Dissertations / Theses on the topic 'Performing arts, n.e.c'
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Huang, Ya-hui. "Performing Shakespeare in contemporary Taiwan." Thesis, University of Central Lancashire, 2012. http://clok.uclan.ac.uk/5333/.
Full textHattingh, Mareli. "Kontemporêre woordkuns as teatergenre : 'n ondersoek na die aard van die vorm van die werke van enkele Stellenbosche woordkunstenaars /." Link to the online version, 2005. http://hdl.handle.net/10019/1675.
Full textDe, Villiers Jacobi. "Kabaret as moontlike teatervorm vir sangers met 'n klassieke sangorientasie." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21737.
Full textENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the migration of singers with a classical singing orientation. It researches a form of music theatre known as entertainment cabaret, which is individual by nature, as it is not bound by convention. The study entails a discussion of the nature of cabaret as a diverse form of theatre. It illustrates the role of the artist and the genre’s music style in researching structure, to determine differences and similarities in the frameworks of cabaret and opera, with specific reference to classical singing. Currently there is an abundance of musical theatre genres, and cabaret is not differentiated as an individual genre. This leads to problems in the definitive classifying of cabaret, as well as the bridging of a singer with a classical singing orientation migrating to cabaret. The study researches the concept of, and reasons for, this migration in South Africa. The qualitative research method, which makes use of in-depth interviews to gain insight, generated a wealth of information about the realities in South Africa. This method introduces a new method of acquiring information, where the changes of the last few years had a tremendous impact on the careers of performing artists in South Africa. For this reason, artists with a classical singing orientation must have a choice to take action; to generate their own opportunities. The main findings and the need for multi-talented artists to adapt to the different styles of genres were analysed in the theoretical section, followed by a discussion of the respondents’ feedback selected to contribute to this study. The gap in skills between the cabaret artist and the classical singer is identified to showcase and define the possibility of cabaret as a form of theatre for classical singers. New categories are generated in which ideas of how development can be adapted are laid out.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om insig te verkry in kabaret as moontlike teatervorm vir die migrasie van sangers met ’n klassieke sangoriëntasie. Dit ondersoek die vermaaklikheidsvorm kabaret, ’n eiesoortige vorm van musiekteater deurdat dit nie deur konvensies begrens word nie. Die studie behels ’n bespreking van die aard van kabaret as diverse teatervorm, en illustreer die rol en vaardighede van die kabarettis asook die genre se musiekstyl om die ooreenkomste en verskille in die raamwerk van kabaret en opera, met betrekking tot klassieke sangoriëntasie, te ondersoek. Tans oorvloei die musiekteatergenres, en word kabaret nie as eiesoortige genre onderskei nie. Dit maak die onderskeid van kabaret, asook die oorbrugging van ’n klassieke sanger wat na kabaret migreer, uiters problematies. Die studie stel ondersoek in na die konsep van en redes vir die migrasie van sangers met ’n klassieke sangoriëntasie na kabaret in Suid-Afrika. Die kwalitatiewe metode, wat met behulp van diepte-onderhoude insig verkry, het ’n magdom inligting oor die werklikhede in Suid-Afrika opgelewer. Hierdie metodologie is ’n nuwe manier om inligting in te samel, veral in die lig van veranderinge in die laaste paar jaar in die land, wat ’n geweldige impak op die loopbaan van Suid-Afrikaanse uitvoerende kunstenaars gehad het. Kunstenaars met ‘n klassieke sangoriëntasie moet kan kies om tot aksie oor te gaan; om hulle eie geleenthede te genereer. Die hoofbevindinge en die behoefte dat veelsydige kunstenaars by verskillende genrestyle moet kan aanpas word in die teoretiese afdeling ondersoek, gevolg deur ’n bespreking van die respondentterugvoering wat vir die doel van die studie geselekteer is. Die gaping tussen die vaardighede van die kabarettis en klassieke sanger word geïdentifiseer om sodoende die moontlikheid van kabaret as teatervorm vir klassieke sangers te definieer. Nuwe kategorieë word geskep waarin idees vir die moontlike aanpassing van ontwikkeling neergelê word.
Dunlop, Anne Elizabeth. "Advocata nostra : central Italian paintings of Mary as the Second Eve, c.1335-c.1445." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/2889/.
Full textEaton, Natasha Jane. "Imaging Empire : the trafficking of art and aesthetics in British India c.1772 to c.1795." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/34755/.
Full textGraham, Deborah Jane. "The manifestation of national identities in late eighteenth-century Scottish art, c.1750-1800." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/110988/.
Full textRozier, Emily Jane. "The galaunt tradition in England, c.1380–c.1550 : the form and function of a satirical youth figure." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6656/.
Full textHattingh, Mareli. "Kontemporere woordkuns as teatergenre : 'n ondersoek na die aard van die vorm van die werke van enkele Stellenbosche woordkunstenaars." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2226.
Full textOral Art (Woordkuns) as a performing art form is a burgeoning independent theatre genre that has developed especially over the last decade with the rise of the national arts festivals. By investigating the literary term word art, the eclectic nature of oral art as a theatre genre, the oral art text and the role of the visual within an oral art performance, we are able to give a paraphrase or definition of oral art as a theatre genre. Oral art as a performing art form can firstly be defined with reference to the origins of the oral art text, namely an existing work(s) that originated as a non-dramatic literary work(s) and that is revisited within a new context; secondly a shift in the dramatic presentation from physical action to the spoken word. The eclectic nature of oral art is a further characteristic of this theatre genre. Oral art has the ability to change in form and function and not only can it be biographical or autobiographical, but it can also be socio-politically intended. The hybrid nature of oral art – oral art texts combine in many cases works from different genres – also shows many similarities with other theatre genres like cabaret and black political protest theatre. Three possible structures are identified within the oral art text, namely an episodic structure, a developing story line or argument and a compilation consisting of a number of short stories or narratives. The oral art text can be compiled from a number of literary genres and the choice of material is determined by the overarching theme and the format of the performance. Visual elements support the oration within an oral art performance. The different types of texts used in the compilation of an oral art program determine the presentation style and stage composition. Physical action is representational rather than realistic. The use of décor, props, costumes and lighting are minimal and multi-functional.
Michael, Georgia. "Imaging divinity : the 'invisible' Godhead in early Christian art c.300-c.730." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7318/.
Full textSpooner, Rosemary Gall. "Close encounters : international exhibitions and the material culture of the British Empire, c.1880-1940." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7386/.
Full textMacLeod, Anne Margaret. "The idea of antiquity in visual images of the Highlands and Islands c.1700-1880." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/1085/.
Full textKennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
Full textIrvine, Victoria. "The development of the use of models in Scottish art, c.1800-1900, with special reference to painting and the Trustees' Academy, Edinburgh." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6179/.
Full textAl-Mutairi, Hussain Ali. "Non-Calanoid Copepods at the Bermuda Atlantic Time-Series Study (BATS) Station: Community Structure and Ecology, 1995-1999." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003215.
Full textShaw, Michael. "The fin-de-siècle Scots Renascence : the roles of decadence in the development of Scottish cultural nationalism, c.1880-1914." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6395/.
Full textHagen, Emily. "Depicting Affect through Text, Music, and Gesture in Venetian Opera, c. 1640-1658." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157551/.
Full textCaputo, Flavio dos Reis. "Semente-estrutura-composição: os três caminhos de Zeami para a criação de uma peça nō." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-21122016-132043/.
Full textNō is a Japanese performing art in which representation, dance and music blend into stylized presentations where few elements are handled to create and give depth to an imagistic unit. Although we find its first records in documents from the Heian period (794-1185), the increase of its complexity ocurred only in the Muromachi period (1334-1573), through the efforts of Zeami (1363-1443) and his father, Kan\'ami (1333- 1384). In addition to the development of performance and orchestration, both made significant advances in the composition of plays. Fortunately, the greatest n? artist, Zeami, left us many critical writings in which he detailed all the researches undertaken during his lifetime. Based on one of these treatises and on excerpts of two others, this study will analyse the method, established by Zeami, in which the creation of plays is dividided into three areas: shu, saku and sho, \"seed\", \"structure\" and \"composition\", respectively. Shu is the means by which the artist works with the source that gives rise to the play and that will inevitably be revised by the nō language; saku is the musical structuring that enables the seed to be unveiled; and sho is the combination of words and sounds that convey this revelation. Supported by recent scholars and poets, we will try to identify the principles governing these three paths and the ways by which they unite to form an organic totality, where yūgen, a beauty opposed to the imitation of external reality, is born out of the distribution of qualities vivified by a flexible approach of time, called jo-ha-kyū. In the first chapter, we will see how divisions and subdivisions of the musical primal resources of nō, rhythm and melody, interact to structure a play; in the second, how source and citations are reshaped to progressively recreate the original material; and third, how words are arranged in clusters of sounds and images to stablish layers of meanings.
Kennedy, Jérôme. "Une "République impériale" en mutation : pensée politique, institutions et société romaine de l'époque de Sylla (138-78 av. n. è.) à la fin du Ier siècle de n. è." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H021.
Full textAnyone who has ever seen Gladiator by Ridley Scott has watched Joaquin Phoenix embody a cruel emperor Commodus, a military and all-powerful leader, who, all by himself in his palace, can decide of life and death among his subjects. But they could also see Derek Jacobi play senator Gracchus, fierce partisan of the res publica (a notion which, in this context, means Republic), a political system which existed before the power of emperors was created. This political division between personal power and collective governing does not match the historical reality of the era of the last of the Antonine emperors, but it shows what people could remember of this era of Antiquity. This dual and contradictory vision of Roman political power is not a recent idea. It can refer - certainly in an oversimplified way - to the period when, from the first century BC to the first century AD, there appeared something different from a simple change of regime, a political in-between system - between democracy and monarchy - in which the imperial power created by Augustus at the start of our era integrates the aristocratic culture while developing a contact and a real interaction with the people of Rome and more generally speaking the inhabitants of the imperium Romanum. This is what is referred to by the notion of Roman « imperial Republic ». Referring to this concept may be surprising as it has essentially been used by the contemporary historians, whether it be Raymond Aron or Olivier Le cour Grandmaison ; yet it enables to bring out the subtler points of this period when, to paraphrase Cicero, some individuals benefited from « a power superior to that of the whole state » without strongly questioning the structures of that State. This political phase is really specific and thus hard to define ; it can only be understood in a dynamic of change, its military, economic, political and - to use a current term - ideological structures evolving as the administration of the Roman world - which is spread on Europe, Asia and Africa - gets stronger, but also as the inhabitants of this Empire get used to personal power. While relying on the recent studies of historiography as much as its controverses (one can quote the opposed opinions of Fergus Millar and Karl-Joachim Hölkeskamp concerning the democratic and/or aristocratic nature of the Roman res publica), this study aims at casting a new light on the perception of chronological frameworks often reduced to a succession of Republic/Empire in order to understand how a personal power centralised in a « Roman world », is rooted in a world whose capital is still considered as a city where power is embodied by magistracies and senatorial order. Rooted in the political and institutional fields, this work cannot leave aside the contribution of sociological and political sciences, including their most recent aspects, so as to understand the way a political system can deeply evolve without changing brutally, which is a current issue at a time when the democratic model as forged at the end of the Second World war tends to be questioned
Anderson, Andrew Woodruff. "The Violence of Identity Construction in French and Francophone Absurdist Theater." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316112837.
Full textGeorgiou, Andriani. "The cult of Flavia Iulia Helena in Byzantium : an analysis of authority and perception through the study of textual and visual sources from the fourth to the fifteenth century." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4175/.
Full textMa, Qiuping. "Role of FoxO Factors as the Nuclear Mediator for PTEN-AR Antagonism in Prostate Cancer Cells." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002559.
Full text"The Five-Valve C Trumpet: History, Design, and Advantages." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.40703.
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Doctoral Dissertation Music 2016
"Nineteenth-century Performance and Editorial Practice: A Study of Beethoven's Sonata in C-sharp minor, Op. 27 No. 2." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57229.
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Doctoral Dissertation Music 2020
"Frédéric Chopin, Interpretation and Analysis Two Case Studies." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57153.
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Doctoral Dissertation Music 2020
Dziedzic, Allyson, Morris N. Greidanus, and Janna Hiemstra. "Perspective vol. 39 no. 4 (Dec 2005)." 2013. http://hdl.handle.net/10756/251173.
Full textDziedzic, Allyson Ann, Morris N. Greidanus, and Janna Hiemstra. "Perspective vol. 39 no. 4 (Dec 2005)." 2005. http://hdl.handle.net/10756/277522.
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