Tesis sobre el tema "Performance dansée"
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Khalfallah, Riahi Sonia. "Performance dansée augmentée et installation interactive performative : possibilités et limites de la co-création". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080069.
Interactive digital artworks question the role of the spectator. They solicit him physically and sensually in order to make him active.In this thesis project, we highlight the creative potential embedded in each participant through their interactive gestures in the co-creation of the artwork.Thanks to the exploration of the different performative gestures through existing art movement and disciplines in the form of performances and installations, we identified and created the sought performative gesture in our artistic creations : creative and performative interactive gestures. Moreover, as part of this research-creation, the realization of augmented dance performances and performative interactive installations was consolidated through the observation and the study of the participants’ behavior in order to depict the possibilities and the limits of co-creation in the created artworks
Blanchier, Raphaël. "Les danses mongoles en héritage : performance et transmission du bii biêlgee et de la danse mongole scénique en Mongolie contemporaine". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP027/document.
Drawing on both social anthropology and performing arts, this thesis deals with the transmission of Mongolian dances in contemporary Mongolia. By studying danced performance from the perspective of transmission, the main purpose of this work is to understand the role dance plays in building up feelings of national belonging. In this regard, Mongolia provides a particularly fruitful field of study. On the one hand, biy biyelgee, the traditional dance of the Oirats (Western Mongols), included on the UNESCO List of Intangible Cultural Heritage, is closely linked to the nomadic pastoral lifestyle by virtue of the mimed gestures it incorporates. On the other hand, what may be called ‘scenic Mongolian dance’, the professionalized version of biy biyelgee, confers national and international legitimacy on these stereotyped representations. My fieldwork study of the institutions, networks and practices underlying the transmission and performance of Mongolian dances shows that their efficacy stems less from the representations they convey than from the relational conditions of their performance. The formal and informal dance training I was able to observe, and sometimes take part in, is oriented less towards the instilling techniques than towards the selection and gradual legitimization of those who exhibit an outstanding ‘talent’ (av’yaas) for performing in public. Indeed, the distinction between dancers and non-dancers lies at the heart of the process of transmission. The dancer, on the strength of his performative abilities, is able to elicit specific modes of participation from the audience, making him/her into a quasi-ritual specialist. As the legitimate emanation of the group which he/she publicly represents, the dancer, in the same performative act, both embodies Mongolian culture through dance and establishes it as a constitutive element of “mongolness”
Bidgood, Lee y Joseph Sobol. "Performance at Historic Jonesborough Dance Society Contra Dance". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1061.
Condevaux, Aurélie. "Performances polynésiennes : adaptations locales d'une "formule culturelle-touristique" globale en Nouvelle-Zélande et à Tonga". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10111.
Since its beginnings, the anthropology of tourism has undergone major changes : after having accused tourism of destroying cultural authenticity, anthropologists started to underline that tourism can be an empowering tool for minorities to assert their particular identities. Tourism, as other globalisation-related phenomena, is imbued with two opposite tendencies : cultural homogeneization one the one hand and reconstitution of indigenous cultures and traditions on the other. This thesis aims to understand and explain how Māori and Tongan tourist performances help social actors to make sense of, and cope with, those contradictory tendencies. In order to do that, it is necessary to understand what the particularities of tourist performances are and how, as sequences of specific events and actions, they can deliver different messages to different audiences by using a range of mediums such as body and verbal languages, corporeal and object-mediated actions
Bidgood, Lee, Trae McMaken y Roy Andrade. "Performance at Historic Jonesborough Dance Society Contra Dance". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3260.
Latuner-El, Mouhibb Marie-Thérèse. "Dessin - Pratiques rituelles - Danse : porosités et transports". Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3093.
This research explores a practice which mingles drawing with practices of contemporary dance, engaging a relationship of dynamic tension to the ground, to gravitational space. These practices are reinvested by the experience and apprenticeship, undergone in Southern India, of rituals drawings traced with powder on the ground: the kolam, which appear on the doorstep of Tamil houses at dawn, and the kalam, carried out during Kerala ritual ceremonies. They are ephemeral drawings, in which tracings and erasings alternate within a sacred movement which makes and unmakes. The dialogue between ritual and artistic practices is envisaged on the basis of this experience, opening up to a proximity with the anthropological approach. Above and beyond the religious, what parallels can be drawn between artistic practices and rituals, Indian rituals in particular? In this interval the practice reveals itself and engages the fertile collaboration with different dancers, who become mediums in the open space of the performance, which renders visible the drawing’s process of mutation. The drawing is analysed in its successive transpositions from the ground to the dancers’ bodies, to the space of the installation, playing instantaneously on the threshold of the visible, disappearing in the gesture of effacement which becomes the essential gesture in this access to the ritual. The drawing propulses the bodies’ actions. In these ritual practices, what can – or cannot – be conveyed, and thus destabilize the practice of drawing which, by this means, becomes both trajectory and process? Finally what do these rituals have to do with us, visual artists, despite their profound opaqueness?
Brauner, Nathan. "Dance Gala 2016: navigating stage management in dance". Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5425.
Stavretis, Lyn y lstavret@bigpond net au. "The Dance of Compliance: Performance Management in Australian Universities". RMIT University. Management, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080521.123556.
Sietsma-Smith, Maggi. "Listen to me dance : an analysis of human voice in the construction of meaning in dance performance". Thesis, Queensland University of Technology, 1994. https://eprints.qut.edu.au/35856/1/35856_Sietsma-Smith_1994.pdf.
Grund, Meagan E. "Columbus cares a benefit dance performance/". Connect to resource, 2008. http://hdl.handle.net/1811/32150.
Vest, Jessica M. "Echoes: A Dance Composition and Performance". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/404.
Labelle, Morgan. "Wave: A Dance Composition and Performance". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/508.
Meegan, Wendy. "Dance beyond performance space : Jacob's Pillow Dance Festival and the National Museum of Dance". ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/86.
Cholod, Kirsten L. (Kirsten Lynn). "Children's causal attributions for performance in creative dance and folk dance". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22574.
Holmes, Douglas B. "Jn4.gesture an interactive composition for dance /". Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/holmes%5Fdouglas/index.htm.
Ho, Christiana K. "Femininity and Dance at the Interface of Performance: An Exploration of Femininity through Performance in Suit Up, a Choreographic/Performance Dance Thesis". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/613.
Iasci, Cyril André Victor. "Le corps qui reste. . . : travestir, danser, résister !" Paris 1, 2009. http://www.theses.fr/2009PA010655.
Naerebout, Frits Gerard. "Attractive performances ancient greek dance : three preliminary studies ... /". Amsterdam : J. C. Gieben, 1997. http://catalogue.bnf.fr/ark:/12148/cb37003611c.
Denoual, Fabienne. "Le corps/objet dans les arts plastiques et la danse contemporaine". Paris 1, 2006. http://www.theses.fr/2006PA010641.
Kafetzi, Eleni. "Interdisciplinarité en représentation théâtrale. Éléments du Musical dans le spectacle interdisciplinaire contemporain". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA046.
Interdisciplinarity is a widely employed practice in the contemporary arts scene. Whether the term refers to the collaboration or notion of integrating different disciplines, we can infer to a process of fusion, which in the field of the performing arts, takes numerous forms. This dissertation focuses on contemporary inter-artistic performances that combine theatre, music and dance, and their relation to the interdisciplinary genre of Musicals. Musical Theatre is by definition a hybrid entity, combining different artistic expressions. The latter, are at all times maintain their separated integrity, while they must be fused in such a way in order to form an organic unity. Despite its complexity, Musical Theatre manages to be a genre in itself, which in turn has influenced other genres, including many contemporary experimental performances. Thus, as an autonomous form of expression, it possesses laws of operation, technical characteristics and aesthetic rules that defines it. The purpose of this research is to identify elements and influences of Musical Theatre within five contemporary interdisciplinary shows, while tracing the theoretical aspects and conventions that determine this genre. The examined shows are Out Loud by STOMP, Tubes by the BLUE MAN GROUP, Perseus by ithakArts, Elektra Fragments directed by Michael HACKETT and 2, directed by Dimitris PAPAIOANNOU. These autonomous fusion works defy categorization; however, they share fundamental characteristics with Musicals
Varanda, Paula Gouveia. "Dance performance in cyberspace : transfer and transformation". Thesis, Middlesex University, 2015. http://eprints.mdx.ac.uk/18820/.
Shresthova, Sangita. "Between cinema and performance globalizing Bollywood dance /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1621833861&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Gorney, Christopher Cole 1977. "Hip Hop Dance: Performance, Style, and Competition". Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9869.
The purpose of this study was to identify and define the essential characteristics of hip hop dance. Hip hop dance has taken many forms throughout its four decades of existence. This research shows that regardless of the form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study of each of these characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations. Defining these vital characteristics in the vernacular context should help dancers, scholars, and educators to develop a better understanding of hip hop dance.
Committee in Charge: Jenifer P. Craig Ph.D., Chair; Steven Chatfield Ph.D.; Christian B. Cherry MM
Pollitt, Joanna T. "Accumulated response in live improvised dance performance". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1038.
Sawitzki, Robinson Sergio. "La mise en scène de la mythologie personnelle du performer : quelques repères pour la construction de la performance autobiographique". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080114/document.
This thesis aims to study the theoretical and practical performance of the performer. More specifically the study of “personal mythology” of the performer, from portrayals of creation and performance for which the building material is the personal universe of the performer. The challenge of this project is the staging of the personal mythology of the performer that gives origin to a performance somewhere between autobiography and self-fiction. I propose a study of the performance, specifically the so-called "autobiographical", expanding the search field to other artists who combine theatre and dance as well as in the visual arts field. Through these cross disciplines and the emergence of new artistic forms derived from it, the objective of this work is to study the performer and the performance as a "signature", analysing the creative process using autobiographical material, personal mythology, and the influence of that on my own creative process as a practitioner. Points such as the self, body, identity, signature, name, meeting and collaboration are approached to talk about personal mythology as a set of autobiographical events related to memory, the experiences and the dreams. The autobiographical material will serve as starting point for the construction of a work. The myth can then be the symbolic representation of a past time and a form created according to individual experiences
Bollen, Jonathan James, University of Western Sydney, of Performance Fine Arts and Design Faculty y School of Design. "Queer kinaesthesia : on the dance floor at gay and lesbian dance parties Sydney, 1994-1998". THESIS_FPFAD_SD_Bollen_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/357.
Doctor of Philosophy (PhD)
Malmquist, Cassandra Muree Kathleen. "Theatre and dance lighting design". Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1688.
Bresnahan, Aili. "Dance As Art: A Studio-Based Account". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173544.
Ph.D.
This dissertation is an attempt to articulate the conviction, born of ten years of intensive experience in learning and practicing to be a dance performer, that the dance performer, through collaboration with the choreographer, makes an important contribution to how we can and do understand artistic dance performance. Further, this contribution involves on-the-fly-thinking-while-doing in which the movement of the dancer's body is run through by consciousness. Some of this activity of "consciousness" in movement may not be part of the deliberative mentality of which the agent is aware; it may instead be something that is part of our body's natural and acquired plan for how to move in the world that is shaped by years of artistic and cultural training and practice. The result is a qualitative and visceral performance that can, although need not, be a representation of some deliberative thought or intention that a dancer can articulate beforehand. It is also the sort of thinking movement that in many cases can be conceived as expression; an utterance of dance artists that is not limited to the communication of emotion that can be appreciated and understood, at least in principle, by a public or audience. What this means for the Philosophy of Dance as Art includes the following: 1) there may not always be a stable, fixed "work" of dance art that can be identified, going forward, as the only relevant work on which critical and philosophical attention should be focused because of variable, contingent and irreducibly individual features of live dance performances, attributable in large part to the efforts, style and improvisation of particular dance performers; 2) the experience of dance artists is relevant to understand dance as art because experiential evidence of practice can supplement and ground the appreciable properties that we can detect in artistic dance performances; 3) artistic dance performance can be conceived as expression without being expressive of either an artist's felt emotion or of human emotion in general - no particular content is needed as long as there is a content; 4) artistic dance performance conceived as expression can, but need not, function as representation in both the strong (imitative) and weak (referential) sense; and 5) artistic dance performance is real, not illusory and not necessarily either a transformation or transfiguration of the real. Dance as art, like theatre, like music and even, perhaps, like painting, sculpture and architecture, although in less clearly artist-present, extemporaneous and embodied ways, is human-constructed, human-understood, human-driven and a full, rich, interactive and meaningful part of human life.
Temple University--Theses
Bidgood, Lee. "Music and Dance in Appalachia". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1088.
Needham-Beck, Sarah. "Cardiorespiratory fitness in contemporary dance training and performance". Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/18150/.
Fong, Yan Alycia. "The Effect of Jazz Shoes on Dance Performance". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10007.
Kise, Laura Ann. "Performance Art as Sublimation: The Case of Dance". OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/353.
Andersen, Hannah. "Dance Science and Somatics in Training and Performance". Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22666.
Alinen, Tiina. "Intercultural dance : exploring a Finnish migrant connection with indigenous cultures through dance". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/61062/1/Tiina_Alinen_Thesis.pdf.
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.
Dances 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
Clement, Jennifer. "Reforming Dance Pedagogy: A Feminist Perspective on the Art of Performance and Dance Education". [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002197.
Njaradi, Dunja. "Eastern bodies that dance : difference and otherness in the economy of contemporary dance performance". Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.587510.
Tatonetti, Lisa Marie. "From Ghost Dance to Grass Dance : performance and postindian resistance in American Indian Literature /". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392799368.
Boivineau, Pauline. "Danse contemporaine, genre et féminisme en France (1968-2015)". Thesis, Angers, 2015. http://www.theses.fr/2015ANGE0034/document.
This thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist
Kweyama, Mdunyiswa. "Bringing dance into the realm of theatre : Making sense differently for actors and audiences". Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13140.
This study investigates what happens when dance is introduced into the realm of theatre. Firstly, it looks at how the audience relates to the combination of dance and text. Secondly, it questions whether dance contributes to the actors’ experience of creating a play. To explore these questions, two productions were created. The first was an adaptation of an existing play text that had already been performed in a realistic style; and the second was based on a novel, a text that was not originally written for performance, but which was adapted. The study argues that the presence of dance allows the audience to understand a play more viscerally, rather than only intellectually. Furthermore, it finds that adding the physicality of dance helps actors access emotions in a different way than working with only a script would allow them. The study draws on the theories and practices of a number of theatre practitioners such as Antonin Artaud, Vsevolod Meyerhold, Eugenio Barba, and dance choreographer Pina Bausch. It also focuses on Mathew Reason and Dee Reynolds’s theorizing of ‘kinesthetic empathy’as well as Josephine Machon’s theory of ‘visceral performance'.
Caltabiano, Pamela Ann. "Embodied Identities: Negotiating the Self through Flamenco Dance". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/anthro_theses/33.
Downie, Marc (Marc Norman) 1977. "Choreographing the extended agent : performance graphics for dance theater". Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33875.
Includes bibliographical references (v. 2, leaves 448-458).
The marriage of dance and interactive image has been a persistent dream over the past decades, but reality has fallen far short of potential for both technical and conceptual reasons. This thesis proposes a new approach to the problem and lays out the theoretical, technical and aesthetic framework for the innovative art form of digitally augmented human movement. I will use as example works a series of installations, digital projections and compositions each of which contains a choreographic component - either through collaboration with a choreographer directly or by the creation of artworks that automatically organize and understand purely virtual movement. These works lead up to two unprecedented collaborations with two of the greatest choreographers working today; new pieces that combine dance and interactive projected light using real-time motion capture live on stage. The existing field of"dance technology" is one with many problems. This is a domain with many practitioners, few techniques and almost no theory; a field that is generating "experimental" productions with every passing week, has literally hundreds of citable pieces and no canonical works; a field that is oddly disconnected from modern dance's history, pulled between the practical realities of the body and those of computer art, and has no influence on the prevailing digital art paradigms that it consumes.
(cont.) This thesis will seek to address each of these problems: by providing techniques and a basis for "practical theory"; by building artworks with resources and people that have never previously been brought together, in theaters and in front of audiences previously inaccessible to the field; and by proving through demonstration that a profitable and important dialogue between digital art and the pioneers of modern dance can in fact occur. The methodological perspective of this thesis is that of biologically inspired, agent-based artificial intelligence, taken to a high degree of technical depth. The representations, algorithms and techniques behind such agent architectures are extended and pushed into new territory for both interactive art and artificial intelligence. In particular, this thesis ill focus on the control structures and the rendering of the extended agents' bodies, the tools for creating complex agent-based artworks in intense collaborative situations, and the creation of agent structures that can span live image and interactive sound production. Each of these parts becomes an element of what it means to "choreograph" an extended agent for live performance.
Marc Downie.
Ph.D.
Esposito, Paola. "Butoh dance in the UK : an ethnographic performance investigation". Thesis, Oxford Brookes University, 2013. https://radar.brookes.ac.uk/radar/items/d7f4ed96-d3a4-416a-b658-b925a758d168/1/.
Coleman, Ariana Kaitlan. "Dance and Performance Arts Center: Building from the Core". Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23237.
is one of the best ways to garner focus for the dancer. In this thesis, the concept of the"core" becomes the basis for the design of a building devoted to dance and located within the city. Since a defined core is crucial to the dancer in order to have a fluid performance, its existence within the building\'s design needs to have an outstanding presence and role. This guiding component for this thesis in combination with site investigation, research, and design process
will lead to the conceptualization and final product of the Dance and Performance Arts
Center.
Master of Architecture
Polls, Camps Eulàlia. "La dansa amb mediació digital. El cas de Catalunya del 2003 al 2013". Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/671208.
A partir del análisis de una serie de obras programadas en Cataluña en estos últimos años, se analizan las aportaciones de la tecnología digital en el escenario de la danza actual y sus repercusiones tanto en el ámbito teórico como en el de la producción. Se llega a la conclusión de que la danza con mediación digital no deja de ser danza contemporánea, aunque el concepto de corporalidad y de todo lo que de ella se deriva resulte inevitablemente alterado. Para poder argumentar el rol de la tecnología en la danza actual, ha sido necesario realizar un estudio diacrónico del uso de las tecnologías a lo largo del tiempo, subrayando continuidades y rupturas. Uno de los aspectos que ha resultado más complejo ha sido el de ordenar la pluralidad y diversidad de conceptos que se suelen emplear, siendo así su reconceptualización una de las principales aportaciones de esta tesis.
Based on an analysis of various performances given in Catalonia in recent years, we carried out a study of the contributions of digital technology to the modern dance scene as well as its repercussions in terms of both theory and production. The present study concludes that dance with digital mediation is still contemporary dance, in spite of the fact that it inevitably leads to a shift in the notion of corporeality and all this entails. To develop our position on the role of technology in contemporary dance, we conducted a diachronic study of uses of technology, highlighting continuums and points of rupture over time. One of the most complex aspects was categorising the multiple and diverse concepts that are currently in use, and their reconceptualisation is one of the foremost contributions of this thesis.
Sandri, Sarah y Sarah Sandri. "Performance, Politics, and Identity in African Dance Communities in the United States". Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12328.
Kim, Sang Kyung. "Physical dance performance : an investigation into the development of a performance technique based on the integration of certain Korean dance technique and contemporary Western styles of dance and physical theatre". Thesis, Brunel University, 2001. http://bura.brunel.ac.uk/handle/2438/4843.
Maas, Penny. "A Pedagogical Perspective on Storytelling through Movement and Dance". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2721.
Laugier, Catherine. "Apprentissage par observation en danse : rôle des processus représentatifs dans la reproduction de mouvements". Montpellier 1, 1995. http://www.theses.fr/1995MON14002.
Neville, Sarah Louise. "Choreographing newmedia dance through the creation of the dance project, Ada". Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15820/1/Sarah_Neville_Thesis.pdf.