Dissertations / Theses: 'Ethics and performing arts'

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Katz, David I. "Who's listening? The right, the wrong, and the real in improvised music." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10133464.

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What does the current focus on identity as a medium of social exchange bring into the practice of improvised music? What happens to listening, spontaneity, empathy, freedom and generosity in this social climate? Is there somehow emerging within the music-improvisatory discourse a kind of de facto constraint, perhaps superimposed on the musical language from the larger cultural field? The frameworks of music sociology, object relations theory, political philosophy, pedagogy, music history and art criticism offer a backdrop against which the complex challenges of interpersonal communication can be seen in their relevance to the here and now of music improvisation.

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Rocco, Olivia. "Ethics and Theater-Making in Contemporary America: Making and Avoiding Unnatural Disasters." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors158773070360455.

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Butler, Andrew Mark. "Ontology and ethics in the writings of Philip K. Dick." Thesis, University of Hull, 1995. http://hydra.hull.ac.uk/resources/hull:3894.

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Gucciardo, Alfonso Gianluca. "La médecine des arts du spectacle vivant : Histoire, diffusion internationale, pensée, éthique et pratiques." Electronic Thesis or Diss., Montpellier 3, 2022. https://ged.scdi-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2022MON30057.

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Notre travail a pour objectif de traiter de la médecine des arts de la scène, et plus largement de la médecine des arts du spectacle vivant. En Europe et dans le monde, ce domaine médical n'est en effet pas toujours connu, compris, organisé ou reconnu. À partir d'une discussion sur la signification philosophique et épistémologique de ce sujet, et en nous appuyant sur notre pratique de médecin phoniâtre depuis vingt deux ans, notamment dans le domaine de la bioéthique et de la médecine de la voix, nous avons entrepris une lecture éthique et bioéthique visant à comprendre ses limites et ses possibilités, ainsi que ce qui est partageable et compréhensible par les professionnels susceptibles de l’exercer: médecins, rééducateurs, enseignants en art (de la voix, de la musique, de la danse ou du cirque), philosophes et, évidemment, artistes. Il nous est apparu que, loin d’appartenir aux thérapeutiques "complémentaires" ou "non fondées sur des preuves", la médecine des arts et du spectacle ne doit pas être comprise uniquement comme une médecine multidisciplinaire, mais comme une branche interdisciplinaire reposant sur des connaissances philosophiques et pédagogiques utiles à la santé physique, psychique et émotionnelle des artistes. En analysant plusieurs modèles internationaux, dont plusieurs auxquels nous contribuons, nous avons pu faire le constat que cette interdisciplinarité n'est pas toujours évidente. Nous avons enfin émis l’hypothèse que la médecine des arts et du spectacle vivant est une médecine non seulement pour l'artiste mais aussi et avant tout pour les arts du spectacle eux-mêmes qui, parfois, doivent également être soignés. Nous avons approfondi ce dernier sujet en conduisant une étude historique et éthique du phénomène du soin et de la cure de l'art et de l'interprète, des origines à nos jours
Performing Arts (PA) Medicine, meant as a "medicine for the art of living entertainment", is still not known and not well understood and framed and recognized, in Europe as well as in the other Continents. Starting from a discussion on the philosophical and epistemological meaning of this branch of medicine, we have arrived at a personal ethical and bioethical reading in order to understand its limits and strengths for doctors, rehab professionals, teachers of the arts of voice, music, dance and circus, philosophers and, obviously, artists. PA Medicine (whose name we also dealt about) is far from that medicine today called "complementary"/"not-Evidence Based", and is a branch of medical and philosophical and pedagogical knowledge useful to the artist's and art's physical, psychic and emotional health. PA Medicine is a Medicine not only for the artist but for the PA themselves which, at times, also need to be cured. We have deepened this last topic also starting from an historical and ethic study of the phenomenon of the “care and curing” of arts and of performers, from the origins to today

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Thobani, Sitara. "Dancing diaspora, performing nation : Indian classical dance in multicultural London." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c189d163-b113-408f-9f3b-181c6fd5fbce.

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This thesis examines the performance of Indian classical dance in the contemporary 'diaspora space' (Brah 1996) represented by the city of London. My aim is to analyse whether and how performances of "national" art, assumed to represent an equally "national" culture, change when performed in transnational contexts. Drawing upon theories of postcolonialism, multiculturalism and diaspora, I begin my study with an historical analysis of the reconstructed origins of the dance in the intertwined discourses of British colonialism and Indian nationalism. Using this analysis to ground my ethnography of the present-day practice of the dance, I unearth its relation to discourses of contemporary multiculturalism and South Asian diasporic identity. I then demonstrate specific ways in which the relationship between colonial and postcolonial artistic production on the one hand and contemporary performances of national and multicultural identity on the other are visible in the current practices and approaches of diasporic and multicultural Indian classical dancers. My thesis advances the scholarship that has demonstrated the link between the construction of Indian classical dance and the Indian nationalist movement by highlighting particular ways in which historical narrative, national and religious identities, gendered ideals and racialised categories are constituted through, and help produce in turn, contemporary Indian classical dance practices in the diaspora. Locating my study in the UK while still accounting for the Indian nationalist aspects of the dance, my contribution to the scholarly literature is to analyse its performance in relation to both Indian and British national identity. My research demonstrates that Indian classical dance is co-produced by both British and Indian national discourses and their respective cultural and political imperatives, even as the dance contributes to the formation of British, Indian and South Asian diasporic politico-cultural identities.

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Blogg, Martin Howard. "Efficacy and the Arts with Special Reference to Contemporary Dance Theatre: The Ethical, Aesthetic and Spiritual - A Performative Discourse a view from Within: a Reflective Practitioner’s Revisionary Point of View." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365923.

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In that every form of knowing represents a way of en-acting, relating and being-in-the- world, every form of knowing has an ethical dimension and concerns efficacy. Contemporary research points to significant gaps in relation to the way the arts are presently perceived and justified. In the minds of many the arts have failed to develop an adequate public conception of their true significance. This thesis seeks to re-present, re-ground and re-vision the way we think about the arts; have the arts, and dance more specifically, re-cognized and re-legitimized in terms of their intrinsic and ethical nature, their own ‘form of life’. Today we think of the performing arts primarily in terms of entertainment and recreation, with little significance other than providing ephemeral and escapist pleasure, a gloss upon the surface of life, a harmless indulgence – one driven in the main by economics and politics rather than the internal and ethical energies of the forms themselves. Along with such authors as Abbs (1996, p.29), I see the arts as ‘indispensable vehicles for the development of human consciousness; a primary quest for meaning and understanding, apprehending and exploring reality’; at their most profound and typical, formally heuristic rather than merely hedonistic; and, ‘far from escaping life [they] have a way of drawing us into life, allowing us to participate more immediately and deeply in the basic stuff and process of life’ (Westerhoff 1981a, pp.5–15), re-minding artists and arts audiences, arts legislators and educators that beyond the functional and material there exists, as has always existed, a close alliance between aesthetic knowing and spiritual knowing; ‘an alliance not dictated merely by historical accident or practical need but one rooted in the very essence of both’ (Pope John Paul II 1999).
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
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Keefe, John. "A spectatorial dramaturgy : ethical principles of recycling, habitus and estrangement." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25507/.

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As I have prepared this Commentary, I have come to appreciate the values that exist between the conventions of doctoral research driven by a glimpsed destination and that which brings together previously published works. The particular, and perhaps peculiar, historiographical relationship between the works from 'then' and the Commentary from 'now', turns such research into both a reflection and opportunity to reconsider writing already 'out there'. One cannot re-write the works (although the concept of 're-working' is central to my view of the engaged spectator). But one can reflect on the perspectives that informed each original piece within a body of emerging work. A Commentary, then, becomes not only a process of revelation but also one of acknowledgment of differing circumstances of research, publication and style. The unchangeable outcomes of each published piece are thus seen in a different light, juxtaposition revealing not only advances in one's ideas but also the paradoxes and shifts in thinking that retrospection forces and allows. So a slightly declamatory approach in earlier work evolves into more measured tones, perhaps less shrill. But if we each strive to have our own 'voice', no matter how hard we try for a more mature style some of that driving rawness remains. It is an uncomfortable truth that the shrill, unformed but passionate youth lurks in the shadows. This form of Commentary, then, becomes a revisiting of works and ideas that may have lost some of their currency, or perhaps not (hence my reaching back to both my MA Dissertation and the MiP Report). It becomes an attempt to place each work as part of a series not originally intended as such but in which chosen themes, prejudices and preoccupations play an ever-shaping role. It becomes an attempt to place some posterior coherence, convenient and inconvenient, which emerges from a process of reflection and 'looking again'. It is this mixing and juxtaposition of past work and present position that demands one looks from the side as well as straight on. For this reason I use a relational form of past and present tense as a 'vocal' device to show the ongoing 'live-ness' of the themes and ideas and passions that mark the body of work. The Commentary is therefore exposition and critique, but also an expansion. It is a dynamic process embracing the title of the Commentary itself, becoming subject to inevitable reworking since first being registered. Its preparation has allowed the introduction of current research, new ideas and oblique musings that extend the concerns of the extant works, giving a sense of continuing coherence and possible trajectories. It becomes an attempt to accommodate where I was then with where I am now.

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Porter, Nicholas James. "The Dark Carnival: the Construction and Performance of Race in American Professional Wrestling." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308331340.

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Osborn, Shyla Elizabeth. "Hybrid spectacles: Performance and power in the circulation of Latinidad /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181119.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 264-268). Also available for download via the World Wide Web; free to University of Oregon users.

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Schroeder, Janet Kathleen Schroeder. "Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1542702604510984.

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Culbreth, Mair Wendelin. "Transactional Bodies: Politics, Pedagogies, and Performance Practices of the San Francisco Bay Area." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1514625617942998.

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Reed, Caroliese Frink. "Aesthetic Re-Creation and Regeneration in African American Storytelling: The Works of Torrence, Goss and Alston." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/362263.

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African American Studies
Ph.D.
From the animal and trickster tales told by enslaved Africans in America to current education and performance based storytelling by contemporary African American storytellers, this study traces the aesthetics and epistemologies of the collaborative African diasporic oral expressive traditions. Through systematic analysis based on data derived from bibliographic and archival sources, interviews, and participant observation, it delineates the progression of the repertoire and content of Blackstorytelling through the lives and works of national and internationally known storytellers, Jackie Torrence, Linda Goss and Charlotte Blake Alston. Its theoretical framework is inspired by Kariamu Welsh Asante’s aesthetic senses coupled with pertinent ideas of other scholars in the field. The study demonstrates the existence of significant evidence of cultural preservation and artistic re-interpretation of the African aesthetic in Blackstorytelling. The genre comprises both traditional and contemporary expressions of African American culture. As such, it is a major component of the universal African oral continuum
Temple University--Theses

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Schindeler, Marda. "Alberta performing arts policy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ38440.pdf.

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Schindeler, Marda, and University of Lethbridge Faculty of Arts and Science. "Alberta performing arts policy." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1998, 1998. http://hdl.handle.net/10133/77.

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Alberta's first arts legislation, the Cultural Development Act, was passed in 1946. It was followed by numerous policy initiatives to support the arts, including creation of facilities for training of artists, development of agencies and agreements to deal with arts funding, enactment of regulations to guide arts institutions, and creation of various Departmental structures depending on organizational location of this policy sector. The thesis examines the historical evolution of performing arts policy in Alberta from 1905 to 1997 to identify government activities, shifts in policy-making, and methods of implementation. The study utilizes Paul Sabatier's advocacy coalition approach, which treats public policy as determined by the dynamics of the advocacy coalition within a policy sector and the manner in which external factors and system parameters steer policy development. This study concludes that Alberta performing arts policy has largely developed within the context of meta public policies emphasizing economic development and provincial statebuilding.
iii, 97 leaves : ill. ; 28 cm.

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Human, Martie. "Encore - performing arts centre." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11212003-110815.

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Senff, Sarah A. "IN SEARCH OF A POLYPHONIC COUNTERNARRATIVE: COMMUNITY-BASED THEATRE, AUTOPATHOGRAPHY, AND NEOLIBERAL PINK RIBBON CULTURE." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1376083772.

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Conway, Mary Suzanne. "Achieving Catharsis: The Impact of Theatre on Lesbian, Gay, Bisexual, and Transgendered Youth." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1302459493.

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Buttolph, K., Cynthia R. Chambers, J. Gaines, and T. Wynn. "Power of Performing Arts (POP Arts): An Inclusive Performing Arts Program for Individuals with and without Disabilities." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3876.

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Bernardi, Nicholas J. "Vitality of the performing arts." This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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Richards, Alison 1951. "Bodies of meaning : issues of field and habitus in contemporary Australasian theatrical performance practice." Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7815.

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Chambers, Cynthia R. "The Power of Performing Arts—inclusion in the Arts." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3873.

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Ngan, Chiu-long Sunny, and 顔昭朗. "Performing arts centre at Quarry Bay." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986729.

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Choa, Gillian Ann, and 蔡敏志. "The performing arts' concern: the alternativeleader." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45007913.

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Guo, Ying Ping. "Folded Intersection: a performing arts center." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9606.

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This project proposes a performing arts center in Chattanooga, Tennessee, a 170-year old industrial city. As part of the city revitalization, the design seeks to build up a "stage", and create a piece of edge at the city's northern boundary. Two folded bands, one made of skeletal steel and surfaced with copper connecting the river and the mountainous landscape beyond with the city, the other made of reinforced concrete folded to form a spatial intersection housing a series of activities: performing, spectating, and exhibiting. A curved metal screened circulation wall opens at the bottom to allow the copper band to pass as an entrance into the lobby to develop its folded intersection. Through it, an industrial stack in the middle of the site is isolated from busy city, and anchored with the building as a monument. Along the west side, an additional element characterized as the education box hovers over the ground, with unobstructed views of the river and the old steel bridge on one end, and the green hill on the other.
Master of Architecture

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Mugira, Fredrick. "PERFORMING ARTS FOR HIV/AIDS COMMUNICATION." Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21060.

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Basing on drama theory, social learning theory and activation theory of information exposure among others, this thesis set out to explore the effectiveness of live drama as a communication tool for raising young people’s awareness about HIV/AIDS and to draw conclusions in terms of strength and weakness. This thesis used a case study of DramAidE organization in KwaZulu Natal province of South Africa which has since 1992 been using participatory drama and other interactive educational methodologies to control the spread of the HIV/AIDS epidemic in especially KwaZulu Natal province which has the highest HIV prevalence rate in the country. Data collection methods ranging from in-depth interviews, focus group discussions, E-mail interviews, real life case studies, direct observations to desk reviews were employed to collect data. The findings depicted live drama as a creative, interactive and fun way to raise young people’s awareness about HIV/AIDS. It was found out that Live Drama is participatory, uses both word and emotion and combines entertainment to educate and communicate highly sensitive information. This makes it an ideal communication tool that easily attracts the young people’s attention, helps them to personalize the risk of HIV/AIDS and participate in finding their solutions to this problem. On the other hand, it was discovered that though live drama is highly effective in raising young people’s awareness about HIV/AIDS, it is disadvantageous because its performance might be limited due to the facilities, bad weather and the environment. Development of drama and preparation of performance takes long time, it is expensive to buy costumes and live drama might cause the audience to try to practice some of the bad ideas they watch.

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Ngan, Chiu-long Sunny. "Performing arts centre at Quarry Bay." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949159.

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Chambers, Cynthia R. "Performing Together through Inclusive Arts Programming." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3869.

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Fine, Jenny. "Performing Tenderness." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276799884.

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Reynoso, Humberto. "Performing Binaries." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/252.

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I take a critical view of sociopolitical and cultural issues dealing with homoeroticism andgay politics. I explore gender theories in order to further understand what it means to bemasculine or feminine and how it affects my placement in society. I use art as a tool forexpressing sexual freedom while questioning traditional sexual identity. I'm interested in exploring ideas of the oppressor and the oppressed, and how power becomes an inevitable force (in every society) that creates a hierarchy, consequently establishing control. But what is power? According to various definitions, power is an entity that possesses and or exercises authority or influence. I want to focus on this idea of exercising authority, which one can argue we need, but why? To prevent chaos or is it to control a society? What about exercising influence? Do we need an influence exercised upon us? Or does that make us subjected to another person's subjective point of views? These are questions that I directly or indirectly ask with my work in relationship to gender, gender roles, and sexual orientation. I am interested in Judith Butler's theory in performing gender, and how in performing gender, one assumes social hierarchy of power depending on what gender we are performing. If I am a man performing as a man then I am treated differently by society than if I am a woman performing as a woman. But what happens if I am a man performing as a man who prefers men as lovers, or a woman who prefers other woman as lovers? In what context is this situation accepted by our society? And is it different for men and women? And why? What does it mean to be a man? What does it mean to be a woman, within the context of performance? Then taking it a step further and argue that we are all performing subjective ideas constructed by social norms.

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Middlebrooks, Justin M. Mr. "The Intersection Between Politics, Culture, and Spirituality: An Interdisciplinary Investigation of Performance Art Activism and Contemporary Societal Problems." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1333397676.

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Salverson, Julie 1955. "Performing testimony, ethics, pedagogy, and a theatre beyond injury." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ58602.pdf.

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Chinnery, Michael. "Creating a Christian based performing arts company." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2341.

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The art of song, dance, poetry and theatre have been implemented into today's church programs. Most church organizations have little knowledge of what producing a successful event requires. Knowing the correct market research tactics, securing proper facilities, budgeting or booking the artist, are some of the elements needed in producing a high quality event. A business plan and study of the arts program within church organizations were the methodologies used in this study. Surveys and interviews were used to collect data from church members. The goal of Living Waters Performing Arts Incorporated is to educate, empower, and build society through the arts and faith principles with the knowledge of performing arts production. By implementing the different elements that contribute to the success of an event, Living Waters Performing Arts Incorporated will produce high quality productions.

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Choa, Gillian Ann. "The performing arts' concern : the alternative leader /." View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39873584.

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Strain-Bell, Sheila L. "Organizational conflict : in a performing arts organization." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/77674.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1985.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 161-165.
by Sheila L. Strain-Bell.
M.C.P.

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Arthurs, Katherine E. "St. Martin's Episcopal School Performing Arts Department." ScholarWorks@UNO, 2000. http://scholarworks.uno.edu/aa_rpts/35.

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St. Martin's Episcopal School is located in Metairie on an 18-acre campus, bordered by Airline Drive, West Metairie, Green Acres and Haring Roads. This organization is a PreK-12, nonprofit, independent school.

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Mintz, Charlotte. "Vilar Performing Arts Center: An Internship Report." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/aa_rpts/126.

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The following report documents Charlotte Mintz’s internship from January to April of 2011 at the Vilar Performing Arts Center in Beaver Creek, CO. The Vilar Performing Arts center has presented a fine array of performing arts in a mountain ski resort for the past 13 years. The Vilar Performing Arts Center offers a state of the art venue for residents and visitors to the Vail Valley to visit and see performances including plays, concerts, ballets, operas, and other various family entertainment options. This report analyzes the best practices of the Vilar along with areas with room for improvement.

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Pribish, Robert E. "A performing arts center on the Potomac." Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53270.

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The nature of Architecture, as it could exist at the edge of a river, was investigated through the design of a Center for Performing Arts located on the design of a Center for Performing Arts located on the Potomac River. Site analysis, functional requirements and structural feasibility were among the considerations utilized in arriving at the proposed design. The Center is comprised of three theaters, restaurants, a marina, administration offices, guest suites, and their ancillary spaces. Six stair towers support a thick wall which is situated at the river’s edge. Stage areas for the theatres were located within the wall between pairs of towers, with seating on one side of the wall and backstage areas on the other. A serpentine “riverwalk” connects the towers and four plazas, encouraging public use of the river’s edge. Parking is provided by a crescent-shaped garage which also serves as a buffer to the adjacent expressway traffic.
Master of Architecture

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Dontsa, Luvuyo. "Contemporary political performing arts in South Africa." Thesis, SOAS, University of London, 1990. http://eprints.soas.ac.uk/29483/.

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Despite the fact that 'transculturation' between Africans and Europeans in South Africa has been going on for more than two centuries, African contemporary political performing arts continually reflect indigenous performing arts' genres of the pre-colonial era. Although a contemporary political performing artist does not play exactly the same role that is played by the traditional artist, who 'criticises the chiefs for perverting the laws and the customs of the nation and laments their abuse of power and neglect of their responsibilities and obligations to the people' (Mafeje, 1967: 195), he still represents the public: in this case a much wider public, and expresses the views which are shared by Africans throughout the whole country. The thesis surveys the political roles of contemporary African performing arts in South Africa. It demonstrates how performing arts have been systematically used as a mechanism to 'step in arenas' where one would dare not with political vehicle, and conveying political messages to promote the struggle for national liberation. The work shows the unique manner in which political performing arts are implemented, and to what degree they have succeeded. It also reveals an element of fear among both Africans and Europeans as being an overt manifestation of the national struggle by the Africans, which has resulted in harassments and detentions of the former, and the loss of privileges to the latter. Lastly, it reflects frustration among the Africans, as their endeavours for national liberation are thwarted. The research has covered the techniques employed by the performing artists to convey political messages. It also assesses the relationship between the traditional and the avant-garde (non-conventional) performing arts, and evaluates the reasons for the change in tactics. Reactions of resentment to change in cultural and social life are discussed; how the Government has ruthlessly responded to such addresses; and how people have reacted to harsh response from the Government. The work also reveals how performing arts have appealed for international attention to address the South African situation, and how international artists have used an international forum to highlight the South African situation. Lastly, the work analyses South African contemporary political performing arts in worldwide context.

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Fabbri, Rita <1992&gt. "Performing arts between Deaf and hearing world." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10067.

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Orr, Mailé Nguyen. "Social Justice Education Pedagogy in Asian American Theater." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524832083620108.

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Tse, Po-fung Jordon. "LIVE performance informal performance space within the city /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B31985464.

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Thesis (M.Arch.)--University of Hong Kong, 2000.
Includes special report study entitled : Identification of streetscape with performance space & identification of performance space with streetscape. Includes bibliographical references. Also available in print.

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Rhodes, Mark A. II. "“They Feel Me a Part of that Land”: Welsh Memorial Landscapes of Paul Robeson." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1430923136.

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Hunicutt, Julie. "In The Telling| Theatrical Devising Practice as Performance Pedagogy." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.

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A detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.

Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.

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Yeagley, Jeremy R. "Commercial music for the classical trumpeter." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589665.

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The modern trumpet performer will be called upon to perform many different styles during their career. One of the ways a classical trumpet student can learn to play different styles is through performing in as many ensembles as their school offers and playing solos written in the vein of third stream music. One of these solos is Alfred Reed's Ode for Trumpet. This work allows the performer to experiment with jazz sounds and style without the worry of improvisation. To successfully perform this work one must have a proper sound concept, style, and the ability to tastefully embellish the melody.

The methodologies that will be used in this project report are performance practice, theoretical and analytical, and narratology. The performance practice methodology will be used to describe how to perform a work in the third stream of music. The theoretical and analytical methodology will be used to show why certain embellishments work harmonically and why the piece is considered third stream music. Finally, the short biographies of Alfred Reed and Don Jacoby will fall under the narratology methodology.

The purpose of this project report is to investigate how to properly and successfully perform trumpet works in the third stream genre and how they relate to the needs of the everyday professional trumpet player. It will cover sound concepts, style, and embellishments that will help guide a performer to their own voice in this music. The ability to change tonal colors, swing, and use extended techniques will be required of the player in various musical settings from playing in pops orchestras to Broadway style musicals to playing in a big band. These topics are important for every trumpet player, specifically classical trumpeters, to learn because they will be required to be knowledgeable and have mastered these skills to have success as a professional trumpeter.

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Barrios, Oswaldo A. "School of performing arts in Georgetown, Washington, DC." Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53281.

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Chambers, Cynthia R., and K. Buttolf. "Building Skills, Strengths, and Interests through Performing Arts." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3889.

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BASTIA, ELENA. "Il marketing management nelle imprese di performing arts." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2013. http://hdl.handle.net/10281/43853.

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La tesi analizza le applicazioni degli strumenti del marketing nelle imprese di spettacolo dal vivo. Punto di partenza è un’analisi del settore culturale e del settore delle performing arts nello specifico, in riferimento alle caratteristiche peculiari e all’applicabilità del marketing, con i relativi vantaggi. Ad una trattazione approfondita del prodotto spettacolo e della domanda di spettacolo, segue una descrizione delle imprese di spettacolo dal vivo e del loro funzionamento, per poi descrivere il marketing strategico e operativo sviluppato all’interno di queste tipologie di imprese. Viene inoltre dedicata attenzione all’introduzione del Market-Driven Management nelle imprese di spettacolo dal vivo, ancora in fase iniziale ma meritevole di attenzione.

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Langenbach, William Ray. "Performing the Singapore state 1988-1995." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041027.174118/index.html.

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Anthony, Douglas Richard. "''Acting In'': A Tactical Performance Enables Survival and Religious Piety for Marginalized Christians in Odisha, India." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429801174.

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Harlig, Alexandra M. "Social Texts, Social Audiences, Social Worlds: The Circulation of Popular Dance on YouTube." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1557161706452516.

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Dissertations / Theses on the topic 'Ethics and performing arts'

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