Relevant bibliographies by topics / The Performing Arts (incl. Theatre and Dance)

Academic literature on the topic 'The Performing Arts (incl. Theatre and Dance)'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "The Performing Arts (incl. Theatre and Dance)"

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Thompson, Jayne. "Moving Memory Dance Theatre Company." Performance Research 24, no. 3 (April 3, 2019): 115–21. http://dx.doi.org/10.1080/13528165.2019.1583983.

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Nearman, Mark J., Monica Bethe, and Karen Brazell. "Dance in the Nō Theatre." Asian Theatre Journal 4, no. 2 (1987): 237. http://dx.doi.org/10.2307/1124197.

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Parson, Annie-B. "David Bowie: Dance, Theatre, Other." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 31–32. http://dx.doi.org/10.1162/pajj_a_00313.

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I was just thinking about the perfect strangeness of his performance, his separation from gravity and from what is temporal, his saturated colors, his plastic shape-shifting identity, and his insistence on and intentionality around theatricality. And his dances: the abstraction and the symbol. I have an enduring image in my mind from an early album of his fingers specifically molded in an asymmetric shape to express messages from somewhere we don't know, have never been. His last dance, a solo in the middle of Black Star, so eerie, so loose-limbed. I was thinking of his pure, pitch-perfect spectacle, and the embodiment of spectacle through elaborate makeup and costume, with a gender fluidity that freed us all.
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Einasto, Heili, and Evelin Lagle. "Path Dependency in Theatre Funding." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 55–71. http://dx.doi.org/10.7146/nts.v30i1.106923.

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Estonian contemporary dance emerged in the early 1990s outside established theatre institutions. Since then, it has existed in a project-based format, which means that though dance artists can receive funding for preparing projects, there is no financial support for facilities needed for everyday practice outside or between the projects. The type of venues available for practicing contemporary dance has an impact on choreographic practice presented for the public, even if that dimension often remains invisible.Funding policy, like other policies, is greatly affected by the historical legacy of a particular policy (that is, path dependent), and the same can be claimed about choreographic practice. Therefore, in order to understand why a certain policy or practice prevails and is resistant to change even if it becomes problematic, it is necessary to look at the beginning of the path. In the present article, the history of theatre and dance funding in Estonia is taken as an example to discuss how that history affects the present in terms of choices by dance practitioners. Though Estonia is taken as an example, the situation is far from unique and therefore can serve as a case for analyzing similar situations in other countries.
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Acocella, Joan, and Frank W. D. Ries. "The Dance Theatre of Jean Cocteau." Dance Research Journal 19, no. 1 (1987): 44. http://dx.doi.org/10.2307/1477773.

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Grow, Mary L., and Mattani Mojdara Rutnin. "Dance, Drama, and Theatre in Thailand." Asian Theatre Journal 12, no. 2 (1995): 361. http://dx.doi.org/10.2307/1124117.

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Dowling, Niamh, Miranda Tufnell, and Lucia Walker. "Shared discoveries in theatre and dance." Theatre, Dance and Performance Training 12, no. 2 (April 3, 2021): 272–84. http://dx.doi.org/10.1080/19443927.2021.1899972.

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Diamond, Catherine. "Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India." New Theatre Quarterly 34, no. 4 (October 8, 2018): 307–25. http://dx.doi.org/10.1017/s0266464x18000398.

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In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in both cultures a pathway toward participating in an internal androgyny, a wider spectrum of gender representation than either the Asian traditional dance or contemporary Asian society normally allows. Catherine Diamond is a professor of theatre and environmental literature. She is Director of the Kinnari Ecological Theatre Project in Southeast Asia, and the director/choreographer of Red Shoes Dance Theatre in Taiwan.
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Carroll, Noël. "Theatre, dance, and theory: A philosophical narrative." Dance Chronicle 15, no. 3 (January 1992): 317–31. http://dx.doi.org/10.1080/01472529208569103.

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Sparshott, Francis. "Some aspects of nudity in theatre dance." Dance Chronicle 18, no. 2 (January 1995): 303–10. http://dx.doi.org/10.1080/01472529508569206.

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Dissertations / Theses on the topic "The Performing Arts (incl. Theatre and Dance)"

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Weinberg, David. "American influence on the alternative theatre movement in Britain 1956-1980." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/32208/.

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This thesis argues that American experimental theatre practice was one key factor in the development of an important phase in the history of the alternative theatre movement in Britain during the period 1956-1980. The data for this thesis has been collected through interviews, archival work and a review of existing literature on post-war British theatre including the alternative theatre movement. The theoretical superstructure and modes of analysis build upon key concepts and theories in the work of Elizabeth Burns (1972) and Baz Kershaw (1992, 1999). The main historical developments or phenomena referred to are the activities of the experimental theatre groups associated with Jim Haynes, Charles Marowitz, Nancy Meckler and Ed Berman, four expatriate American theatre practitioners living in Britain during the time period 1956 1980. In addition this thesis examines important American based groups, Living Theatre (1947), Open Theatre (1964), La MaMa (1960) and Bread and Puppet (1965), which performed in Britain and which made an impact during the same period. The study also examines a wide range of indigenous British groups, Pip Simmons (1968), Foco Novo (1972-1989), Joint Stock (1974- 1989), as well as institutions, RSC (1961), Royal Court (1956) and individuals such as Max Stafford-Clark, Thelma Holt, John Arden, Anne Jellicoe and the Portable playwrights (1968- 1972) which in one way or another were influenced by American exemplars. It is important to state clearly that this study does not claim that American experimental theatre and performance practices were the only influence on this important phase in the history of alternative theatre in Britain. This study simply claims that prevailing themes as well as American experimental theatre groups and performance practices had a key impact which has not been properly acknowledged or examined by scholars. Such an examination will contribute to a more comprehensive and dynamic understanding of the forces which shaped the alternative theatre movement in Britain.
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Hamilton, Mark James. "Martial Dance Theatre: A Comparative Study of Torotoro Urban Māori Dance Crew (New Zealand) & Samudra Performing Arts (India)." Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5092.

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This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit. The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge. In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?
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Chau-Dang, Tiffanie T. "Using Optical Illusions to Enhance Projection Design for Live Performance." Kent State University Honors College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1588376296563101.

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Rowe, Katherine. "Childhood Development: How the Fine and Performing Arts Enhance Neurological, Social, and Academic Traits." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/464.

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Abstract Childhood development has always been a major topic when studying psychology and biology. This makes sense because the brain develops from the time a child is conceived to the time that child has reached around the age of twenty-seven. Doctors, psychologists, and sociologists look at numerous things when studying childhood development. However, how common is it for researchers to study how the fine and performing arts affect childhood development? Sociologists tend to be extremely open and mindful of all aspects of things such as culture, sexuality, religion, and even age. By taking a sociological standpoint when studying the arts and studying childhood development, society is able to make connections between the two that leads to better understanding of a child's development socially, mentally, and academically.
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Batista, Henrique Medeiros. ""Africa! Africa! Africa!" Black Identity in Marlos Nobre's Rhythmetron." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586866469586654.

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Bush, Jason Alton. ""Staging lo Andino: The Scissors Dance, Spectacle, and Indigenous Citizenship in the New Peru"." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308262142.

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Sander, Lydia Grace. "Conversations and Collaborations: The Impact of Interdisciplinary Arts in Pre-College Piano Pedagogy." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619184539734014.

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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.

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Albuquerque, Daniel Paes de. "Ensino de libras nos cursos de Artes Cênicas: reflexões sobre a metodologia de ensino de libras conforme as especificidades dos cursos de Teatro e Dança na UFAL." Escola de Teatro, 2014. http://repositorio.ufba.br/ri/handle/ri/27057.

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Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-23T15:56:58Z No. of bitstreams: 1 UNIVERSIDADE FEDERAL DA BAHIA Daniel Paes de Albuquerque.pdf: 1373793 bytes, checksum: 515d9b809a9d8e1eaa6ed8852c1cff62 (MD5)
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RESUMO Esta dissertação de mestrado tem como foco principal o ensino de língua de sinais brasileira nos cursos de Artes Cênicas. Entretanto, como a abrangência de abordagens que o tema permite pode ser diversificada, segundo a perspectiva da pesquisa, ficou determinado um sub-tema, que direciona o trabalho para as reflexões sobre a metodologia de ensino da língua de sinais nos cursos de Licenciatura em Teatro e Dança-licenciatura da Universidade Federal de Alagoas, segundo as ementas da disciplina e as ementas dos respectivos cursos. Para alcançar o objetivo foi necessário também percorrer cronologicamente a história da educação dos surdos no mundo e no Brasil, até os dias atuais. A verificação das leis que garantem a proteção dos direitos dos cidadãos surdos foi de grande valor. Não somente para repensar estratégias que possam servir de alicerce para a prática docente com alunos de ambos os cursos, mas também para sugerir alternativas que possibilitem uma formação de qualidade dos futuros professores de Artes Cênicas, para lidar com pessoas surdas no ensino público e privado. Consequentemente, o entusiasmo que impulsionou a realização deste trabalho contribui para a fluência da criatividade nas aulas vindouras, a difusão e o encantamento pela língua de sinais brasileira: por e para os surdos.
ABSTRACT This dissertation focuses mainly on the theme of its teaching of Brazilian Sign Language courses in Performing Arts. However, as the range of approaches that allows the subject can be diverse, from the perspective of research, was given a sub-theme, which directs the work to the reflections on the methodology of teaching with sign language in the Licentiateship in Theatre and Dance, in accordance with the menus of the discipline and the menus of the respective courses. To achieve the purpose it was also necessary scrolling through chronologically the history of deaf education in the world and in Brazil, until nowadays. The examination of laws guaranteeing protection of the rights of deaf people was a great value. Not only to reconsider strategies that can be the foundation for the practice of teaching for students of both courses, but also to suggest alternatives that enable quality training for future teachers in Performing Arts, for dealing with deaf people in public and private education. Therefore, the enthusiasm that led to this work contributes to the fluency of creativity in coming classes, diffusion and by the enchantment of Brazilian Sign Language: for the deaf.
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LJUZEM, MADILJIM, and 路之• 瑪迪霖. "The Research Strategies for the Industrialization of Performing Arts : Using Tjimur Dance Theatre as an Example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/8kmmpd.

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碩士
國立屏東大學
文化創意產業學系碩士班
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The object of study is based on the Tjimur Dance Theatre in Pingtung District, which is the first Taiwanese performing group with Paiwan culture as its core. It is founded in 2006 by the author, and the main content of performance is to transform the form of Paiwan music and dance into the body language of modern dance, in order to show the local characteristics of Taiwan and the charm of contemporary body aesthetics of Taiwanese aborigines Paiwan people. This research is conducted by case study, open interview, content analysis and case study, and also combined with the balanced scorecard of modern enterprise management to analyze the internal and external basic conditions and related factors of the environment of Tjimur Dance Theatre. There are five research results below: 　　Firsty, use staged market segmentation as a strategy. Secondly, the field of learning and growth becomes the motivation for Tjimur Dance Theatre to communicate with the world and gain professional experience. Thirdly, take the tide of aboriginal culture and start the strategy of customer management in the medium term. Forthly, Professional orientation and cultural connotation are the challenges that must be overcome continuously for the existence of internal administration. And lastly, obtain the concept of recognition of the staff to join in at early stage of the establishment is better than solicit professional staff at later stage.
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Books on the topic "The Performing Arts (incl. Theatre and Dance)"

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(Firm), H. P. Kraus. Performing arts: Books on music, dance, theatre, & festivities. New York: H.P. Kraus, 1998.

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Ekāḍemī, Oḍiśā Saṅgīta Nāṭaka, ed. Perspectives on Odissi theatre. Bhubaneswar: Orissa Sangeet Natak Akademi, 1998.

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Contemporary French theatre and performance. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2011.

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1953-, Sarver Linda, ed. Another opening, another show: A lively introduction to the theatre. Mountain View, Calif: Mayfield Pub., 2001.

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1960-, Lipscomb Valerie Barnes, and Marshall Leni 1969-, eds. Staging age: The performance of age in theatre, dance, and film. New York: Palgrave Macmillan, 2010.

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J, Marker Frederick, Marker Lise-Lone 1934-, Ibsen Henrik 1828-1906, and Strindberg August 1849-1912, eds. A project for the theatre. New York: Continuum, 1994.

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Hanna, Rubin, and American Ballet Theatre, eds. The ballet book: Learning and appreciating the secrets of dance : American Ballet Theatre. New York, NY: Universe, 2003.

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David, Balthrop, ed. Theatre: Through the stage door. Dubuque, Iowa: Kendall/Hunt, 2002.

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Oriental theatre: Drama, opera, dance and puppetry in the Far East. London: Peter Owen, 2005.

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Molette, Carlton W. Black Theatre: Premise and Presentation. Bristol, Ind., U.S.A: Wyndham Hall Press, 1986.

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Book chapters on the topic "The Performing Arts (incl. Theatre and Dance)"

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"Dance and Music Theatre." In Derek Walcott, The Journeyman Years, Volume 2: Performing Arts, 225–67. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401210072_006.

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"Litz Pisk, Dance and Theatre." In German-speaking Exiles in the Performing Arts in Britain after 1933, 89–103. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401209199_006.

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"Ritual Music, Dance and Theatre of Shintō Shrines: Kagura." In An Introduction to Japanese Folk Performing Arts, 39–54. Routledge, 2016. http://dx.doi.org/10.4324/9781315566887-9.

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de Souza, Javier Garcia. "Scenes of Aquatic Life: Theatre, Dance, Music and Science." In Science & Theatre: Communicating Science and Technology with Performing Arts, 151–55. Emerald Publishing Limited, 2022. http://dx.doi.org/10.1108/978-1-80043-640-420221013.

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Cumming, Julie E., and Evelyn Tribble. "Distributed Cognition, Improvisation and the Performing Arts in Early Modern Europe." In Distributed Cognition in Medieval and Renaissance Culture, 205–28. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438131.003.0012.

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The feats of skill exhibited by early modern actors, singers, and dancers can best be approached through the lens of distributed cognition. Complex assemblages of material, social, bodily, and neural resources enabled and constrained the work of early modern performers. Skilled performers were expected not simply to reproduce material; improvisation and spontaneity were more highly valued than rote memorisation. To be a performer was to be an improviser. Improvisation always involved interaction with other performers and with a given text, whether a score, a choreography, or a play text. This chapter analyses a variety of assemblages underpinning the work of a range of early modern performance practice. These include improvised polyphonic music performed in ecclesiastical settings; improvisation in Renaissance dance; the early modern English theatre, and the notation systems used for part-singing. Each of these operates within a specific cognitive ecology, and each places different demands upon the particular assemblages of embodied expertise, environments, and skilled practice. Distributed cognition provides an analytic framework for understanding these accomplishments.
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Baird, Bruce. "Interlude." In A History of Butô, 103–10. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197630273.003.0007.

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This chapter analyses the various factors that enabled butô artists to be more successful in France than they had been in Japan. Among these was simple exoticism, but differences between France and Japan contributed to success of the performers. These differences included the structure of the performing arts world, evolutions in theatre and modern dance, and the financial relationship between theaters and artists.
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Klapper, Melissa R. "A Troubled/Troubling History." In Ballet Class, 129–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.003.0006.

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Ballet has been and continues to be among the least diverse of the performing arts. Until well into the twentieth century, most African American children who wanted to take ballet class were forced to go to segregated studios, which played significant roles in local communities. African Americans also faced very limited opportunities for ballet careers. There were important exceptions who served as role models, and the creation of the Dance Theatre of Harlem in 1969 helped challenge the racist assumptions that dancers of color could not master the ballet aesthetic. A number of prominent Native American ballerinas faced less discrimination. Recent diversity initiatives are slowly improving the situation in both recreational and professional ballet.
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Kessler, Kelly. "Quality and Class or Malls and Music Video." In Broadway in the Box, 123–61. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190674014.003.0005.

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With network musical castoffs like Fame and The Muppet Show hitting it big in syndication and viewers defecting to public TV, the eighties proved challenging for ABC, CBS, and NBC. Simultaneously, viewers lucky enough to live in early-served cable markets could circumvent the networks altogether. Seeing the writing on the wall, the networks jumped into the cable arena with a string of niche performing arts channels, with CBS Cable, Alpha Repertory Theatre Service (ARTS), and The Entertainment Channel (TEC) providing viewers a new cache of musical programming. The resultant interplay between television’s heavy hitters, video distributors, and Broadway royalty like the Nederlanders highlights this as a time of high stakes for various forms of musical entertainment. That said, it was MTV and its embrace of teens and the music video tie-ins of popular dance films like Footloose and Flashdance that won the battle for the cable-based musical market.
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Carnelli, Luisella. "Operaestate Festival Veneto, A socio cultural and economic analysis." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2622.

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Bassano Operaestate Festival Veneto has presented more than four hundred shows in castles, parks, palaces, villas, squares and museums in thirty municipalities of the region of Veneto in the North East of Italy. The festival hosts artists and productions from all over the world, ranging from contemporary theatre to the most innovative international dance, music, opera, classical, jazz and art films. The diversity, breadth and quality of its programmes are its greatest strengths. The primary objective of the festival is to enable large audiences to experience the performing arts in its many different forms, and to do so through a programme of cultural animation across the entire region. This case study of Bassano Operaestate aims to provide a picture of the effects produced by the festival with over three decades of activity, in an area that has experienced vibrant and dynamic growth in the industrial, creative, artistic and cultural sectors, especially in recent years. The research study was commissioned by the festival and carried out by Fondazione Fitzcarraldo (FF). FF is an independent centre, based in Turin, for planning, research, training and documentation on cultural, arts and media management, eco- nomics and policies, at the service of those who create, practice, take part in, produce, promote and support arts and cultural activities.
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Conference papers on the topic "The Performing Arts (incl. Theatre and Dance)"

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Schrock, Peter J., M. Elisa McQueen, Kathryn J. De Laurentis, Merry L. Morris, and Rajiv V. Dubey. "Wheelchair Modification for Hands-Free Motion for Dancers With Disabilities." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193178.

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Functional modifications to power and manual chairs are currently advancing in the areas of rehabilitation, sports and recreation and in the activities of daily living; however, these modification have yet to be directly applied in the field of performing arts. An assistive device was developed at the University of South Florida (USF) during collaboration between the Department of Mechanical Engineering and the School of Theatre and Dance. The project was initiated by Professor Merry Lynn Morris who identified a need for new conceptions of mobility; her work with dancers, with and without disabilities established the research framework in which choreographic vision could be supported with technological applications. Therefore, a device was designed to alleviate the constraints of current wheelchair designs which inhibit the user’s upper-body artistic movement range and capacity for interaction. The main purpose of the design was to create hands-free motion through the modification of a power wheelchair, which make it useful in the performing arts, but also as an assistive device for persons with disabilities. This device is in its first research phase of development as a prototype and is patent pending.
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