Dissertations / Theses on the topic 'Performing arts festivals'
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Batchelder, Xela Ann Pollock. "The world's largest arts festival, The Edinburgh Festival Fringe mechanics, myth and management /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149104422.
Full textZabrovskaya, Yulia, and Monika Pavilonyte. "Revenue determinants of music festivals : A case of pop/rock, jazz and classical music festivals in Scandinavia." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13771.
Full textMeekison, Lisa. "Playing the games : indigenous performance in Australia's Festival of the Dreaming." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670221.
Full textPretorius, Susanna Cornelia. "Visitors' perceived contribution of South African arts festivals to the arts / Susanna Cornelia Pretorius." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9824.
Full textThesis (MCom (Tourism Management))--North-West University, Potchefstroom Campus, 2013.
Reeve, Zoë Rose Louise Patricia. "Staged authenticities an exploration of the representations of AmaXhosa culture within the main programme of the National Arts Festival, 2009." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002378.
Full textThis thesis consists of three parts (1 pdf document and two video mp4 files)
Antrobus, Richard Roy. "The advent of the 'Festivore' an exploration of South African audience attendance in the performing arts at the National Arts Festival." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002362.
Full textSnowball, Jen. "Towards more accurate measurement of the value of the arts to society: economic impact and willingness to pay studies at the Standard Bank National Arts Festival." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002672.
Full textLees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051109.114852/index.html.
Full textA thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.
Ka'ai-Oldman, Rachael Te Awhina, and n/a. "Takina ko au, Takina ko koe! Te ahuatanga o te whakataetae kapa haka." University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 2005. http://adt.otago.ac.nz./public/adt-NZDU20070430.123401.
Full textBragge, Brent Reuben. "Economic impact studies and methodological bias : the case of the National Arts Festival in South Africa." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002702.
Full textLees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/714.
Full textDu, Toit-Pearce Minette. "Eisteddfod in Suid-Afrika met spesifieke verwysing na die Paarl Vallei Eisteddfod." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2945.
Full textThe purpose of this thesis is twofold. In the first instance, it is to document the origins and history of the eisteddfod in general, and more specifically, in South Africa. In the second instance, this thesis will attempt to describe the meaning and role of the eisteddfod in South Africa. This will be achieved with the help of a case study, which will require that a local eisteddfod be researched and discussed. As a result of involvement with eisteddfods over a period of twenty-five years (first as a participant and later as a teacher and a member of the judging panel), the writer has, over time, become increasingly fascinated with the phenomenon of the eisteddfod. Some of the questions that have arisen include: Why do eisteddfods still take palce in South Africa? What role do they play in the present-day cultural education of learners? Do they still bear relevance in current musical (specifically vocal) practice? This thesis is aimed at determining why such high value is attached to eisteddfods in certain communities. Why did this centuries-old tradition, brought from the northern hemisphere to South Africa, survive for so long? And why is it so important for some teachers, parents and children that they must participate? There is a large volume of literature concerning the international history of the eisteddfod. As this general history is already comprehensively described, it will only be presented in this thesis as a broad historical framework for the more specific history of the eisteddfod in South Africa. The local history of the eisteddfod is, however, poorly covered by published information. The literature in existence is often incomplete, and in most cases covers only up to the 1960‟s. News and magazine archives can only really help to identify the location and date of various eisteddfods, and to highlight some interesting aspects thereof. The latest academic literature was published as far back as 1994. The hypothesis of the current study relates to the suspicion that significant change has taken place in the last thirteen years (since 1994) regarding the meaning and vi function of the eisteddfod in South Africa. As the literature relating to this period is so sparse, this hypothesis will be empirically tested in a case study. To place the eisteddfod in South Africa in a historical context it is important to first investigate its origins. Its origin in Wales and subsequent development will be examined. This background study will assist in determining how eisteddfods in South Africa compare with those in other countries. To describe the development of the eisteddfod in South Africa is more complicated, due to the lack of an accurately described history. The defined scope of this thesis does not, however, include the production of an accurate history. Rather, a partial history is compiled using contemporary sources such as newspapers and magazines, as well as secondary sources. The most important and possibly the most challenging aspect of this thesis concerns an in-depth investigation of the Paarl-Valley Eisteddfod. The purpose of this investigation was an empirical study to collect information regarding a specific eisteddfod as well as the community that participate and support it. This information was used to form interpretations as to whether an institution like the eisteddfod is still relevant, and if it still adds value to the development of children, learners and musicians. It also helped to direct speculation about the meaning and function of the eisteddfod to participants, parents and teachers.
Snowball, Jen. "The economic valuation of cultural events in developing countries: combining market and non-market valuation techniques at the South African National Arts Festival." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002703.
Full textHooi, Mavis. "Oriental Fantasy : A postcolonial discourse analysis of Western belly dancers’ imaginations of Egypt and dance festivals in Egypt." Thesis, Linköpings universitet, Avdelningen för historie-, turism- och medievetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-125565.
Full textORCID for Mavis Hooi : 0000-0002-0049-1095
McIver, Sharon. "WaveShapeConversion : the land as reverent in the dance culture and music of Aotearoa : a thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Cultural Studies in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2007. http://hdl.handle.net/10092/1635.
Full textZifkos, Georgios. "Exploring notions of sustainability in the context of the performing arts festival." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/18397/.
Full textMiddlebrooks, 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.
Full textMiklas, Monica A. "Producing on the fringe| How fringe festival structure impacts participant experience." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589632.
Full textThis thesis, presented in partial fulfillment of the requirements for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, investigates the business models used by performing arts festivals known as "fringe festivals." In the United States, there are three basic fringe festival models: the open access or Edinburgh model, the limited access model, and the adjudicated model. Interviews with artists who participated in fringes as producers reveal that the model impacts the participant experience less than the degree of scaffolding the fringe offers and the degree to which the fringe constrains producing choices. This thesis suggests a fringe festival framework, classifying fringes by degree of scaffolding and constraint, which can be used by producers to identify festival settings that will be the best fit for their needs. The framework can also be used by fringe festival organizers as a tool for self-reflection and festival assessment.
Attala, Jennifer. "Performing the Festival : a study of the Edinburgh International Festival in the twenty-first century." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3839/.
Full textCaldognetto, Samuele Francesco. "STRANGESPACES : Studies and structure for an itinerant transcultural performing art festival." Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-993.
Full textJohnson, Matthew. "An Ethnography of the Bay Area Renaissance Festival: Performing Community and Reconfiguring Gender." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3509.
Full textWilson, Clayton Shane. "A handbook for hosting a district-wide festival for literature and the arts." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1932.
Full textDeGrasse-Johnson, Nicholeen Theresa. "Towards the Construction of a National Dance Education Policy in Jamaica:Public Education Curriculum and Ownership." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/260618.
Full textPh.D.
I hear and I forget I see and I remember I do and I understand --Confucius (551 - 479 BC) Fundamentally about "doing," Dance is a strong element of Jamaican social and cultural expression. This dissertation is based on the premise that in order to fully educate Jamaica's children and to accomplish "National Outcome 2: World Class Education and Training" of the Jamaican National Development Plan for 2030 (Planning Institute of Jamaica [PIOJ], 2009, p. xvi), Dance should be an integral part of Jamaica's educational curriculum. This study draws on multiple perspectives and sources (autobiographical, critical, historical, socio-cultural, and political) to construct an advocacy platform for the establishment of Dance in Jamaican schools. For the past three decades, Dance educators in Jamaica have developed Dance curricula for public educational institutions, but there is still a need to justify the validity of Dance as part of the general school curriculum and the advantage of its institutionalization to the wider society. Assuming that the objective of our schools is to provide holistic education, then it seems a common sense proposition that every child should be given the opportunity to participate in a dance program. Dance allows children to appreciate rich and diverse cultures, beliefs, and societies. It involves the "whole child" while developing dexterity, intuition, sensitivity, reasoning, memory, and imagination. Assuming that Dance is afforded the opportunity to educate, then research should be conducted to inform curriculum development and decision makers. Five research questions guided the inquiry: (a) What are the historical underpinnings of Dance in Jamaican society that inform the role of Dance in the educational system; in what ways did Dance individuals, groups, institutions and or companies shape the Dance culture in post-colonial Jamaica (1962 - 2009)? (b) In what ways can children in early childhood, primary and secondary educational institutions in Jamaica benefit from the inclusion of Dance Education in the formal school curriculum? (c) How do education stakeholders in Jamaica view the need for a national policy for Dance Education in Jamaica? (d) What factors have prevented the development of a national policy for Dance Education in Jamaica? (e) In reviewing post-Independence Government legislature and policies for education and culture (1962 - 2009), what is needed to support the development of a national policy for Dance Education? The evolution of Jamaican dance education history since Independence in 1962 is both a point of departure and an anchor to broach other themes for discussion: shifting educational philosophies and Dance as a phenomenon of cultural and aesthetic dimensions. Findings of the study strengthen the premise that for every child to be afforded the benefits of Dance Education, Dance should be included in the formal curriculum of public schools as a matter of policy. Such a policy should address major issues like curriculum revision and teacher education, making Dance an essential part of the early childhood through secondary education core curriculum. Jamaica's children need opportunities to communicate in their own unique voice--they need to `own' the Dance. This research has generated a framework towards development of an initial concept paper for policy development in Jamaica. The study is limited to Jamaica, but findings may have implications for the Caribbean region.
Temple University--Theses
Seffrin, Georgia Karolina. "Emerging trends in contemporary festival practice." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16440/1/Georgia_Seffrin_Thesis.pdf.
Full textSeffrin, Georgia Karolina. "Emerging trends in contemporary festival practice." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16440/.
Full textBachir-Loopuyt, Talia. "Une musique du monde faite en Allemagne ? : les compétitions Creole et l'idéal d'une société plurielle dans l'Allemagne d'aujourd'hui." Phd thesis, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2013. http://tel.archives-ouvertes.fr/tel-00927409.
Full textHunsaker, Carrie Elizabeth. "Deconstructing the Fourth Wall: Immediacy in Performative Architecture." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212100640.
Full textAdvisors: Michael McInturf (Committee Chair), Tom Bible (Committee Co-Chair). Title from electronic theses title page (viewed Sept. 7, 2008.). Includes abstract. Keywords: Chatauqua; Boulder; Colorado; performative architecture; immediacy; event; performing arts; festival grounds; mountain architecture; fourth wall; theatre. Includes bibliographical references.
Welthagen, Lisa Charmaine. "A service quality gap analysis of Innibos National Arts Festival." 2013. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001128.
Full textEvents, specifically festivals, have experienced significant growth in South Africa over the past ten years in size, numbers, diversity and popularity. There is a growing need in the broader social circles to embrace various forms of art and to create the opportunity to celebrate culture. For this reason Arts festivals have become a feature in the South African cultural landscape. The long term success and sustainability of these events rely on aggressive marketing and emphasis on service quality, thereby highlighting sustainability of festivals and events through service quality. The questionnaire, based on the SERVQUAL model and an adaption of Grönroos was used to identify service perceptions and expectations of service quality at Innibos National Arts Festival in Mbombela, South Africa. This study aimed at quantifying the gap between attendee's expectations and perceptions of service quality and overall customer satisfaction. This study aims to assist the Management of Innibos and other arts festivals to improve the service quality and meet the expectations of their customers.
Harrison, Klisala. "Victoria's First Peoples Festival embodying Kwakwaka'wakw history in presentation of music and dance in public spaces /." 2000. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56180.
Full textTypescript. Includes bibliographical references (leaves 143-157). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56180.
Snowball, Jeanette Dalziel. "The economic valuation of cultural events in developing countries : combining market and non-market valuation techniques at the South African National Arts Festival /." 2005. http://eprints.ru.ac.za/896/.
Full textPretorius, Susanna Cornelia. "The standardisation and validation of a scale to measure the arts' contribution of arts festivals / Susanna Cornelia Pretorius." Thesis, 2015. http://hdl.handle.net/10394/15510.
Full textPhD (Tourism Management), North-West University, Potchefstroom Campus, 2015
Soares, Carla Isabel Freire de Oliveira. "Música experimental em Portugal : análise de produção de festivais." Master's thesis, 2015. http://hdl.handle.net/10400.14/21452.
Full textThe present work aims to analyse the creation, production and promotion of festivals in the restricted scope of experimental music, taking into account particularly the various financial models and the produced interactions. Trying to implement the promotion and publicity of experimental music in Portugal (from the accoustic music till the more electronic one), some national agents have produced or helped to produce along the years several events under the form of festivals or one-off events, that for unknown reasons have collapsed or entered into "hibernation". Despite the efforts made over the years, we found only eleven festivals dedicated to this type of music, but only seven are active and only two (MadeiraDig and Out.Fest) have more than 10 editions. Given this discontinuity in the production of this kind of festivals in Portugal, we wanted to understand firstly the evolution of the experimental music over the past century, observing the creative and productive models generated during this time, providing a disruption from the traditional models of musical composition (Cascone, Cage). In second place, we want to comprehend the proliferation of these new models of production and creation of sound pieces and understand how the festivals may result of the produced information flow. We begin to observe and analyze the festivals, artists and publishers in the international context, which over the years, references emerge to the diffusion and promotion of experimental music. On the other side we started a inquiry process directed to the developers / producers of festivals, programmers of spaces / entities and labels in the national context whitch is professionally related to the music / experimental art. This process is constituted by three surveys molded according to their professional activities adopting a process evolutionary in relation to the questions to obtain data corresponding to the object of study. The obtained results in this research show that prodution models of experimental music festivals with impact on music in Portugal, are not governed by a basic pattern of prodution in special. We can point as factors to the discontinuity of these festivals a strong dependence on State and private supports, as the revenue obtained during the event is not superior to the costs of production. The restricted core on the number of spectators also contributes to the devaluation in performing these events, since the financial return of those is non-existent.
Tseng, Mei-hua, and 曾美華. "The position of the performing arts in festival—a study on the "2012 Taichung Mazu Cultural Festival"." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/12494950968075372969.
Full text國立臺灣師範大學
表演藝術研究所
100
Performing arts have become the innovated economy/new economy policy of the 21st centuries, as known as the core project of the cultural creative industries. Performing arts are the vital sources of the creation and innovation in many related industries, also the important development project of the world-advanced countries nowadays such as U.S.A, Japan and Europe; in Taiwan, have been included in the field and academy of national education and major economic policies. Art festivals in Taiwan, springing up all over the place like mushrooms after spring rain, at the meantime, more and more cities regard festivals as the important tourism activities to promote the popularity and to rebuild the imagine of the culture. Performing arts and festivals both are the important projects in the cultural creative industries, but the former are usually included in the latter ones. "Taichung Mazu International Festival" is based on religious activities, but how to arouse the attention of the audience to the festival by adding performances in the activity? Does it increase the participation of the audience as it planed? How to accomplish the expectations of the cultural festival from the original religious activities? This research is selected performing arts activities: "2012 Taichung Mazu Cultural Festival" as the observed case. In addition to analyze the secondary data in each performance in different venue over the years, the author also conducted a questionnaire survey on the participants of the activities from the governmental festival by convenience samples. The results are showed as follows: The social background of the performing arts participants in the festival are mostly students, it shows that toll-free activities which organized by the government, draw considerable participation from the student groups, helps to promote intercity culture and establishes the foundation of performing arts. Second, the results say that the facts made audiences to participate activities are based on the interests to the performance itself, it’s obvious that audiences get to know more about the connotation of the festivals trough the performances. However, the government seems unable to attract audiences in operating promotion marketing activities. Third, the event analysis results show that participants of different demographic are variable, the motivations and behaviors of participants are wildly different, "posters and DM" and " introduction by friends" are more common for the audiences to notice the relevant information of the performances in the festival. Forth, the analysis demonstrates that participants of different demographic variables, pay more attention to the "folk art " of the performance from the government events in the future, then followed by “modern music ”. The conclusion of the study is divided into four parts. First, the audiences agree with the government to promote the performing arts and cultural policies, but it caused the plight of the performances position. Second, performing arts integrate and include in the tourism festivals from the government, it’s hard to create a win-win due to the uncertainty of activities. Third, although the diversity of the performances gain participations form the community, but it can’t improve the effectiveness of tourism. Fourth, although performing arts promote festivals in the traditional way from the government, but it couldn’t reach the marketing city. In response to these findings, researchers have proposed several recommendations: First, the combination of performing arts and the local culture have to get the recognition from the residents, performing activities need to be arranged into the cultural events. Second, to hold the performances regularly to provide innovative performing arts and to preserve the traditional culture. Third, to provide finer performing arts. Fourth, to expand the activities of performing arts for marketing the city itself, making Taichung City as the city of art and beauty in order to achieve the ultimate goal of cultural activities.
Wei, Bo-Xuan, and 魏伯軒. "Research of Dynamic-Advertising Effectiveness of Performing Arts—A Case Study of 2011 Taiwan International Festival of Arts." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/89474525669052588452.
Full text國立臺北教育大學
文化創意產業經營學系
99
For performing arts groups, exploring new audience is the ultimate responsibility of arts marketing. The reason why movies increase their popularity by broadcasting trailers is that the audience has already been aware of the content before watching the movies. Therefore, performing arts groups try to use a new tool to promote their performance-the dynamic-advertising, which is based on the concept of movie trailers, editing part of the performance content with messages and the main visual, and broadcasting through the media to attract more audience. The main purpose of the study is to analyze and define the dynamic-advertising of performing arts, and furthermore to evaluate its effect. The author started with expert interviews of the end of production of dynamic-advertising, and collected secondary data. Then the study developed its framework and survey according to the attitude toward advertising model developed by Ducoffe and Brackett & Carr, using the dynamic-advertising of “2011 Taiwan International Festival of Arts” as a case, and a sampling survey proceeded to evaluate whether the dynamic-advertising effectively raises the audience’s motivation to watch a performance. The findings show the insignificant relationship between “irritation” and “advertising value” or “attitude toward advertising”. Moreover, the dynamic-advertising does effectively raise the audience’s willingness to consume.
Tsai, Pei-Ying, and 蔡佩穎. "The Development of Taiwanese Performing Arts Groups After Participating in the Avignon Off Festival." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/723a9r.
Full text國立臺灣師範大學
表演藝術研究所
105
To deal with the pressure of the international competition and communication, how to raise the competitiveness of the industry to become a rising star in the world has become the priority of management. In the Taiwanese performing arts industry, only few groups are invited to perform at the international stage owing to their capability and their long-term managed foreign relationships with other groups. In Recent years, Ministry of Culture, Taiwan holds auditions of Fringe Festival for performing arts groups to bring them onto international stages as well as broaden the foreign market. However, after gaining the experience in the Fringe Festival, does it bring the solid benefits to the performing arts groups? Do they have more opportunities to perform and cooperate at both national and international levels? Does the audition policy truly bring the high value benefit to the performing arts groups for future development? Other than financial support, whether the government provides other supports to the groups for gaining the worldwide publicity is also a worth-discussed topic. Through interviewing the performing arts groups which were selected by Ministry of Culture to perform at the Avignon Off Festival, this study focused on exploring their international performance experiences, obstacles and development after participation. In addition, this study also investigated and analyzed governments’ policies and practices which assists performing arts groups at the present stage. The study findings may serve as a guide for the performing arts groups to develop the international performing arts market and gain the worldwide publicity. Furthermore, the author hopes that the result may popularize all kinds of Taiwanese culture to the world.
Lan, Hung-Ling, and 藍鴻苓. "The Constructing of Process Management on Performing Arts Festival in Taiwan: An Implementer Perspective." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/f8t9jb.
Full text國立臺灣師範大學
表演藝術研究所
105
In 2006, China times published a series of report to describe the circumstance in Taiwan, although there are lots of different types of Art festivals, it is still difficult to name which is representative and iconic; Ten years later, The Magazine Art Plus raise this question again, unbelievable, the festivals in Taiwan is too much, may people wondering that do we really need so many festivals? Performing arts festival is considering as a lifestyle in an area, it contains the area's atmosphere, culture, customs. It combines politic orientation, economic orientation, social orientation and environment orientation. A successful festival could bring help a city shape their image, encourage the economic and tourism, brought out the reputation tourism, then it could finally form an industry in an area, but it takes the process to reach all the needs. To develop a sustainable festival is not easy, from the planning stage to implementing stage, every stage has a great impact to the festival, especially to the performing arts festivals, the beauty of the performing arts festival is the nature of unpredictable and its variable. There is a lot of research and studies about whether the event should be held or not, but only a few of them were focused on the implementer ‘s perspective and the process of planning a festival. Therefore, this study aims to understand the process of planning and the process of implementing, to see if there is still a certain pattern and process, and what are the factors that an implementer should consider when holding an event. This study would take a closer look at the implementer's perspective, interview implementers such as scholars, executives, event planners, and organizers to learn from their experiences, then combine them to reference about event planning. And hoping that the result of this study could provide for using in relevant fields. Keywords: Performing Arts Festival, Process Management, Implementer.
Mansilha, Tiago Martins Costa. "Públicos e não-públicos das artes performativas em contexto não-urbano: um estudo sobre o festival materiais diversos." Master's thesis, 2015. http://hdl.handle.net/10071/10641.
Full textThe main goal of the present thesis is to study the audiences and non-audiences in a non-urban context and it focuses on Festival Materiais Diversos’ 6th edition which is based in Minde and is spread throw Alcanena, Torres Novas and Cartaxo. Observation, a survey and interviews were the methods used to define a profile of publics and non-publics. This approach raises the dialogue between concepts and theories in the field of public sociology, and more specifically on cultural enjoyment in the area of contemporary dance and theater, in relation to the phenomenon of decentralization
Cruz, Ana Laura Pinheiro. "Impactos das políticas culturais em tempos de crise: um olhar sobre o Festival Alkantara." Master's thesis, 2015. http://hdl.handle.net/10071/11023.
Full textThe financial crisis experienced by Portugal generated deep changes in financial structure and social perspectives in many different aspects of people's lives. The cultural sector got particularly affected. In addition to reducing drastically the audience's economic power, several changes in cultural policies, for example, the state disinvestment in the sector, cuts in subsidies and redirect funding to other sectors, had a very significant impact on cultural activities and artistic creation in general. In this scenario, projects like Alkantara Festival remain active with difficulties. This research aims to study the impacts suffered by the Portuguese cultural sector facing such changes, with the object of study the field of performing arts and, in particular, the Alkantara Festival. This requires a methodology for collecting and analyzing data combining qualitative and quantitative strategy based on participant observation, semi-structured interviews with professionals from the sector and questionnaires answered by the public of Alkantara Festival in 2014.
Graça, Rafael Correia de Oliveira. "Os públicos do Festival de Teatro Deniz-Jacinto." Master's thesis, 2019. http://hdl.handle.net/10071/19386.
Full textThis dissertation is a study about the audience of the IV edition of the Festival de Teatro Deniz-Jacinto, in which the main objective was to understand what cultural habits the audiences attending the festival have and who they are. Observation and survey by questionnaire were the methods used to profile the audiences aged 18 and over, in an approach directed to cultural enjoyment in the area of theater. As main results, the analysis of the sample of the interviewed publics shows an interest from the 31 to 50 years old spectrum publics, with high levels of education and frequent cultural practices. From a longitudinal perspective, the number of participants in the festival has increased throughout the editions and in this IV edition has increased its participation and relationship with the festival.
Ho, Jia-Rong, and 何佳嶸. "A Preliminary Study on Development of Interdisciplinary New Media Art in Taiwan: Taking Examples from Digital Performing Arts Festival and Digital Art Performance Award." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/339k2d.
Full text國立彰化師範大學
美術學系
103
From the late 1970s, Taiwan’s contemporary artistic development has gradually utilized with mechanical devices, video images, computer technologies and other new media facilities to create a new mode. The emergence of new media has changed the creation of traditional art making the artwork look diversity, and art exhibitions also represent its significance based on the new media technology. Compared with the traditional arts, new media art includes new complexity, highly professional, and other characteristics, and therefore needs in terms of interdisciplinary collaboration to establish the brand new creativities. Digital performing arts significantly develop under the mode of multi-media theatrical tradition, using digital technologies often play a more important role in stage settings, mechanical installations, video art, sound art, and other art fields. To the extend, this research attempts to examine the selective artworks from Digital Art Performance Award and Digital Performing Arts Festival by applying interdisciplinary collaboration between digital art and the performing arts in order to explore the essence, subjectivity, and aesthetics of interdisciplinary performing art. Additionally, this research will summarize the characteristics of development of interdisciplinary performing art in Taiwan.