Tesis sobre el tema "Postmoderne dance"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte los 26 mejores tesis para su investigación sobre el tema "Postmoderne dance".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Explore tesis sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.
Fleischle-Braun, Claudia. "Der Moderne Tanz : Geschichte und Vermittlungskonzepte /". Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.
Texto completoStanich, Veronica Dittman. "Poetics and Perception: Making Sense of Postmodern Dance". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1402089308.
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
Griffiths, Carolyn Margaret. "Tracing image and bodily displacement in modern and postmodern dance". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1362.
Texto completoMathews, Rachel A. "Postmodern Theory and the Choreography of Michael Clark". Thesis, University of Surrey, 1992. https://eprints.qut.edu.au/74785/6/Postmodern%20Theory%20and%20the%20Choreography%20of%20Michael%20Clark_Mathews_1992.pdf.
Texto completoMonten, Joshua Lee. ""Something old, something new, something borrowed...": eclecticism in postmodern dance". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407405704.
Texto completoSears, Linda Roseanne. "Resistant corporealities contemporary British dance-theater /". For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
Texto completoPostle, Julia. "Dancing through the postmodern : Australian choreography in relation to postmodernism". Thesis, Queensland University of Technology, 1996.
Buscar texto completoPeter, Frank-Manuel. "Zwischen Ausdruckstanz und Postmodern Dance Dore Hoyers Beitrag zur Weiterentwicklung des modernen Tanzes in den 1930er Jahren /". [S.l. : s.n.], 2003. http://www.diss.fu-berlin.de/2004/245/index.html.
Texto completoCampbell, Daly Janis. "A perplexing pilgrimage : the spectator as Mitreisender in the Tanztheater of Pina Bausch". Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/a-perplexing-pilgrimage(220e92fb-9910-4017-8174-e85ab543ae95).html.
Texto completoKeller, Matthew J. "DANCENOISE DECLARES OPEN SEASON ON THE DOCILE BODY: DANCE STUDIES AND FEMINIST THEORY". Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1493393510333692.
Texto completoPawelke, Sigrid. "Einflüsse der Bauhausbühne in den USA : eine Unterschung zur Verbindung von Bauhausbühne und amerikanischer Bühnenperformance und Postmodern Dance unter ästhetischen und pädagogischen Aspekten /". Regensburg : Roderer, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=013191936&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
Texto completoCOSTA, RODRIGO CARDOSO CONDEIXA DA. "GOD IS HUMBLE AND KNOWS HOW TO DANCE!: AS A TRINITARIAN TEOPO(ETHIC): THE SENSIBLE REASON TRINITARIAN AS OTHER THEOLOGICAL RATIONALITY IN THE POSTMODERN HORIZON". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25727@1.
Texto completoCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A tese doutoral que tens sob teus olhos nasceu de uma caminhada. Ela é parte integrante de nossa ventura, na lida da vida, como discípulo do Mestre de Nazaré: vinculada a uma genuína vocação pastoral e teológica. O tema aqui tratado está inextricavelmente ligado a uma intensa vivência como humano, cristão e professor de teologia: fruto de uma transfiguradora experiência de Deus; de um encontro com o Sentido da vida: uma caminhada feita de afastamentos, descaminhos, dúvidas, incertezas, de noites escuras. Ao longo desta caminhada, uma questão fustiga-nos o coração, desde os primeiros passos no mundo da teologia, a saber: uma (pre)ocupação em relação ao conhecimento de Deus; sobre a chamada gnosiologia teológica. Esta questão têm nos acompanhado (e inquietado) desde os primeiros passos no labor teológico. Pois, se Deus desvelou Seu Rosto, conforme afirma a fé cristã, como se dá o conhecimento de Deus? Esta é uma pergunta que nos remete à gnosiologia teológica (e, lato sensu, aponta diretamente para a epistemologia teológica). Esta (pre)ocupação fundamental têm norteado e impulsionado nosso caminho na pesquisa acadêmica em teologia, fustigado nosso coração, pondo-nos a pensar. Questão para a qual buscamos uma resposta/proposta ao longo desta tese. Tendo em vista que o conhecimento de Deus sempre se dá entre homens e mulheres situados, inseridos numa determinada conjuntura histórico-cultural, sócio-política, sócio-econômica, etc., que nos condiciona e limita, mas simultaneamente nos possibilita e desafia a elaborar outras concepções teológicas, agora no horizonte pós-moderno. Neste sentido, propomos outra racionalidade teológica que tenha como ponto de partida a constatação da crise e declínio da Razão - a civilização da Razão entrou em colapso (seu logocentrismo, presente na gênese da teo-logia). Sendo assim, garimpamos outras fontes de sabedoria e racionalidade: outras fontes de inspiração. A primeira encontrada foi a rica concepção de racionalidade presente no pensamento pós-moderno, chamada doravante de razão sensível. A segunda fonte, é oriunda do século XVII (do racionalismo cartesiano): a razão sensível (cordial) conforme propunha o francês Blaise Pascal; na qual a mística encontra-se em primeiro plano: uma mística centrada no coração. A terceira e última fonte provém do húmus fértil da fé cristã, pela qual somos interpelados acerca de nossa real condição: finitude, indicando não só uma radical transitoriedade, mas desvelando com absoluta crueza nossa precariedade ontológica e profunda interdependência. Daí, a humildade não ser apenas mais uma virtude, em última análise, mas resultado de uma mínima tomada de lucidez. Neste Espírito de humildade, que é espaço vital (útero/húmus): somos gerados e regenerados, e podemos crescer. Trata-se do Espírito que ao lado do Pai e do Filho forma uma Comunidade de Amor humilde (em kénosis) e dançarina (em pericóresis). Modelo de Relação no qual o Terceiro está incluído: o Espírito. Somos filhos e filhas dessa Relação-Comunhão, e para Ela estamos vocacionados, que implica a possibilidade de desenvolver uma intercorporeidade trinitária. Abrindo espaço para a inclusão de dimensões antes marginalizadas no decorrer da história do pensamento ocidental: tecendo com outros fios, oriundos de novelos diversos, uma teopo(ética) trinitária.
The doctoral thesis you have under your eyes born of a walk. It is an integral part of our venture, the read of life, as a disciple of the Master of Nazareth: linked to a genuine pastoral and theological vocation. The hereof theme is inextricably linked to an intense experience as a human, Christian and professor of theology: the result of a transfiguring experience of God; a meeting with the sense of life: a walk made of leaves, waywardness, doubt, uncertainty, dark nights. Throughout this walk, a matter harasses our hearts (since first steps in the world of theology), namely one (pre)occupation against the knowledge of God; on the call theological epistemology. This question has accompanied us (and troubled) from the first steps in theological work. But if God unveiled His face, as stated in the Christian faith, how is the knowledge of God? This is a question that takes us to theological epistemology (and lato sensu, points directly to the theological epistemology). This (pre)fundamental occupation have guided and pushed our way in academic research in theology, battered heart, putting us to think. Question to which we seek an answer/proposed along this thesis. Given that the knowledge of God always is between situated men and women, entered in the historical-cultural context, socio-political, socio-economic, etc., conditions and limits us, but at the same time enables us and challenges to develop others theological concepts, now in the postmodern horizon. In this sense, we propose another theological rationality that has as its starting point the finding of crisis and decline of Reason - Reason civilization collapsed (its logocentrism, the genesis of this theo-logy). So we have searched other sources of wisdom and rationality: other sources of inspiration. The first was found a rich conception of rationality in this postmodern thought, hereinafter called sensible reason. The second source comes from the seventeenth century (the cartesian rationalism): a sensible reason (friendly) as proposed to the French Blaise Pascal; in which the mystic is in the foreground: a mystical heart-centered. The third and final source comes from the fertile humus of the Christian faith, for which we are questioned about our real condition: finitude, indicating not only a radical transience, but unveiling with absolute rawness our ontological insecurity and deep interdependence. Hence, the humility not being just a virtue, ultimately, but the result of a minimum making lucidity. In this Spirit of humility, who is living space (uterus/humus): we are generated and regenerated, and we can grow. It is the Spirit that beside the Father and the Son form a humble Love Community (kenosis) and dancer (in perichoresis). Relationship model in which the Third is included: the Spirit. We are sons and daughters of this ratio Communion, and She are oriented, which implies the possibility of developing a trinitarian intercorporeality. Making room for the inclusion of previously marginalized dimensions throughout the history of Western thought: weaving with other wires, from various skeins, a trinitarian teopo(ethics).
Alonso, Breto Isabel. ""How many identities can dance on a maple leaf?". La escritura de Marlene Nourbese Philip en el contexto de la Postmodernidad". Doctoral thesis, Universitat de Barcelona, 2003. http://hdl.handle.net/10803/1660.
Texto completoTras algunas consideraciones sobre la estructuración y enfoque del estudio, y una primera aproximación al contexto actual de la literatura y la comunidad canadiense afrocaribeña, el texto elabora una sucinta arqueología de la posmodernidad y establece unos principios para una "literatura posmoderna" que se aplicarán al corpus literario analizado. El análisis posterior pone de manifiesto la pertinencia de combinar etiquetas relacionadas con lo posmoderno con una literatura aparentemente minoritaria como es la de Philip, una literatura, por lo demás, marcada por el deseo de combatir el endémico racismo de que adolece la sociedad canadiense, y consagrada a hallar caminos de representación de la subjetividad de todo un colectivo: el de las mujeres afrospóricas de origen caribeño que viven en Canadá.
Oprea, Denisa-Adriana. "Une poétique du personnage dans cinq romans québécois contemporains au féminin (1980-2000) : métaféminisme et postmoderne". Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25096/25096.pdf.
Texto completoNilson, Teodor. "Kulturskolan Maskinen". Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-168582.
Texto completoThe architectural project aims to make the activity of the Communal Culture School visible in the Älvsjö area in Stockholm. The school as a place is a platform for meetings and cultural expression. The design of the building touches both old as well as later architecture and creates a relationship between them that reflects the ambiguous identity of Älvsjö. The school building creates an imaginative sphere for learning and for play, which claims child culture's inviolable right to space in the city.
Ling, Xiao-Jiu. "Dance for balance : a postmodern rendering /". 2004.
Buscar texto completoTypescript. Includes bibliographical references (leaves 152-157). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: LINK NOT YET AVAILABLE.
Šilarová, Anežka. "Izraelský lidový tanec: historie a současnost se zvláštním zřetelem na české prostředí". Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-305031.
Texto completoMokotow, A. "Why dance: the impact of multi arts practice and technology on contemporary dance". 2007. http://repository.unimelb.edu.au/10187/3625.
Texto completoContemporary dance has gone through many changes in the last century. In particular, contemporary aspects of performance have demonstrated that the body is not the only site for dance. Why dance, is a culmination of questions that surfaced during the course of my own practice. It refers to questions that many dancers have asked themselves in the years following the arrival of postmodernism, when notions of body identity confronted conceptual possibilities in the terrain of interdisciplinary and mediated spaces.
Incorporating my own experience as a practitioner and observer with theoretical perspectives in the field, I have attempted to give voice to some of the ambiguities and paradoxes that inhabit dance and its hybrid postmodern affiliates. I make use of various genealogies that have led to hybrid and interdisciplinary interactions as a means to define relationships of power that exist within interdisciplinarity. The use of case studies and examples of performances from Europe and Australia provide material through which to examine performance methodologies that have arisen out of interdisciplinary practice. My reading and suggestions express the concern that disciplines outside of the body may have become more important as defining element in dance. Through an examination of new ways that dancers now speak through media other than their bodies, the thesis examines what affects this has on the discipline of dance and questions if notions of disciplinarity are still relevant. While it has become necessary to reconstruct, reinterpret and demystify the body, the outcome suggests that autonomy rests with recognition of the body as the site for further development within negotiated spaces.
LI, WEN-HSIN y 李文心. "The Postmodern Dance Center at Chientan MRT Station". Thesis, 2002. http://ndltd.ncl.edu.tw/handle/12110352368266588493.
Texto completo東海大學
建築學系
90
This thesis design is based at CHIENTAN MRT station ,combining the transit station with a dance theater to create a postmodern dance center. The design’s purpose is in the combining of the conceptions of postmodern literature and dance ,including multi-layering、 multi-reading、open connection、structural improvisation ,and so on,to seek as well as develop design methods and possibilities in spatial form.
"The Plan of Salvation: Mormon Doctrine Embodied Through Postmodern Contemporary Dance". Master's thesis, 2011. http://hdl.handle.net/2286/R.I.9048.
Texto completoDissertation/Thesis
M.F.A. Dance 2011
"Paseo: Becoming Self". Master's thesis, 2016. http://hdl.handle.net/2286/R.I.38622.
Texto completoDissertation/Thesis
Masters Thesis Dance 2016
Perry, Beth. "Outside the mainstream a comparison of Alwin Nikolais's works to modern and postmodern dance of the 1960s /". 2008. http://etd.lib.fsu.edu/theses/available/etd-04022008-084704.
Texto completoAdvisor: John Perpener, Florida State University, College of Visual Arts, Theatre, and Dance, Dept. of Dance. Title and description from dissertation home page (viewed June 13, 2008). Document formatted into pages; contains viii, 99 pages. Includes bibliographical references.
Arsenault, Nadia. "La divine comédie de Stan Brakhage : une lecture du film lyrique The Dante Quartet". Thèse, 2011. http://hdl.handle.net/1866/8343.
Texto completoThe Dante Quartet by Stan Brakhage is a personal adaptation of The Divine Comedy of Dante who took the form of an abstract movie made from hand painted images on recycled footage. Acting as a palimpsest in which each layer reveals characteristic features of Brakhage's work and the influence of different poets and artists on it, The Dante Quartet also includes some features of ekphrasis. In this thesis, I work with the heuristic assumption that The Dante Quartet is an ekphrasis, specifically a reverse ekphrasis. This thesis looks at what remains of the pre-text after the transfer from one medium to another. Given the temporal interval between these two works, I will also discuss of certain contemporary influences to Brakhage's work. As the filmmaker based his work on vision phenomena (especially on hypnagogic visions in that movie), the point will be made regarding Brakhage's thinking about this, thought that he describes in his manifesto Metaphors on Vision.
Peter, Frank-Manuel [Verfasser]. "Zwischen Ausdruckstanz und Postmodern Dance : Dore Hoyers Beitrag zur Weiterentwicklung des modernen Tanzes in den 1930er Jahren / vorgelegt von Frank-Manuel Peter". 2003. http://d-nb.info/972387544/34.
Texto completoСтоян, Олена Володимирівна y Olena Volodymyrivna Stoian. "Хореографічний перфоманс у мистецтві постмодерну". Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9797.
Texto completoChoreographic performances are widely spread both in Ukraine and abroad. They have a rather open format and it complicates the possibility to define the limits of the notion «choreographic performance» and prompts researchers to study it from different perspectives, one of which is the interaction between body and space, and, as the result, highlighting such kind of performative arts as site-specific dance performance. In Ukraine this type of performance has appeared fairly recently and has only began to attract choreographers` and scholars` attention. It occasionally appears in Ukrainian art space. However, it lacks scientific studies focused on investigating this phenomenon. The relevance of the topic of the master`s thesis is due to: 1) the popularity of choreographic performances; 2) a small number of scientific investigations aimed at understanding the notion of choreographic performance; 3) the need to explain the essence and specific features of site-specific dance performance, as one of its types. The purpose and objectives of the study. The aim of the work is to identify the specifics of choreographic performance in the context of postmodern art.