, Amargo Perfume, utilizou como estímulo de criação o cheiro do café. O segundo, intitulado intenso, enfatizou os sabores do vinho tinto cabernet. E o último espetáculo desenvolvido, Variações sobre chocolates, utilizou não apenas os estímulos olfativos e gustativos, mas também as informações táteis de chocolates diversos. Os dois primeiros trabalhos foram configurados como solo e o último desenvolveu-se em grupo como necessidade de aplicação das metodologias da pesquisa. Degustando os sabores, as metodologias geradoras e decorrentes das criações, que vêm sendo pesquisadas desde 2001, são apresentadas em duas partes. A primeira relaciona diretamente os sentidos da percepção aos fatores do movimento de Laban em processos de improvisação. A segunda focaliza mais a criação a partir dos sentidos do olfato e do paladar, valorizando as contribuições e possibilidades destes sentidos, especificamente, para a criação coreográfica. As propostas podem ser integradas, promover interfaces e têm a improvisação como fundamento básico e agregador entre técnicas de preparo corporal, de composição e interpretação cênica. Uma última variação metodológica, nos moldes mais tradicionais de uma aula de dança, com estrutura de chão, centro e diagonal, é apresentada em anexo como contribuição aos mais diversos profissionais das artes corporais e cênicas. Na discussão final, tessitura aromática saborosa, a presente pesquisa reflete sobre as contribuições das criações e metodologias desenvolvidas para o cenário atual da dança contemporânea, contextualizando as questões do corpo e da dança a partir do referencial dos sentidos.
Abstract: The present research was developed from creative processes in dance, that had the senses of smell and taste as first stimuli for creation. Proposes a specific choice of corporal techniques, using improvisation as a possibility of integrating body's preparation, interpretation and creation. The results of the research are three choreographies and the configuration of methodological proposals in contemporary dance. The first perfumes emphasized by the thesis present the references of the study concerning the senses of smell and taste in different areas as psychology, history, literature, cognitive science and others. Finally, different artistic methodologies involving the senses are presented as a reference in theater and dance. In concern of the creative processes, the first choreography developed, Amargo Perfume, used the scent of coffee as a stimulus. The second, Intenso, emphasized the flavors of red cabernet wine. And the last choreography developed, Variações sobre chocolates, used not only the smelling and tasting stimuli, but also the touching information of chocolates. Amargo Perfume and Intenso were conceived as solos. Variações sobre chocolates was developed in group as a necessity of methodological application. Tasting the flavors, the methodologies that have been researched since 2001, are presented in two parts. The first one relates the perception's senses to Laban factors of movement in improvisation processes. The second one focuses on the creation from the senses of smell and taste, valorizing the contributions and possibilities of these specific senses to choreography composition. The proposals can be integrated and have in improvisation the basis that associate body's preparation, interpretation and composition techniques. One last methodological variation, in a floor work, centre and diagonal format, is presented in annex like a contribution to the most different professionals in body and scenic arts. As final discussion, tasting and scenting touch, the present study reflects about the methodological and creative contributions developed to the actual scenery of contemporary dance, discussing about the body and the dance from the senses' point of view.
Doutorado
Doutor em Artes
48
Costas, Ana Maria Rodriguez 1965. "As contribuições das abordagens somáticas na construção de saberes sensíveis da dança = um estudo sobre o Projeto Por que Lygia Clark?" [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251491.
Full textAbstract:
Orientador: Márcia Maria Strazzacappa HernandezTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Esta tese analisa as relações e as contribuições das abordagens somáticas e do trabalho da artista plástica Lygia Clark na construção de saberes sensíveis da dança, mais especificamente da dança contemporânea. O lócus da investigação foi uma disciplina ofertada em um Curso de Graduação em Dança do município de São Paulo, intitulada Ateliê Somático em Dança, na qual foi desenvolvido um Projeto nominado "Por que Lygia Clark?". Dialogando com alguns dos procedimentos da referida artista, com a exploração sensorial de objetos e com o contato com elementos da e na natureza, foram realizadas experiências somático-dançantes como: sacos de água, múltiplos objetos, sacos de ar e praia. As narrativas e análises dessas experiências evidenciaram a emergência de gestos e qualidades expressivas de movimento ainda desconhecidos pelos sujeitos-dançarinos, resultantes das investigações corporais junto aos sentidos, às sensações, à remodelagem da percepção e à mobilização do imaginário. Para fundamentar tais práticas, foi elaborado um inventário de conhecimentos acumulados sobre o desenvolvimento da sensibilidade ou o saber-sentir no trânsito somático-dançante, pelo qual a prática docente foi realizada, possibilitando a sistematização de algumas técnicas de emergência da expressividade e da criatividade. Considerando ainda a noção de experiência, foram realizados alguns apontamentos quanto às condições para o aprendizado dos saberes sensíveis nas relações do corpo com objetos e do corpo com os outros corpos para a apropriação de conteúdos e, fundamentalmente, a apropriação de sentido pelo sujeito. Por fim, resultam dessa pesquisa concepções, conhecimentos e procedimentos formulados nos conceitos de corpo-sensível, corpo-plástico, corpo-continente e corpo-diálogico, os quais dizem respeito a alguns saberes sensíveis e inteligíveis apontados aqui como significativos à formação do futuro artista da dança e do professor de dança contemporânea, pois é no encontro com as abordagens somáticas que os dançarinos fortificam-se como sujeitos descobridores e investigadores de outras sensibilidades corpóreas, daí a abertura para outros possíveis agenciamentos motores, estéticos, artísticos, éticos, poéticos, políticos e educacionais
Abstract: The present thesis analyzes the relation and the contribution between the somatic approaches and the work of the artist Lygia Clark in the construction of "the body senses knowledge" in contemporary dance. The locus of this investigation was a class offered in an undergraduate course of Dance in São Paulo city, named Atelier Somatic in Dance, in which was developed a project called "Why Lygia Clark?". Dialoguing with some of this artist's procedures, with the sensorial exploitation of objects, and the contact with elements from the nature and in the nature, somatic dancing experiences were organized, using: plastic bags full of water or air, different objects and the beach. The narrative and analysis of such experiences show the appearance of gestures and yet unknown expressive qualities of the movement, which were ignored by the dancers, who considered these qualities as a result of a body investigation through the senses, sensations, renewal of the perception, and imaginary awakening. To support such practices, an inventory of cumulative knowledge was made about the development of sensitivity or the know-feel relationship in the somatic-dancing field, from which the teaching practice was made and allowed the organization of some techniques of creativity and expressivity appearance. Considering the idea of experience, some points were made about the conditions to learn "the body senses knowledge" through the relation of the body with objects and of the body with other bodies for the subject acquisition, and a sense acquisition by the individual. To sum up, result from this research, conceptions, knowledge and procedures formulated upon the idea of sensitive- body, plastic-body, security-body, dialogical-body, which relate to some of the sensible and intelligible knowledge, pointed here as significant to the formation of the future dancer and the contemporary dance teacher, knowing that it's in the encounter of the somatic approaches that the dancers discover the other body senses, and open themselves to others possible engagements: physical, esthetic, artistic, ethical, poetic, political and educational
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
49
Sanches, Pedro Rodrigo Penuela. "Encontro entre corpos: um estudo sobre o corpo por meio do diálogo entre a dança: Contato improvisação e a psicanálise winnicottiana." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/47/47133/tde-07052012-175206/.
Full textAbstract:
Este trabalho pretende discutir alguns aspectos fundamentais a respeito das relações entre sujeito e corpo. Para isso, enfocaremos experiências propiciadas por uma proposta de dança contemporânea denominada Contato Improvisação, em um diálogo com os conceitos elaborados pelo psicanalista Donald Winnicott. O Contato Improvisação é uma forma de dança surgida nos anos 1970, nos EUA, baseada em uma proposta de improvisação a partir do contato físico. Essa proposta propicia regimes de relação e comunicação com o outro com matizes e sentidos complexos passando por experiências de indiferenciação e comunicação imediata até experiências de confrontação com a diferença e radical alteridade não somente do outro corpo, mas a alteridade constitutiva do sujeito e da própria corporeidade. O exame destas diferentes experiências nos levará a discutir dimensões da presença da alteridade no processo nunca acabado de constituição do corpo fundamentalmente alimentado pelas experiências ligadas ao universo do brincar, tal como conceituado por Winnicott.This work aims to discuss some fundamental aspects about the relationship between subject and body. In order to do that, it will focus on experiences opened by Contact Improvisation dance, in a dialogue with the concepts developed by psychoanalyst Donald Winnicott. Contact Improvisation is a dance form created in the 1970s, in the U.S., based on a proposal of improvisation through physical contact. It creates schemes of interpersonal relationship and communication with complex meanings and nuances ranging from experiences of undifferentiation and immediate communication to confrontations with difference and radical otherness not only of the other person, but also of oneself. The review of these different experiences will lead us to discuss dimensions of otherness in the never-ending process of body constitution which is largely nurtured by experiences of playing, as defined by Winnicott.
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Dala, Costa Aldiane Aparecida. "Razão e emoção na criação de uma dramaturgia do corpo em dança teatral." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284105.
Full textAbstract:
Orientador: Veronica Fabrini Machado de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa, intitulada Razão e emoção na criação de uma dramaturgia do corpo em dança teatral, foi inspirada na obra Paradoxo sobre o comediante de Denis Diderot, que coloca a questão sobre razão e emoção como um paradoxo do trabalho do ator. Com esse ponto de partida apresentamos a discussão sobre razão e emoção no processo criativo em artes cênicas dando ênfase para esta discussão na construção prática de uma dramaturgia do corpo em dança teatral chamada A pálida luz das estrelas Ofélia Liquefeita. Identificamos conexões entre a indagação teórica referente a relação entre emoção e razão no trabalho criativo, a experiência inscrita no corpo durante os anos de formação e atividade profissional na área de dança e teatro e o desenvolvimento histórico da dramaturgia que tornou possível a noção de dramaturgia do corpo. Através do levantamento histórico sobre as abordagens do termo razão e emoção na história da dramaturgia do corpo em dança e teatro encontramos elementos para problematizar o trabalho prático de criação, assim como, a partir da experiência de criação de uma dramaturgia do corpo e a partir dos conhecimentos inscritos no corpo construímos uma base a partir da qual a teoria é abordada
Abstract: This research, entitled Reason and emotion in creating a body's dramaturgy in dance theater, was inspired in Paradox of comedian by Denis Diderot, which raises the question of reason and emotion as a paradox of the actor's work. Based on this principle we present the discussion of reason and emotion in the creative process in dramatical arts with an emphasis, in this discussion, in the practic construction of body's dramaturgy in dance theater called The pale light of stars Ophelia liquefied. We identify connections among the theoretical question about the relationship between emotion and reason in the creative work, the experience included in the body during the years of training and professional activity in the area of dance and theater and the historical development of drama that made the notion of body's dramaturgy possible. Through the historical survey about the approaches of the term reason and emotion in the history of body's dramaturgy in dance and theater we find out elements to problematize the practical work of creation, as well as from the experience of creating a body's dramaturgy and from the knowledge entered the body we build a base from which the theory is discussed
Mestrado
Mestre em Artes