Tesis sobre el tema "Creativity of actors"
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Lyall-Watson, Katherine. "The collaborative impact : writing a play with the collaboration of actors". Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16582/1/Katherine_Lyall-Watson_-_The_Woods.pdf.
Texto completoLyall-Watson, Katherine. "The collaborative impact : writing a play with the collaboration of actors". Queensland University of Technology, 2007. http://eprints.qut.edu.au/16582/.
Texto completoNdisi-Haffner, Mylène Shiroko. "The place and the role of the actor in the governance of research and innovation projects : Two case studies of Africa-Europe cooperation in the field of food security and greenhouse gas observation". Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2023. http://www.theses.fr/2023UCFA0148.
Texto completoThis research seeks to contribute to the understanding of metagovernance in international environment and food security research and innovation cooperation, through the case studies of two projects between African and European institutional partners. This cooperation is needed to attain nutrition security, environmental sustainability via climate-smart technologies, and the economic enhancement of actors that depend on agricultural income, in global dynamic relations. Since metagovernance is related to sustainability governance with economic, social and environmental components (Meuleman, 2019), this research proposes that metagovernance theory (Sørensen & Torfing, 2007; Torfing & Sørensen, 2014) be informed by the theory of creativity of action’s self-reflexivity, reflexivity and goals-in-view concepts (Joas, 1996; Joas & Beckert, 2001; Wiek, 2012) to find the position and role of the actor in the cooperation. This research objective considers the context’s research governance challenges including a lack of consistency in competition and collaborative objectives of countries in global science cooperation (Flink & Schreiterer, 2010; Román & Schunz, 2017; Ruffini, 2020). The research design employed reiterative in-depth studies (Dumez, 2009, 2012; Easton, 2010; Saldaña, 2011; Zackariasson, 2015). Private, public sector and civil society actor expectations, motivations, and actual action (Joas, 1996; Joas & Beckert, 2001) in governance were examined from qualitative and quantitative data collected. Analysis (Rhodes, 2007; Voronov & Vince, 2012) was carried out according to governance mode instruments and creativity of action concepts. Findings reiterated the role and position of the actor engaging in common knowledge management, monitoring evaluation and learning, co-investment, and continuous context definition and understanding. The actors were found not to be as familiar with the same methods of engagement as they thought necessary hence the concluded role of actor understanding of their context and themes of focus
Fleming, Eric Felton. "Situating Creativity: Developing a Non-Cartesian Approach to the Creative Process". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216542.
Texto completoPh.D.
In this dissertation I argue that creativity should be understood as a situated and distributed process. As I develop my approach to understanding creativity over the course of this dissertation, three core claims emerge: 1) that the creative powers of particular agents are constituted within the concrete circumstances (both social and material) in which they are situated, 2) that the creative process itself unfolds across networks of associating actors, and 3) that these networks of associating actors include nonhumans of diverse sorts as active participants in the creative process. Understanding the creative process in this way distinguishes my approach from the ways in which creativity has traditionally been understood, which I argue are marked by a deep Cartesianism. This Cartesianism manifests itself in the way that creativity is predominantly studied and conceived of as a cognitive process that occurs within the minds of individuals. Because creativity is seen to occur within the minds of individuals, and because these minds are seen to function autonomously of their context, there is a resulting lack of attention to how the creative process is shaped by and extended out into the material and social environment. Furthermore, because creativity is understood to be solely a manifestation of human agency and human intentions, the active role of nonhumans in the creative process has not been taking into account. Drawing upon literature within feminist epistemology, cognitive science, science and technology studies, disability theory, and situated action theory, I argue that to better understand creativity, we must consider the creative process as it occurs within particular social and material environments, as it is distributed across diverse networks of actors, and as it is shaped in essential ways by nonhuman actors. It is only by considering creativity in its context, out in the world and in the interactions between things, that we can get an adequate understanding of the creative process.
Temple University--Theses
Harkan, Lama Abdulrahman. "Creative Networks: Toward Mapping Creativity in a Design Classroom". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609116/.
Texto completoWesthof, Liesel. "Corrective actions for indecisive behaviour of Foundation Phase learners during art activities". Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/45873.
Texto completoDissertation (MEd)--University of Pretoria, 2014.
tm2015
Early Childhood Education
MEd
Unrestricted
Challis, S. "Maximising impact : connecting creativity, participation and wellbeing in the qualitative evaluation of creative community projects". Thesis, Coventry University, 2014. http://curve.coventry.ac.uk/open/items/53a3eb2f-401e-40bc-b530-115428d1b7d6/1.
Texto completoMassu, Justine. "Thinking outside the boss : understanding managers' engagement in creative actions". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCB208/document.
Texto completoIn 2010, 1,500 Chief Executive Officers identified managers' creativity as the most crucial factor for future organizational success. However, managers' engagement in creative actions is constantly competing with routine behaviors that imply less risk taking, uncertainty and possibility of failure. This dissertation explores three potential avenues to understand managers' decisions to engage in creative actions. The first one focuses on managers' conceptions of creativity and innovation as antecedents of their own creative behaviors and their evaluation of creative managers and managerial practices. The second avenue examines how creative actions result from a decision-making process that evaluates the relevance of creativity in specific situations and takes into account individual predispositions and organizational characteristics. The third avenue investigates the extent to which a fit or misfit between managers and their organizations can trigger creative behaviors. This research reaffirms the relevance of the multivariate and interactionnist approaches to organizational creativity. It highlights also the importance of considering managers' evaluation of the appropriateness and effectiveness of specific creative actions in specific situations. Finally, most research tends to conceive that managerial creativity emerges from positive and encouraging circumstances. In contrast, the present research highlights that managerial creativity can emerge as a response to situations of misfit and dissatisfaction
Monzon, Ana Carolina Borges 1984. "Dramaturgia do ator : vivências, experiências e construção de sentido a partir de diferentes materiais". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285315.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T17:01:22Z (GMT). No. of bitstreams: 1 Monzon_AnaCarolinaBorges_M.pdf: 51391488 bytes, checksum: 704d7102121c406081d2c11664606d00 (MD5) Previous issue date: 2015
Resumo: Esta pesquisa visa questionar, observar e analisar o contexto da dramaturgia do ator vivenciado no teatro brasileiro contemporâneo. Possui, portanto, o intuito de esmiuçar processos de criação de uma dramaturgia coletiva, ou seja, de uma dramaturgia em que o ator participa ativamente do processo criativo e, muitas vezes, obtém a voz de um autor, criador ou compositor, cujo processo de composição de partituras e subpartituras é vivenciado e experimentado pelo corpo desse ator-performer. Além disso, procura-se refletir sobre a questão da autonomia do ator sobre o processo criador, escolhendo como foco três bases: a escolha dos materiais, o processo criador e registro dramatúrgico e a dramaturgia do ator. Cabe ressaltar que as três bases possuem, nesta pesquisa, caráter inacabado e em constante processo de atualização. Para início da pesquisa foram selecionados quatro materiais fundamentais para o trabalho de criação dramatúrgica: o corpo, o texto teatral, o ritmo e o espaço. Todos os materiais foram analisados como suporte e estímulo para a materialização da cena. Em relação ao levantamento prático sobre a dramaturgia do ator, foram detalhados aqui dois processos de criação observados pela pesquisadora e um processo vivenciado como atriz-pesquisadora. Ao final deste trabalho, propõe-se um estudo sobre o conceito e a prática da dramaturgia do ator, utilizando como base reflexiva teóricos contemporâneos, pensando-se a formação deste ator-criador. Conclui-se que todo o aporte teórico-prático deste trabalho serviu para a análise e apontamentos sobre o foco principal: a dramaturgia do ator
Abstract: This research aims to question, observe and analyse the actor¿s dramaturgy experienced in Brazilian contemporary drama. Therefore, it has the objective to describe in details the creation process regarding the collective dramaturgy, that is, a dramaturgy in which the actor participates in the creative process actively and many times has the voice of an author, creator or composer, whose scores and subscores are lived and experimented through the actor-performer¿s body. Besides, reflections on the actor¿s autonomy in the creation process are made, being chosen three bases as a focus: material choices, the creation process itself and the constant upgrading process. It is relevant to emphasize that all three bases, in this study, have an unfinished aspect as well as constant upgrading. In order to start this research, four materials were selected for the dramaturgy creation work: the body, the play, the rhythm and the space. All of the materials were analyzed as support and stimulus for the scene materialization. In terms of the applied survey about the actor¿s dramaturgy, two processes of creation were detailed here which were observed by the researcher and one process was experienced as an actress-researcher. At the end of this dissertation, a study is proposed about the concept and practice of the actor¿s dramaturgy, using contemporary theorists as a reflective basis, thinking of the construction of the actor-creator. In conclusion, all the theoretical and practical support of this study was used to analyze and observe its main focus: the actor¿s dramaturgy
Mestrado
Artes Cenicas
Mestra em Artes
Bijvoet-van, den Berg Catharina J. M. "Children's ability to generate novel actions". Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/20432.
Texto completoBenaim, Mickaël. "Gouvernance et politiques de science en région : une approche multi-acteurs et multi-niveaux". Phd thesis, Université de Strasbourg, 2013. http://tel.archives-ouvertes.fr/tel-00842827.
Texto completoMarín, Anglada Marta. "Atributs clau de la contemporaneïtat: actius inspiracionals en els processos creatius, estímuls revulsius en les estratègies de marca". Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/369848.
Texto completoVivimos en un mundo dominado por la cultura visual. Las imágenes forman parte de nuestra existencia y de nuestras experiencias vitales. El lenguaje visual conforma nuestra realidad y debemos saber interpretarlo si queremos conocer, dominar y activar nuestro contexto de mercado. Nos sumergimos en el ámbito de las imágenes desde una vertiente estética pero, a la vez, damos prioridad a una valoración estratégica y táctica con la firme voluntad de medir el impacto que éstas tienen a nivel comunicacional. Aprendemos a leer correctamente las imágenes y las etiquetamos a partir de ciertos rasgos que las caracterizan y las significan: los atributos. Los atributos se convierten en una herramienta fundamental para los creativos y para las marcas ya que les permite alinearse y satisfacer, de manera adecuada, los gustos, los hábitos, los deseos y las preferencias de los consumidores de la sociedad contemporánea. La activación correcta de cada uno de los siete atributos analizados, en determinadas casuísticas concretas, permite impulsar y estimular las dinámicas del mercado, otorgando relevancia y diferenciación a las propuestas ofertadas y mejorando sus resultados en términos de posicionamiento y amplificación.
We live in a world dominated by visual culture. Images are part of our existence and our life experiences. Visual language shapes our reality and we must be able to interpret it if we want to make sense, control and engage with our market environment. We will delve in the world of images from an aesthetic perspective and, at the same time, we give priority to a strategic and tactical evaluation with a firm will to measure the impact they have on a communication level. We learn to correctly read images and we tag them based on certain aspects that characterise and explain then: attributes. Attributes turn into a fundamental tool for creatives and brand allowing them to align and satisfy, in an adequate manner, tastes, habits, wishes and preferences of today’s consumers. Activating each of the seven analysed attributes correctly, in certain designated cases, impulses and stimulates market’s dynamics, giving relevance and differentiation to proposals and improving its results in terms of positioning and amplification.
Lafontaine, Simon. "Mobilité et action humaine :une approche phénoménologique". Doctoral thesis, Universite Libre de Bruxelles, 2019. https://dipot.ulb.ac.be/dspace/bitstream/2013/288312/3/pgtitre.pdf.
Texto completoDoctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished
Riling, Meghan. "Expanding mathematical creativity by understanding student actions". Thesis, 2021. https://hdl.handle.net/2144/42581.
Texto completoMeany, Michael M. "The performance of comedy by artificial intelligence agents". Thesis, 2014. https://vuir.vu.edu.au/25825/.
Texto completoЩетнік, Марина Володимирівна. "Формування творчого потенціалу майбутніх акторів у процесі професійної підготовки". Магістерська робота, 2020. https://dspace.znu.edu.ua/jspui/handle/12345/2104.
Texto completoUA : Робота викладена на 94 сторінках друкованого тексту, містить 1 таблиця, 2 рисунка. Перелік посилань включає 67 джерел. Об’єкт дослідження: професійна підготовка майбутніх акторів у навчальному закладі вищої освіти. Проблема формування творчого потенціалу майбутніх педагогів поки залишається висвітленою частково, існуючі роботи в даній галузі розкривають лише деякі шляхи вдосконалення підготовки студентів вищих навчальних закладів, однак бракує системних досліджень в наукових працях з проблеми підготовки майбутнього педагога як творчого спеціаліста, в яких би вивчалися специфічні прояви творчої активності в умовах музично-сценічної діяльності. В роботі проаналізовано теоретичні основи формування творчого потенціалу майбутніх акторів, розглянуто особливості професійної підготовки майбутніх акторів у закладі вищої освіти, проведено експериментальну перевірку методики формування творчого потенціалу майбутніх акторів. Наукова новизна полягає в уточненні змісту поняття «творчий потенціал актора», що поглиблює розуміння процесу виховання студентів закладу вищої освіти.
EN : The work is presented on 94 pages of printed text, contains 1 table, 2 figures. The list of references includes 67 sources. The object of the study: vocational training of future actors in higher education. The problem of creativity of future teachers remains to be covered in part, the existing works in this field reveal only some ways to improve the training of students of higher education, but there is a lack of systematic research in the scientific work on the problem of preparing a future teacher as a creative specialist, who would be a creative specialist activity in the conditions of musical and scenic activity. The theoretical bases of formation of creative potential of future actors are analyzed in the work, features of professional training of future actors in higher education institution are considered, experimental verification of the method of formation of creative potential of future actors is carried out. The scientific novelty is to clarify the content of the concept of "creative potential of the actor", which deepens the understanding of the process of education of students of higher education institutions.