Tesis sobre el tema "Dance of expression"
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Crabtree, Rachel. "Identity: An Expression of Life Through Dance". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/509.
Texto completoBarros, Ricardo Ribeiro de Oliveira. "Dance as a discourse : the rhetorical expression of the passions in French baroque dance". Thesis, University of Hull, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550510.
Texto completoAlcofra, Gabriela Machado Freire Tournillon 1986. "O rosto na dança : um olhar sobre expressão e expressividade na dança contemporânea". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284989.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Essa dissertação investiga a expressão do rosto na dança contemporânea, tendo como motivação inicial a observação de uma padronização da expressão do rosto em uma aparência neutralizada, sem tônus ou variação expressiva, em espetáculos variados apresentados no Rio de Janeiro em 2010. Divide-se em duas vertentes: na primeira faz uma contextualização histórica observando a relação entre expressão do rosto e expressividade do espetáculo de acordo com cada período histórico, indo desde o balé clássico até a dança contemporânea no Brasil, suas origens, heranças e influências; na segunda vertente faz relações entre o rosto como identidade do sujeito na sociedade e o rosto expresso na dança contemporânea, levantando associações entre o figurativo e o abstrato na dança e a experiência estética como ativador da presença cênica. A pesquisa é atravessada por laboratórios de criação em uma metodologia teórico-experimental, criando os espetáculos Movimento Sem Face e Dança sobre Nada e os vídeos Estudos para um Movimento sem Face
Abstract: This dissertation investigates the expression of the face in contemporary dance, having as initial motivation the observation of a standardization of the expression of the face in a neutralized appearance, without variation or expressive tone, in varied performances presented in Rio de Janeiro in 2010. It is divided into two parts: the first is a historical contextualization observing the relationship between facial expression and expressiveness of the show according to each historical period, ranging from classical ballet to contemporary dance in Brazil, its origins, influences and heritages; in the second strand makes relations between the face like the subject's identity in society and the face expressed in contemporary dance, raising associations between the figurative and the abstract in the dance and the aesthetic experience as activator of stage presence. The research is crossed by laboratories of creation in a theoretical-experimental methodology
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
Eno, Dianne E. "Mountain Dance: A Transdisciplinary Exploration of Environmental Dance as an Autopoietic Expression of Ecological Connectivity and Synthesis". Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1535143191801524.
Texto completoBishko, Leslie Marlene. "Qualities of motion : expression in animation and the influence of dance". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291143775.
Texto completoSerret, Mathilde. "Élaboration d'un dispositif de danse-thérapie à expression primitive et évaluation de ses effets auprès de patients atteints de la maladie de Parkinson". Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2011.
Texto completoRecent studies have shown that dance may be an appropriate and effective strategy for improving motor and non-motor symptoms, as well as quality of life on individuals with Parkinson’s Disease (PD). Dance-Therapy through primitive expression (DTPE), as a mind-body therapy, may convey superior benefits, not only on physical areas but also on psychological and social ones. The main hypothesis is that Dance-Therapy will lead to greater gait and balance ability, an improved quality of life, will have psychological and social benefits and is an important component of a multidisciplinary approach to long-term management of PD.The first study, which lasted for two years, consisted of elaborating, observing and modifying the DTPE proposals in order to adapt them to the requirements of Parkinson's disease and to develop protocols of sessions in order to propose an innovative management of the disease.The second study, developed after a thorough literature review and which lasted seven months, made it possible to test the feasibility of such a study, to test a first main outcome (gait) and to evaluate the effects of the DTPE with the scales, which, after reviewing the studies on the subject, appeared to us to be the most relevant and well recognized in the medical community.The development of an original approach between Human and Social Sciences and Medicine can be used to feed the practices and care of patients by providing useful elements for the training of professionals and the organization of care. The thinking that has grounded the methodology of the studies developed in this thesis will contribute to fueling research and setting up new studies
Teixeira, Paula Caruso 1970. "O Santo que dança = uma vivência corporal a partir do eixo co-habitar com a fonte do Método Bailarino-Pesquisador-Intérprete (BPI)". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285026.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem por finalidade principal aprofundar o eixo co-habitar com a fonte do Método Bailarino-Pesquisador-Intérprete (BPI), a partir da pesquisa de campo da autora com os devotos da Dança de São Gonçalo do bairro rural Ponte Nova de Munhoz - MG e com os do bairro rural Fazenda Grande de Pouso Alegre - MG. O Método que será utilizado é o BPI, criado pela professora Graziela Rodrigues do Instituto de Artes (IA) da UNICAMP. Ele é um Método de pesquisa e de criação em Dança que possui três eixos fundamentais, que estão interligados: o inventário no corpo, o co-habitar com a fonte e a estruturação da personagem. O co-habitar com a fonte é o eixo no qual o núcleo das experiências do bailarino-pesquisador-intérprete realiza-se através da pesquisa de campo. O bailarino pesquisador-intérprete co-habita quando interage com o outro (o pesquisado) "até se sentir parte daquela paisagem investigada". O co-habitar ainda abrange análises práticas e teóricas do que se pesquisou (dos movimentos, dos sentidos e das paisagens-cenário, entre outros elementos), laboratórios e o aprofundamento do inventário no corpo do bailarino-pesquisador-intérprete. Durante um ano e meio, a autora co-habitou com os devotos no seu cotidiano (colheita da uva, feitura do vinho etc.) e no seu sagrado (Dança de São Gonçalo). A partir dos laboratórios do co-habitar, elaborou uma síntese prática, um 'roteiro de imagens, movimentos e sentidos', que foi apresentado aos investigados numa paisagem-cenário do co-habitar (no galpão onde se realiza a Dança de São Gonçalo em Pouso Alegre-MG). Após essas vivências, chegou a várias conclusões que confirmaram as características do eixo do co-habitar e do Método BPI. O co-habitar com a fonte potencializa a expressividade e a originalidade do bailarino pesquisador-intérprete iniciadas no eixo inventário no corpo (fase introdutória do BPI)
Abstract: This study is mainly aimed at going deeply into the co-inhabiting axis with the source of the BPI: Bailarino-Pesquisador-Intérprete (Dancer-Researcher-Interpreter) method, from the author's field research with Saint Gonçalo's Dance devotees from Ponte Nova de Munhoz - MG rural district and with the ones from Fazenda Grande de Pouso Alegre - MG. The method that will be used is BPI, created by professor Graziela Rodrigues from Instituto de Artes (IA) of Unicamp. It is a dance research and creation method that has three fundamental axis that are interconnected: the inventory in the body, co-inhabiting with the source and the character's structuring. Co-inhabiting with the source is the axis in which the dancer-researcher-interpreters experiences core is performed through the field research. The dancer-researcher-interpreter co-inhabits when he interacts with the other one (the researched) 'until he feels part of that investigated landscape'. Co-inhabiting still comprehends theoretical and practical analysis of what has been researched (about the movements, the senses and landscapes-scenery, among other elements), lab sessions and going deeply into inventory in the dancer-researcher-interpreter's body. For one year and a half, the author co-inhabited with the devotees in her everyday life (the grape harvest, making of the wine, etc) and in her sacred (Saint Gonçalo's Dance). As from the lab sessions, she prepared a practical summary, 'a guide of images, movements and senses', which was presented to the ones that were investigated in a landscape-scenery of co-inhabiting (at the shed where Saint Gonçalo's Dance is performed in Pouso Alegre - MG). After going through that, she drew several conclusions which have confirmed the characteristics of the co-inhabiting axis and the BPI method. Co-inhabiting with the source enhances the dancer-researcher-interpreter's expressiveness and originality which were started in the inventory in the body axis (BPI introductory stage)
Mestrado
Artes
Mestre em Artes
Caserta, Rogerio Alencar Negrão. "Expressividade e energia vital na dança flamenca". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284638.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação tem como objetivo relacionar os conteúdos da ¿Medicina Tradicional Chinesa¿ (M.T.C.), focada nas manobras de acupressão existentes no ¿Auto Tui-ná¿ escolhidas especialmente para a atuação de bailarinos flamencos, que potencializam o desbloqueio da ¿Energia Vital¿ (Qi), para a qualidade expressiva e poética dessa dança, além de prevenirem lesões corporais possíveis nesse estilo de dança
Abstract: The goal of this text is to associate with the contents of the ¿Traditional Chinese Medicine¿ (T.C.M), its focus being the acupressure movements from the ¿Self Tui-Na¿ that were especially chosen for Flamenco dancers' performances, so that it can potentialize the disobstruction of the ¿Vital Energy¿(Qi) and the expressive and poetic qualities of this dance, besides preventing injuries common to this dance style
Mestrado
Mestre em Artes
Snyder, Marie Carmen Alonzo. "Contemporary female choreographers of Asian descent : three case studies of an evolving cultural expression in American modern dance /". Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1178958x.
Texto completoIncludes tables. Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Ann H. Dils. Includes bibliographical references (leaves 237-248).
Theis, Taylor. "Duality, Symbolism, and Time: A Convergent Practice in Butoh and Surrealist Expression". Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18390.
Texto completoSchwartz-Rémy, Elisabeth. "Ne rien inventer en art : paradoxes autour de la danse d'Isadora Duncan". Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30053.
Texto completoThis thesis, directed by Professor Claude Jamain, questions Duncan’s assertion that she does not invent her dance, which she describes as natural, even though, it is immediately praised for its novelty. In order to deal with this paradox, this research seeks to capture the way she developed her dance as a discipline with its kinesthetic, motor and qualitative aspects,against the historical and cultural contexts she encountered in America and Europe at theturn of the 19th and 20th centuries. After a presentation of bodily-practices in the United States, the thesis shows how the imaginary view of nature in America and the differing visions of antiquity in the United States and in Europe feed the development of her dance.Our conclusion, far from offering a radical answer, would rather consider her dance as are birth of the antique, as well as a new emerging dance
Greenberg, Maximanova O. "“Am I Sexy Yet?”: Contextualizing the Movement of Exotic Dance and Its Effects on Female Dancers’ Self-image and Sexual Expression". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/352.
Texto completoDib, Marcia Camasmie. "A diversidade da cultura da Síria através da música e da dança". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8154/tde-11062010-103804/.
Texto completoThis work has as its main objective to analyze how the multiplicity of spaces that exists in Syria forms regions of artistic expressions different among them. The music and dances of this country have, intrinsic to their scales and gestures, elements coming from the space noticed by the man. In this research, it is emphasized that the space interferes, but do not determines theses choices; other factors considered here also contribute to the artistic elaboration. In this work, the space, constituted by the landscape plus the relations set in it, is not considered neutral. It acts on people as they act on him; man is in continuous - and not always conscientious - connection with his environment attributes. As we analyze here, the special structure, the temperature and the humidity of a region, its sonorous landscape (sounds to which a place is submitted), the daily sounds ahd gestures plus other major structures interfere in the sounds repertoire that is chosen to make music. Furthermore, these elements will impress postural marks and marks of muscular tonus that affect movements used to dance.
Foultier, Anna Petronella. "Recasting Objective Thought : The Venture of Expression in Merleau-Ponty’s Philosophy". Doctoral thesis, Stockholms universitet, Filosofiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-113278.
Texto completoAt the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 4: Accepted. Paper 5: Accepted.
Hae, Laam. "Zoning out dance clubs in Manhattan : gentrification and the changing landscapes of alternative cultures". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available, full text:, 2007. http://wwwlib.umi.com/cr/syr/main.
Texto completoGaizauskaite, Evelina. "Dancing Samba in Sweden : A study on transnational cultural expression". Thesis, Stockholms universitet, Nordiska Latinamerikainstitutet, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194486.
Texto completoHalvarsson, Sandra. "Jaget i musiken : en undersökning av två musiker och två dansares upplevelser av hur deras jag kommer till uttryck i konsten". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1684.
Texto completoSyftet med studien är att undersöka och problematisera hur jaget påverkar musiker och dansare. Viktiga faktorer som formar jaget är utbildningsbakgrund och erfarenhet inom det konstnärliga ämnet. Därför åsyftas att även ta reda på hur de faktorerna påverkar jaget. Jag ville ha andra konstnärliga utövares tankar om ämnet därför valde jag att intervjua fyra personer, två musiker och två dansare. Mina informanter skulle vara högskoleutbildade, aktiva och ha minst 20 års erfarenhet inom musik eller 10 års erfarenhet inom dans. Jag ställde frågor utifrån följande underrubriker: Utbildning och Verksamhet, Undervisning, Jaget och Identiteten och Framtidsvision. I uppsatsen redogör jag för en person i taget och för att ytterligare stärka informanternas utsagor kompletterar jag med litteratur. I analysdelen jämför jag och tolkar informanternas svar och i diskussionsdelen kopplar jag jämförelsen och mina tankar till relevant litteratur. Enligt min tolkning så har alla informanterna i stort sett samma tanke om hur de ser på jaget. Dock verkar dansarna mer besvärade av jaget än musikerna. Utbildning och erfarenhet är faktorer som har format deras ”jag” där deras lärare har varit en av inspirationskällorna. Jag tycker det har varit intressant att lyssna till informanterna eftersom de har gett mig uppslag till att tänka vidare och bidragit till att jag nu känner mig tryggare i mitt eget musicerande. Jag hoppas att det här är ett arbete som kan vara till nytta för alla som någon gång haft en fundering kring ett konstnärligt ämne eller icke konstnärligt ämne.
Rådelius, Elias. "“Shout to the people the reality, and they dance it!” : A case study on the synergies and challenges between music, youth empowerment, sustainable development and social change in the Gambia". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-36820.
Texto completoDenna fallstudie undersöker musik och musikskapandets roll för ungdomar i Brikama, Gambia, och dess relation till yttrandefrihet, hållbar utveckling och social förändring. Studien är genomförd inom ramen för ett projekt där unga musiker med olika bakgrund komponerade och spelade in sina egna låtar under workshops tillsammans med etablerade musiker. Materialet samlades in genom intervjuer med deltagarna och instruktörer, observationer och textanalys av låtarna. Studien använder sig av Smalls (1998) koncept musicking för att analysera den musikaliska situationens mening i sin sociala kontext. Dessutom används teorier om relationen mellan musik och hållbarhet för att analysera musikens roll för ungdomarna på en individuell-, grupp- och samhällsnivå, men även på en organisationsnivå. Studien visar på alla fyra nivåer att musik och musikskapande innehar många av de karaktärsdrag som krävs för hållbar utveckling och att det kan främja resiliens genom kreativitet. Dock visar studien att inkluderande sammanhang behöver skapas med medvetenhet om den kulturella kontexten. Detta för att kunna navigera de krafter (såsom negativa traditionella värderingar kring genus) som kan begränsa individers deltagande och i slutändan samhällets möjlighet att ta del av fördelarna. Studien visar också hur musik, med sina konstärliga karaktärsdrag, kan erbjuda ett visst utrymme för yttrandefrihet. Slutligen visar studien hur musik kan och bör inkorporeras till större grad av organisationer som arbetar för hållbar utveckling och social förändring, både som ett verktyg för att uppnå hållbarhetsagendor, men även för de inneboende karaktärsdragen resiliens och kreativitet som finns att hitta i själva musikskapandet.
Cazemajou, Anne. "Le travail de yoga en cours de danse contemporaine. Analyse anthropologique de l'expérience corporelle". Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2010. http://tel.archives-ouvertes.fr/tel-00632348.
Texto completoRamtjärn, Laura y Johanna Pirttikangas. "Dans som estetisk lärprocess : Hur dans kan användas som uttrycksform och estetisk lärprocess i förskolan". Thesis, Karlstads universitet, Institutionen för pedagogiska studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-83665.
Texto completoThe purpose of this study is to find out how educators in preschool use dance as a form of expression and as an aesthetic learning process and what chal-lenges this may result in. The study is based upon a phenomenological per-spective to find out the educators personal and professional experiences today. Through qualitative interviews with five active educators which have been transcribed and analysed we found some key concepts to our study. The results show extensive opportunities that dance can have in the preschool's activities and which areas can be developed. It is important that educators integrate the entire curriculum (Skolverket, 2018) in preschool and take advantage of all opportunities for learning. Therefore, educators need to have access to basic knowledge about dance and other forms of expression in order to challenge children in their learning.
Lambert, Marisa Martins 1963. "Expressividade cênica pelo fluxo percepção/ação = o sistema Laban/Bartenieff no desenvolvimento somático e na criação em dança". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284909.
Texto completoAcompanhado de 2 anexos: "Tu não de moves de ti" e "A figura e o fato", e de 1 CD com slide show
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Abrangendo as vias da prática artística e reflexão teórica, esta pesquisa propõe-se a investigar a construção do saber expressivo do artista da dança. Avalia brevemente modos de se ensinar e criar a dança cênica, para reconhecer as necessidades de o artista ser, hoje, um intérprete-criador da sua linguagem expressiva. Ressalta a importância, para o profissional da arte do movimento, de maleabilizar suas fronteiras, voltando-se para a posse de uma corporeidade consistente, capaz de gerar respostas engajadas e diferenciadas, frente a seus desejos criativos e às novas demandas que eclodem da contemporaneidade. Por meio de recursos provenientes dos campos da Educação Somática e da Análise do Movimento, enuncia-se aqui um caminho que propõe o desenvolvimento do potencial expressivo pelo fluxo percepção/ação - uma abordagem que busca contatar os próprios alicerces da expressividade. Direcionada a apoiar o artista conceitualmente e em uma vivência corporal criativa, fundada na autenticidade, aponta uma visão sensível e dinâmica dos princípios e conceitos do Sistema Laban/Bartenieff, como ferramenta para recontextualizar processos de formação e criação em dança. Os objetivos dessa pesquisa completam-se na sua aplicação prática em dois projetos de criação coreográfica, que tecem o impulso poético da autora a um espaço aberto que acolhe e estimula o artista intérprete- criador na investigação da sua singularidade expressiva.
Abstract: Encompassing the ways of artistic practice and theoretical thought, this research intends to investigate the building of the expression knowledge held by dance artists. It briefly evaluates the means of teaching and creating scenic dance, for grasping today's artist needs to become the creator and performer of his expressive language. It highlights the importance, to the worker of the art of movement, to be pliant to one's boundaries, towards a consistent corporeal mastery, able to produce engaged and original responses both to one's creative longings and to new demands of contemporaneity. Through resources provided by the fields of Somatic Education and Movement Analysis, a path is presented that proposes expressive potential enhancement through the perception/action flow - an approach that pursues reaching the very foundations of expressivity. Engaged on conceptually supporting the artist and on a creative bodily experience founded on authenticity, it points to a sensible and dynamic sight of Laban/Bartenieff s system as a tool for a new contextualization of dance teaching and creating processes. The goals of this research are achieved with its practical application to two choreography creation projects that weave the author's poetic drive to the open space which hosts and stirs the performer-creator artist to the quest of his expressive singularity.
Doutorado
Doutor em Artes
Vlassov, Anatoli. "Phonésie : création-recherche d’une technique performative articulant danse et parole : ou Comment le sensible rencontre l'intelligible". Electronic Thesis or Diss., Paris 1, 2022. http://www.theses.fr/2022PA01H320.
Texto completoDances are a priori silent. However, contemporary dancers increasingly use the spoken word on stage. The problem is that they do it like actors and notas dancers in the sense that the word is not influenced by the dance and vice versa. This issue of a fixed and somewhat oppressive relationship betweendance and speech motivated me to seek to streamline this dichotomous relationship. Since 2012 I have therefore been developing Phonesia, aperformative technique that deautomates and rearranges the structural links between gesture and orality.Phonesia provides speaking dancers with a toolbox that is both practical (performative montage between gestures and speech) and theoretical (inventedconcepts of different soma-linguistic arrangements). This thesis exposes a creation-research path which, starting from phonesic works, reveals theprocesses of creation of these practical and theoretical tools; these, in turn, are reinjected into new phonesic projects, thus putting this cognitive gainback to the challenge of creation. This poïetics is part of the continuation of artists who come not only from the choreographic milieu, but also fromtheatre, sound poetry and cinema.Through phonesic works of very varied forms (immersive show, participatory performance, conference-performance, film-action, mixed reality show,interactive streaming) the reader is led to follow the evolutions of Phonesia in search of enrichment of the choreographic field, even of a new form ofexpression which tries to open up a new terrain where the sensitive and the intelligible can meet multiple entanglements
Debellis, Julie. "Poétique de la danse chez Gluck. : représentation, imitation & expression, une musique européenne au service du geste dans la réforme parisienne (1774-1779)". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2013.
Texto completoThe subject of this thesis is the poetic dimension of dance in Gluck's work, and allows us to bring his lyric production to light from several points of view. From the eighteenth century on, Gluck’s operas have always encountered staging difficulties regarding dance. Sometimes shortened, shifted or completely removed, the dance part call never stop putting us out of breath : Shall we dance ? Which part, which move ? Shall we dance at all ? Thus, his general work raises the question of the posterity or non-posterity of dance ; Gluck’s operas being quite peculiar with their countless reworks and the incorporation of new musical and theatrical perspective methods, especially for the Parisian public. The tragedies of the Parisian Reform (1774-1779) are studied here, through three concepts that allow an aesthetic and historical entry into the field of dance: representation, imitation and expression. Gluck's arrival into Paris' Opera situation is particularly unstable: the lyric tragedy is declining and the Royal Academy of Music is on the brink of bankruptcy. On one hand, the Royal Academy endures a severe directors turnover while facing the insubordination of its dancers due to their wages and conditions of work. On the other hand, artists don’t agree with artistic lines : the styles are in competition between french old lyric tragedy and ballet which feel devoid of dramaturgy and italian opera, representing modernity. Thereby, in this climate of protest — from both artists and audience — Gluck and his collaborator, Noverre, set up new creative habits that redefine the place of the artist. Thus, we approach Chevalier Gluck's works from the collective creation process perspective and by trying to understand how the circulation of ideas is organized in Europe. Paris becomes then a cultural center attracting famous dancers who share their knowledge throughout Europe. The arrival of new performers in Paris, simultaneously with Gluck, leads to the reconsideration of pantomime as a noble quality of dance. The publication of the Encyclopédie is a major, if not the most important, communication tool to share knowledge : philosophy but also the theater reform with the new ideas of Diderot. In fact, the context of the 1770’s brings some change of direction, while revealing a certain conservatism in reaction to the appearance of a new dance style where expressiveness supplants virtuosity. By comparing sources, scores, librettos and writings of philosophes de la danse we identify how Gluck, who created the ballet-pantomime with Angiolini in Vienne, includes the pantomime in his productions. His new and singular approach of mouvement includes popular practice like pantomime to incorporate dance as an element of dramaturgy throught the intervention of choeur en action and pantomime dansée. Gluck’s parisian operas, and more especially his process of creation, haven't set a precedant. Contrary to Rameau, whose philosopher carrer history is distinct from his composer one, Gluck doesn’t give us theoretical work. His reform is purely an experimental work with different integration processes of dance over his productions, successively in: Iphigénie en Aulide, Orphée et Euridice, Alceste, Armide et Iphigénie en Tauride. The composer faces a divided audience, especially concerning the imitative then expressive power of dance. In the midst of the Querelle des Pantomimes, detractors of this dance will repeatedly make meaningless arguments: the dance cannot be an imitative art because "it is necessary to have a soul, and dancers only have feet ". Yet, Gluck establishes poetic license into dance with increasingly distinctive : musicality, entertainments, ballets, pantomimes and choruses. His poetic dimension of dance is based on expressiveness with the ambition to build a unified opera hinged around dramaturgy coherence but also musically speaking through the orchestra, the tone and the recurrence of motif
Burrelli, Robert J. "Dance and related expressions of worship". Theological Research Exchange Network (TREN), 1990. http://www.tren.com.
Texto completoBichara, Tatiana Alves Cordaro. "\"Dança para todos\": cartografias de experiências artísticas da oficina de dança e expressão corporal como lugar-ponte". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-08042015-163525/.
Texto completoThe objective of this work is to understand what the Dance and Body Expression Workshop produces in its surroundings, in the territories where it passes and in the people who experience it in the city space. As specific objective, systematize the methodology developed in the meetings of the Dance and Body Expression Workshop as a possibility of action that prioritizes the art of dance with artistic purpose, in an open and heterogeneous group, in a public way, free of charge. As method, chose the use of narratives (Benjamin, 1994) of experiences of the researcher as coordinator and dancer of the workshop and the transcription of statements/testimonies offered by the participants of the group. Deleuze and Guattari (2010) present themselves as important interlocutors to substantiate the cartographic reading of this story and the record that supported the questioning and reflective stance on what is created in the ongoing process of the Dance and Body Expression Workshop, which was treated in this study as a bridge place for the person/group to transit through the institutional centers and to open passages, in a subjective and territorial change, to go beyond them. The contribution of the philosophy of Espinosa (2009) shows to be relevant to the analytic dimension of this work, which allowed the identification of five reflective axes concerning what the Workshop can produce. They are: uniqueness, intensity, expansion, dance for all and work for the subjectification, which could be understood as pathways to the production of health in the field of the anti-asylum practices
Cvejic, Bojana. "Choreographing problems : expressive concepts in European dance". Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25084/.
Texto completoForster, Lou. "Page à la main. ː : Lucinda Childs et les pratiques de danse lettrée". Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0015.
Texto completoLucinda Childs is a major figure in twentieth-century dance. In the early 1960s, she was one of the founding members of the Judson Dance Theater, a group of dancers, choreographers, artists and composers in New York City who reinvigorated dance forms and practices. With the establishment of her company in 1973, she emerged as one of the leading figures of American minimal dance and postmodern dance, while collaborating from the 1980s onward with major ballet companies in Europe and the United States. Whether with her own company, with repertory dance companies, or at Judson, literacy plays a crucial role in the conceiving, embodying, and performing of her dances. Through an anthropological investigation within dance studios, Lou Forster demonstrates that the technical gesture of dancing, page in hand, is constructed at the intersection of two parallel histories. In the 1950s, John Cage and Merce Cunningham devised a range of reading and writing practices in order to oppose, divert and reconfigure academic methods in which literacy serves as a foundation to establish disciplinary divisions and hierarchies. This neo-avant-garde approach played a crucial role at Judson. Among the members of this group, Childs was one of the choreographers who paid the most attention to these literacy practices, as they tied in with a lesser-known aspect of her dance training. From 1955 to 1962, she studied modern dance within the extensive network of the German diaspora in New York. Specifically, she attended the school run by the choreographer Hanya Holm (1893-1992), where an Americanised form of dance of expression (Ausdruckstanz) was taught. There Childs discovered Kinetography Laban or Labanotation, the system of analysing and writing movement developed by the Austro-Hungarian choreographer Rudolf Laban (1879-1958), in which dancers rehearse with page in hand. Fifteen years later she turned toward this literacy event, unusual for the dance world, to work with her company. Art history and dance history dissociated these two aspects of choreographic modernity when, from 1933, part of the dance of expression became involved with the Nazi regime. In the United States, the myth of the originality of American Modern dance began to take shape, further emphasized during the Cold War. Childs' unique position in this connected history meant that graphic practices became a matrix for postmodernism. Since 1973, she embraced all canonical techniques of Western dance, moving over the years from dance of expression to pedestrian activities, to Neoclassical and then to the Baroque. Positioning herself as an appropriationist, she developed a historical and critical perspective on these borrowed techniques. In her pieces, she seeks to bring together practices, genres and histories of dance that have been separated and disjointed, crafting a genuine poetics of relation
Pressard-Berthier, Véronique. "Expression de l'intériorité en danse moderne et contemporaine". Paris, EHESS, 2013. http://faraway.parisnanterre.fr/login?url=https://www.harmatheque.com/ebook/expression-de-l-interiorite-en-danse-moderne-et-contemporaine-50068.
Texto completoThe passage of an exteriority codified looking for an interior movement in dance is the object of our study with the question of the emergence of the subject-dancing put watermark. The period of rupture between academicism and modemity in dance in the West is analyzed in the direction of a more general cultural evolution, including the phenomenon of birth of the individual, that is intimately bound the enlargement of the concept of equality and greater personal freedom. A study on physical interiority has retained our attention with the aim to highlight the process of progressive awareness of the intemal sensitivity of the dancer (transformation of the psychological and sensitive universe) from the Belle Epoque. The impact of modem dance on the culture of the time and vice versa has been subjected to specifie investigations, providing a layout perspective oftaste class to the public of an era, for a certain approach to the dancing body in close relationship with echoes of the dance productions. The writings of dancers, choreographers, theorists of the movement, physiologists, sociologists, historians, psychologists and philosophers constitute the base, informative and conceptual research, without omitting considerations of writers on the subject. Two interviews with choreographer Angelin Preljocaj, based on a questioning of his practices and his "felt", allow the analysis to be grounded in reality and the actuality of the object of study
Beauquel, Julia. "Esthétique de la danse : définitions, expression et compréhension chorégraphiques". Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0010/document.
Texto completoThis study is a philosophical aesthetic analysis of choreographic art. Often considered as an immediate and natural form of expression, dance is also an art with a relatively recent, rapidly evolving history and varied styles and thematic contents. This paradoxical combination of simplicity and complexity leads to question our most sophisticated theoretical systems and our most apparently obvious conceptual distinctions, in a reconsideration of fundamental philosophical problems.The advantages and drawbacks of diverse definitions of art are examined, before addressing the symbolic functioning and the reality of choreographic properties. As a multiple art, dance is an ontological challenge. A chapter is devoted to the creation processes, the status of notation and the relation between the works and their performances and interpretations. After proposing a definition of dance, the study focuses on the concept of expression. In addition to mental states and physical movements, intention and action, freewill and determinism, the notions of natural expressiveness, technique, style and meaning are studied in detail. The traditional philosophical dichotomies appear to be inadequate to dance, insofar as this art reconciles sensibility and rationality, emotion and understanding, spontaneity and deliberation, activity and passivity, interiority and exteriority, constraint and freewill
Jarrasse, Bénédicte. "Les deux corps de la danse : l'imaginaire de la danse théâtrale dans la littérature et l'iconographie européennes : 1830-1870". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC011.
Texto completoAround 1830, Romanticism prevails on theatre stages. The new perspective on performance as a whole leads to a new perception of ballet. However, ballet struggles to assert its specificity and in the battle of words that unfolds, the ballerina, rather than the ballet, becomes the main focus onstage. The ballerina cristallizes the duality that is key to the Romantic vision. She thus finds herself at the heart of a campaign to elevate her to the status of legend, which is also a way for ballet to gain recognition. The narrative of ballet, from this point onwards, has to rely on a mythography. What is ultimately at stake is the definition of the Romantic dancing body. The mythologizing process creates a chaste body : the glorious dancing body. However, this metaphorical body is but the antithesis of another one : the earthy dancing body. Finally, it is backstage in the theatre that the dancing body is unveiled at work, frail and in pain, forever the price to pay for enchantment
Guisgand, Philippe Caullier Joëlle. "Lire le corps". Lille : A.N.R.T, 2005. http://www.univ-lille3.fr/theses/GUISGAND_PHILIPPE/html/these.html.
Texto completoLesage, Benoît. "Le corps en présence : une approche plurielle du corps dansant". Reims, 1992. http://www.theses.fr/1992REIML002.
Texto completoKew, Carole. "Creative impulses - creative pauses : Nietzsche and the expressive dance of Mary Wigman". Thesis, Goldsmiths College (University of London), 2007. http://research.gold.ac.uk/6497/.
Texto completoThomas, Catherine Cazenave. "Danse contemporaine : le hasard comme processus de création". Paris 8, 1994. http://www.theses.fr/1994PA080857.
Texto completoMokhtar, Shehram. "Sacred Spaces and Expressive Bodies: At the Urs of Lal Shahbaz Qalandar". Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12956.
Texto completoMartins, Giancarlo. "Uma nova geografia de ideias: diversidade de ações comunicativas para a dança". Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4823.
Texto completoConselho Nacional de Desenvolvimento Científico e Tecnológico
In the last ten years, actions developed in dance, live and in the media, left the focus in Rio-São Paulo. Spread through several places in the country had taken a new geography of ideas that understand dance as a communication process of the body, organized as a thought that questions power structures, artistic procedures and boundaries between languages. This masters essay selects, as investigation corpus, some of these experiences employed in the education, in the circuit (festivals, shows and meetings), and in the research and creation in dance that, as survival strategy, creates decentralized cultural polar regions. The intend is to demonstrate that these experiences have propose new communication actions to dance. They push punctual changes in the dance market and in the development of public politics of cultural motivation and reconfigure, not only the esthetic system in which they are in, but the whole cultural system, contributing, in this way, for the dance survival and your effective insertion in the social fabric. As methodology, it was used a data analysis in a systematic way, that being, understanding the articulations between the investigated elements, based in the evolution theories proposed by the evolutionist scientist Richard Dawkins (2000-2001), in the concept of body and media proposed by the researchers Helena Katz and Christine Greiner (2000, 2001, 2003 and 2005) and in the cultural and political studies such as the ones developed by Bauman (1999), Agamben (2002), Bhabha (1998) and Foucault (1979 and 1996). Both, the bibliographic research and the field investigation (interviews and case studies) show that the strategies have been developed to recommend new ways of understanding and event organization, information flow and company conception and educational projects in dance. Actions that exist in the relation body and environment, in a contaminator flow, co evolutional, and non-determinist.
Nos últimos dez anos, ações desenvolvidas no campo da dança, em contextos presenciais e na mídia, deixaram de se concentrar no eixo Rio-São Paulo. Espraiadas por diversas regiões do país, têm desenhado uma nova geografia de idéias que entende a dança como um processo comunicacional do corpo, organizado como um pensamento que questiona estruturas de poder, procedimentos artísticos e as fronteiras entre as linguagens. Esta Dissertação de Mestrado foca, como corpus de investigação algumas destas experiências empreendidas na área de educação, de circulação (festivais, mostras e encontros) e de pesquisa e criação em dança que, como estratégia de sobrevivência, criam pólos culturais descentralizados. O objetivo é demonstrar que essas experiências têm proposto novas ações comunicativas para a dança. Impulsionam transformações pontuais no mercado da dança e no desenvolvimento de políticas públicas de incentivo à cultura e reconfiguram não apenas o sistema estético em que estão inseridas, mas todo o sistema cultural contribuindo, dessa maneira, para a sobrevivência da dança e sua efetiva inserção no tecido social. Como metodologia, trabalhamos a análise dos dados de maneira sistêmica, ou seja, entendendo as articulações entre os elementos investigados, a partir das teorias evolutivas propostas pelo cientista evolucionista Richard Dawkins (2000, 2001), do conceito de corpomídia proposto pelas pesquisadoras Helena Katz e Christine Greiner (2000, 2001, 2003, 2005) e dos estudos culturais e políticos tais como os desenvolvidos por Bauman (1999), Agamben (2002), Bhabha (1998) e Foucault (1979, 1996). Tanto a pesquisa bibliográfica, quanto a investigação de campo (entrevistas e estudos de casos) evidenciaram que estratégias vêm sendo desenvolvida para propor novos modos de entendimento e organização de eventos, circulação de informação e concepção de companhias e projetos educativos em dança. Ações que se dão na relação corpo e ambiente, num fluxo contaminatório, coevolutivo e não determinista
Guisgand, Philippe. "Lire le corps : une voix interprétative : la danse dans l'œuvre d'Anne Teresa De Keersmaeker". Lille 3, 2005. http://www.theses.fr/2005LIL30020.
Texto completoAlmeida, Marcia Soares de. "Les affections plastiques du corps et la danse contemporaine". Paris 1, 2009. http://www.theses.fr/2009PA010693.
Texto completoTrevisan, Priscila Raquel Tedesco da Costa [UNESP]. "A expressão da criatividade na dança". Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/96099.
Texto completoEste estudo, de natureza qualitativa, teve por objetivo investigar como a expressão criativa está sendo inserida no contexto dos processos de ensino e aprendizagem da dança, para além das técnicas específicas, na visão de professores-coreógrafos e participantes de academias de dança, no âmbito do lazer. Para tanto, o estudo foi dividido em duas etapas complementares, sendo a primeira relativa a uma pesquisa bibliográfica e a segunda, uma pesquisa exploratória, para a qual foi utilizado como instrumento para coleta de dados um questionário misto, contendo perguntas abertas e fechadas. O instrumento foi aplicado a uma amostra intencional de 20 sujeitos, composta por professores-coreógrafos e bailarinos, maiores de 18 anos, com experiência de mais de um ano na prática de dança. Os dados foram analisados de maneira descritiva, utilizando-se a técnica de Análise de Conteúdo Temático e os resultados evidenciam que a criatividade é uma capacidade que tem suas características e qualidades amplamente reconhecidas como essenciais ao processo de ensino-aprendizagem na dança pelos sujeitos da pesquisa. Para esses, estas expressões criativas apresentam extensos conceitos e significados, permitem aos sujeitos descobrirem diferentes formas de expressar seus sentimentos e emoções, sendo as características individuais e a personalidade, apontadas como agentes de grande influência. Embora acarretem, para alguns indivíduos, circunstâncias muitas vezes constrangedoras, com o tempo e ações pedagógicas adequadas, acontecem com maior naturalidade e se tornam uma fonte inesgotável de descobertas e conhecimentos, contribuindo, assim, com diversos contextos condizentes com os aspectos subjetivos, bem como, com a percepção de uma maneira mais prazerosa de se compreender os sentidos de dançar. Entretanto, os dados referentes à dimensão curricular para a formação nestes cursos...
This study, of qualitative nature, aimed at investigating how the creative expression has been placed within the context of teaching and learning of dance beyond the specific techniques vision teachers, choreographers and dance academies participants in leisure scope. Thus, the study was divided into two complementary stages, the first relating to a literature review and the second is an exploratory research for which it was used for data collection a mixed questionnaire containing open and closed questions. The instrument was administered to a purposive sample of 20 subjects composed of teachers, choreographers and dancers, over 18 years, with experience of more than a year in the practice of dance. Data were descriptively analyzed, using the Thematic Content Analysis technique and the results show that creativity is a skill that has its own characteristics and qualities widely recognized as essential to the process of teaching and learning in dance for the subjects of this research. For them, these creative expressions have extensive concepts and meanings, and enable individuals to discover different ways of expressing their feelings and emotions, and individual characteristics and personality was identified as agents of great influence. While entailing some individuals embarrassing circumstances with time and appropriate pedagogical actions, this happens more naturally and become an inexhaustible source of discoveries and knowledge, thus contributing to several contents consistent with the subjective aspects as well as the perception of a more pleasant way to understand the meanings of dance. However, data concerning the scale curriculum for training in these technical courses in dance, revealed priority in acquiring knowledge depicting the characteristics and technical qualities as well as developing the skills and physical abilities and motor functions. The creativity was associated... (Complete abstract click electronic access below)
Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
Texto completoAcknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
Trevisan, Priscila Raquel Tedesco da Costa. "A expressão da criatividade na dança /". Rio Claro : [s.n.], 2010. http://hdl.handle.net/11449/96099.
Texto completoBanca: Afonso Antonio Machado
Banca: Yara Aparecida Couto
Resumo: Este estudo, de natureza qualitativa, teve por objetivo investigar como a expressão criativa está sendo inserida no contexto dos processos de ensino e aprendizagem da dança, para além das técnicas específicas, na visão de professores-coreógrafos e participantes de academias de dança, no âmbito do lazer. Para tanto, o estudo foi dividido em duas etapas complementares, sendo a primeira relativa a uma pesquisa bibliográfica e a segunda, uma pesquisa exploratória, para a qual foi utilizado como instrumento para coleta de dados um questionário misto, contendo perguntas abertas e fechadas. O instrumento foi aplicado a uma amostra intencional de 20 sujeitos, composta por professores-coreógrafos e bailarinos, maiores de 18 anos, com experiência de mais de um ano na prática de dança. Os dados foram analisados de maneira descritiva, utilizando-se a técnica de Análise de Conteúdo Temático e os resultados evidenciam que a criatividade é uma capacidade que tem suas características e qualidades amplamente reconhecidas como essenciais ao processo de ensino-aprendizagem na dança pelos sujeitos da pesquisa. Para esses, estas expressões criativas apresentam extensos conceitos e significados, permitem aos sujeitos descobrirem diferentes formas de expressar seus sentimentos e emoções, sendo as características individuais e a personalidade, apontadas como agentes de grande influência. Embora acarretem, para alguns indivíduos, circunstâncias muitas vezes constrangedoras, com o tempo e ações pedagógicas adequadas, acontecem com maior naturalidade e se tornam uma fonte inesgotável de descobertas e conhecimentos, contribuindo, assim, com diversos contextos condizentes com os aspectos subjetivos, bem como, com a percepção de uma maneira mais prazerosa de se compreender os sentidos de dançar. Entretanto, os dados referentes à dimensão curricular para a formação nestes cursos... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This study, of qualitative nature, aimed at investigating how the creative expression has been placed within the context of teaching and learning of dance beyond the specific techniques vision teachers, choreographers and dance academies participants in leisure scope. Thus, the study was divided into two complementary stages, the first relating to a literature review and the second is an exploratory research for which it was used for data collection a mixed questionnaire containing open and closed questions. The instrument was administered to a purposive sample of 20 subjects composed of teachers, choreographers and dancers, over 18 years, with experience of more than a year in the practice of dance. Data were descriptively analyzed, using the Thematic Content Analysis technique and the results show that creativity is a skill that has its own characteristics and qualities widely recognized as essential to the process of teaching and learning in dance for the subjects of this research. For them, these creative expressions have extensive concepts and meanings, and enable individuals to discover different ways of expressing their feelings and emotions, and individual characteristics and personality was identified as agents of great influence. While entailing some individuals embarrassing circumstances with time and appropriate pedagogical actions, this happens more naturally and become an inexhaustible source of discoveries and knowledge, thus contributing to several contents consistent with the subjective aspects as well as the perception of a more pleasant way to understand the meanings of dance. However, data concerning the scale curriculum for training in these technical courses in dance, revealed priority in acquiring knowledge depicting the characteristics and technical qualities as well as developing the skills and physical abilities and motor functions. The creativity was associated... (Complete abstract click electronic access below)
Mestre
Patterson, Karin Gaynell. "Expressions of Africa in Los Angeles public performance, 1781-1994". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459903821&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Texto completoFaure, Sylvia. "Les processus d'incorporation et d'appropriation du métier de danseur : sociologie des modes d'apprentissage de la danse "classique" et de la danse "contemporaine"". Lyon 2, 1998. http://www.theses.fr/1998LYO20039.
Texto completoThe research object deals with the embodiment and appropriation processes of two dance types. Their historic evolution is analyzed in the first part of memoir. The thesis aims at demonstrating that embodiment and appropriation operations of the dancer's profession vary according to the dance types and engender thereby specific apprenticeship situations. This leads to the development of various skills as well as of different relations to the practice. Through the comparative and comprehensive analysis of "classical" and "modern" dance practices, the embodiment (that is to say corporal comprehension of gestures produced by body principles related to ethical and aesthetic values) appears as a many-sided process that is not reduced to unconscious or silent operations. This, the main part of the research is a detailed analysis of learning types used during dance lessons. The various skill levels and dance types will be taken into account. Observations concern dancer's education before their professionalisation
Langaro, Becker Angela. "La danse en tant qu'image du corps : expressions de la voix et du regard". Paris 13, 2010. http://www.theses.fr/2010PA131034.
Texto completoWakim, Gulnar. "Le langage contemporain dans la danse au Moyen-Orient". Paris, EHESS, 2008. http://www.theses.fr/2008EHES0331.
Texto completoLn the 20 th century, dance in the middle east struggled for its evolution, Through decades existence, this discipline was and still an integrated part of the community and ail along It remained a non legit practice, and its professional existence remained dishonoring, Somewhere between legit and non legit the evolution of dance was crippled due to this status, however it continued to defy society, and made its way into the future, Beyond its festive aspect, dance was a starting point in my research, It's about answering the fundamental question: how to define one or more contemporary dance languages? If we insist on the word contemporary, ifs because the oriental dance is still lost somewhere between its traditional aspect and western modernism. Research was built around the alphabet of an artistic language for a legitimate practice, for an art in favor of its community, this research aimed for decomposing this art, dance versus religion, dance vs society and dance vs politics
Commeignes, Dominique. "Des discours et des hommes ou l'imaginaire libéré : pratique et rapport à la pratique en danse contemporaine à l'école maternelle et élémentaire". Lille 1, 1997. http://www.theses.fr/1997LIL12011.
Texto completoTalking about one's own pedagogical practice reveals connections which are maintained to it so as its own assets. The investigation deals with discourse analysis about pedagogical practice in contemporary dance at school. The discourses are approached through semi-directing interviews whose purpose is to bring out school-teachers' biographical story - individual training path - and the way they meet and treat of the particular object they integrate to their pedagogical practice. Discourse analysis shows off these enquired teachers connection to knowledge : - relationship to cultural object and to its practice inside and outside school. - relationship to training and to the kind of connections brought by this object compared with others and practice. Among discourses rising from pedagogical experiences report to general and practice based reflections about education - its causes, its effects - teachers both analyse their own practice and school working. This whole investigation is full of research of consequences of the subjects' imagination activity. Imagination understood like mental structure tence between ideologic and utopic function, whose activity leads to extract oneself from habits to imagine other possible and/or desirable "make". This activity is based upon and develops itself through a set of processes coming under professional identity building, and spread out through the way of discussing the existing by facing matters of assets and meanings
Freitas, de Carvalho Melo Lina do Carmo. "Archéologie de l'expression : l'impact poétique des scénarios rupestres de la Serra da Capivara sur l'invention corporelle de l'acteur-performer". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCC005/document.
Texto completoThis thesis is a cross-disciplinary study based on the reactivation of ancient gestures as an aesthetic resource that enamels the expression of performing arts. The expressive outline of the rock art of the Serrada Capivara constitutes the radiant methodological device for a choreographic research bridging continents. Practice and theory interface and question the sensory impacts of the investigated space, calling for the perception of the primordial energies to recreate dance figures, and the the atricalizing of life. The episodes of field research circumscribe a journey of reactivating and reincorporating gestures at the beginning of Art. The researcher is exposed for testing herself. On stage she problematizes the subject’s expression through embodied archeology, while the research extends to the collective body of the new generation of inhabitants of the Serra da Capivara. The archaeological thought invites to dig, from another angle, aesthetic phenomenon connected to corporeality by amplifying the consciousness of the body, the one that is experienced by the actor-dancer. The analysis of thousands of figures reveals the originality of the trace preserved in the countless sites with astonishing paintings. It proposes a new point of view on the function of rock art in our time and it shows a pedagogical way of using creativity to break with the stereotyped conformist vision of the northeast Brazil. This place of debate on the origin of man is expected to be a network of artistic innovation. Body, environment and memory can melt, shift from time, considering what vibrates beyond the trace
Gallina, Elisabete Patrícia. "A expressividade dos acadêmicos de educação física que cursam a disciplina de metodologia do ensino da dança escolar". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/13808.
Texto completoIf we consider that expressivity is one significative way of corporal communication, which searches through Dance the harmony of the biological, cultural and philosophical forms of human being, so this study desires to describe and to understand the perception of Physical Education undergraduate students who attend classes of Methodology of School Dance Teaching about their expressivity. In the beginning of this study is showed the concepts, classifications, as well as expressivity complexity levels. In the sequence, it does a interaction between Expressivity, Physical Education and Dance, it noted the importance of the creative act of expressivity inside teaching’s context. The participants were 16 students of Physical Education course from Universidade Regional Integrada do Alto Uruguai e das Missões (URI), Campus de Erechim. They attend classes of Methodology of School Dance Teaching discipline. The instruments utilized in the research were semistructured interviews (initial and final) and field notes. The collective period has happened at April 02nd, 2008 until May 28th, 2008 at Dance Room and at URI’s Central Auditorium. The informations were grouped in units of meanings that were rewrited. This originated the analyze categories. The results show a significative evolution related to expressivity definitions, which clear out the body language in your sensibility, as well as the observation that creating and also motivating the creation of new movements are possible, breaking down social obstacles with the Dance taking a place inside the Physical Education’s context.
Kain, Megan Marie. "Bind, Tether, and Transcend: Achieving Integration Through Extra-Therapeutic Dance". Antioch University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1466901499.
Texto completoPreston, Sophia. "Revealing relationships : an analysis of the structural and expressive characteristics of dance and music in Siobhan Davies's Bridge the Distance". Thesis, University of Surrey, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308414.
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