Thèses sur le sujet « Dance (discipline) »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 24 meilleures thèses pour votre recherche sur le sujet « Dance (discipline) ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les thèses sur diverses disciplines et organisez correctement votre bibliographie.
Rowe, Andrew D. « Exploring the dance of team learning ». Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327121.
Texte intégralDallman, Paula Ann 1949. « PRELIMINARY ASSESSMENT OF CONDITIONING PRACTICES IN SUPPORT OF MULTIPLE DISCIPLINE DANCE TRAINING (FLEXIBILITY) ». Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276391.
Texte intégralCurci, Paola <1996>. « Practicing wellbeing through dance. Creative communities, empathetic relationships and healing processes ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21177.
Texte intégralWilliams, Tamara Lynn. « Dance/movement therapy and architecture : an investigation of modern dance as an informative discipline and theories of the body in architectural design ». Thesis, Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/21612.
Texte intégralAbels, Kimberly Town. « Reconsidering writing across the curriculum : language as a contested site in the discipline of dance ». The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287417137.
Texte intégralJacobs-Percer, Jonnie Lynn. « Does the Discipline of Ballet Give Its Serious Students Transferability Into High Academic Achievement ? » University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337007363.
Texte intégralLawler, Dwayne P. « De-Domesticating the Actor : Applying Ankoku Butoh's Training Process of De-domestication to Develop Presence in Western Actor Training through Experiences of Awareness, Discipline and Energy ». Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404471.
Texte intégralThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
Full Text
MORTILLARO, MARIA CATERINA. « Il Bharatanatyam cristiano : Una forma d'inculturazione del cristianesimo attraverso la danza-teatro indiana ». Doctoral thesis, Università degli Studi di Milano-Bicocca, 2016. http://hdl.handle.net/10281/102550.
Texte intégralIndian dance Bharatanatyam is only one of the eight styles of Indian classical dance officially recognized by the government. Even if it comes from the region of Tamil Nadu, after its reformation in the Thirties, it spread all over the subcontinent and is practiced also in Sri Lanka, in the Mauritius and wherever there is an Indian community. In fact it is a symbol of Indian identity. In the Natyashastra, one the most important and ancient theoretical texts on this topic, it is written that god Brahma originally imparted the science of gesticulation and dance so that knowledge of Vedas could be accessible to all the castes. Depicting all the human passions, even the negative ones, and representing myths, it has the power to educate and to make men better as much as prayer, fasting and rituals. Although, in the course of centuries, it has lost part of its spiritual inspiration and has been corrupted in the eyes of Indian people – in 1947 the Supreme Court of Madras approved a law that prohibited the execution of danced rituals in the temples, relegating them to the theatres- it has maintained its religious meaning. In fact, subjects of dances are taken from the Hindu epics, such as Mahabharata and Ramayana. Every show has to begin with a prayer to Ganesh, and there has to be a dance dedicated to Shiva Nataraja, Lord of Dance. The problem related to the specific language of Bharatanatyam and its translation into another religion is an issue of great interest. It is necessary to learn an ancient and complex code and to adapt it to a new spirituality. Bharatanatyam, in fact, does not use only the expressions of the face and the movements of the body, but utilizes positions of the hands called mudras or hastas, which are similar to language of signs of the dumb. We have about fifty-two hastas, but it is possible to add other mudras from other styles of dance and some that are borrowed from medical or religious fields. The problem is that for every hasta there is a list of meanings, determined by their position in the space, movement, orientation, context. Only those who are trained can understand this complex language and this makes it hard the communication with the audience. About thirty years ago when Fr. Francis Barboza decided to systematically adapt Bharatanatyam to Christianity, first of all he created new deva hastas, particular gestures that are unequivocally dedicated to a specific god or religious concept. His method is based on the combination of traditional gestures with profound theological concepts. Today, many Christian dancers utilize his “creations”, but I found that in India other dancers depict the same concepts with different movements and gestures or use deva hastas created by Barboza without knowing their exact meaning. This attempt of inculturation poses many problems also at the theological and cultural level. Even if there are not explicit approvals or formal prohibitions by the Vatican on the introduction of Bharatanatyam into the liturgy, theologians and dancers – some are part of the clergy – continue the experimentation making effective transformations, and nowadays Christian Indian dance is practiced both in India and in the West, mainly in paraliturgical situations. On one hand, these innovators take inspiration from the Vatican II, which promotes inculturation of the evangelic message; on the other hand, the innovators support a political claim and highlight dynamics of power, which exist between the centre represented by the Roman Catholic Church or the centres, that is to say the institutes where the experimentations take place, and the periphery or the peripheries. Baharatanatyam has also a great importance for the problem of castes. Since it is considered a Brahmin’s form of art, it is considered as a potent mean to socially promote the Untouchables, but it ends to a sort of “brahminization” of Christianity.
AIMO, LAURA. « Mimesi della natura e ballet d'action : per un'estetica della danza teatrale (1751 - 1785) ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1067.
Texte intégralA research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”
AIMO, LAURA. « Mimesi della natura e ballet d'action : per un'estetica della danza teatrale (1751 - 1785) ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1067.
Texte intégralA research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”
FUOCO, ESTER. « "Né qui, né ora" : peripezie del teatro contemporaneo ( "Ailleurs et autrement" : Rebondissements du théâtre contemporain ) ». Doctoral thesis, Università degli studi di Genova, 2019. http://hdl.handle.net/11567/945965.
Texte intégralIn the present analysis four contemporary international artistic examples will be analysed, chosen for their significance and at the same time their heterogeneity, representative of a peculiar interaction of the performer with the technological medium. It has been shown that this interaction produces in actors and spectators – where this distinction still subsists – a perception of space and time that is quite new; in keeping with three relational and expressive modes that we could anticipate here as: “present in the here and now” (immediate proximity), “present at a distance” and “absent/virtual”. Again in the experiences considered here, the contemporary body, far from what it represented at the origins, is no longer representative of identity, of a single identity: it is deprived of its subjectivity and reduced to a kind of “degree zero” of its nature. It becomes liquid, open, fragmented. In these performances, and in particular those that start from dance, the object and material characteristics of the bodies are brought into the foreground; so that the manipulation of the body or the displacement of the agent outside the body would seem to efface the notion of “presence”. Rather it would be more correct – and this is the challenge of this investigation – to evaluate the reconfiguration of this presence in the light of a mediated truth, an effect of reality that leads us to regard as real what is shown to us on a support, filmed, reproduced digitally, reconstructed through light or sound. The present research therefore consists in an investigation of the status of this contemporary performative body, of the aesthetic process of remediation and of the “democratisation” that it undergoes in current live performances. To understand the reasons for and effects of this phenomenon, it was necessary to conduct an analysis of the theatrical event in a systemic and relational rather than an analytical way, seeking to reconstruct a network of details connected to and interdependent of the subject and the context, before presenting a diegesis of individual spectacles.
Ce travail de recherche consiste en une réflexion sur le statut de ce corps performatif contemporain, sur le procédé esthétique de remédiation et sur la « démocratisation » qu’il subit dans les performances live actuelles. Pour comprendre les raisons et les effets de ce phénomène, il a fallu analyser l’événement théâtral tout d’abord de façon systémique et relationnelle, puis analytique, en essayant de reconstruire avant tout un réseau de détails interdépendants et connectés au sujet et au contexte, plutôt que de partir d’une diégèse de chaque spectacle. Quatre exemples artistiques internationaux contemporains – sélectionnés pour leur importance et leur hétérogénéité – représentatifs d’une interaction particulière entre le performeur et les nouvelles technologies, ont été analysés. La réflexion a portée sur la manière dont cette interaction créait chez les acteurs et les spectateurs – lorsque cette distinction subsiste – une perception de l’espace et du temps complètement nouvelle selon trois modalités relationnelles et expressives que nous pourrions définir comme : « présent ici et maintenant » (proximité immédiate), « présent à distance » et « absent/virtuel ». Dans les expériences prises ici en considération, le corps contemporain, bien loin de ce qu’il représentait à l’origine, n’est plus élément représentatif de l’identité, d’une seule identité : il est privé de sa subjectivité et ramené à une sorte de « degré zéro » de sa nature ; il devient liquide, ouvert, fragmenté. Dans ces performances, et plus particulièrement dans celles qui ont pour point de départ la danse, c’est le corps comme objet, ses caractéristiques matérielles qui sont mises au premier plan, si bien que la manipulation de la corporéité ou la dislocation de l’agent en-dehors du corps semblent annuler la notion de « présence ». Il serait plus correct – et c’est le défi de notre réflexion – d’analyser la reconfiguration de cette présence à la lumière d’une vérité médiatisée, un effet de réalité qui pousse à considérer comme réel ce qui nous est montré à travers un support, filmé, reproduit de façon digitale, reconstruit à travers la lumière et le son.
Massot-Leprince, Miryam. « Enseigner une discipline sans la maîtriser : exemple de la danse à l'école primaire ». Nantes, 2014. http://www.theses.fr/2014NANT3003.
Texte intégralQuinn, Mallory Joanne. « Utilizing TAGteach to Enhance Proficiency in Dance Movements ». Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4751.
Texte intégralMotais-Louvel, Guylène. « Introduire la danse à l'école primaire : enjeux d'un processus de "pédagogisation" d'une discipline artistique ». Rennes 2, 2007. http://www.theses.fr/2007REN20011.
Texte intégralWhat are the stakes for "danse à l'école". There are two keys elements: 1. Transmitting the message and 2. Artistic development at school. To define what is more commonly named "dance at school" taking into account, unlike other teaching professions, it does not have the same advantage of an important place in the school programme. We are looking for the reasons, investigating the concepts behind it. One of the founders, looks at the corporal differences from one person to another and the dance movement. The second, is to have a strong argument to bring to the school so as they can agree to the art, taking into consideration at the same time the cultural relations to work and the process of artistic expression. Those who push us to move away from this expression "danse à l'école" and to develop the education al concept of choreography, a specific outline which builds an identical process to "the worlds of art" analysed by Becker in an encouraging context "the dynamics of inter-individual relations and his equipment dimensions and cognitive( knowledge construction) as weil as is "social identity of those who take part in production and artistic consummation whatever is specified by nature of their involvement in the co-operation network and their contribution to the collective activity which makes it a work of art". This interpretation of choreography in a school environment in a particular context of social therapeutic interaction and inter-individuals gives each player ( student, teacher, artist, cultural mediator, trainer and institutes) the possibility to seize the opportunity of difference and the identity proposed by Hacking, linked to the plural worlds inside the school system, according to the analysis of Derouet and Boltanski. This concept will emerge from a departmental outline from Ille et Vilaine, such as Elias, who allows you to relativise our grounds for research and also to display the development of the players identities in an interactive framework
James, Takema J. « Using Auditory Feedback to Improve Dance Movements of Children with Disabilities ». Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5708.
Texte intégralBurrington, David J. « Dancing Around Costuming : A Symbiotic Relationship of Disciplines, Costume Design for Dance 2011 : Parallel and Intersect ». Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334347548.
Texte intégralGallina, 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.
Texte intégralIf 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.
Falkembach, Maria Fonseca. « Corpo, disciplina e subjetivação nas práticas de dança : um estudo com professoras da rede pública no sul do Brasil Porto Alegre 2017 ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/169008.
Texte intégralThis thesis analyses how six dance teachers compose their artistic-pedagogical practices in the formal system of education in the Rio Grande do Sul state, Brazil. Dance is an art subject in the compulsory curriculum in the primary and secondary schools. From the identification of tensions provoked by the practice of dance at school – such as the construction of the curriculum, teaching plans and classes – the study problematises the power-knowledge relations in these practices. The research identifies that dance practices destabilise naturalised technologies of government at school, such as disciplinary operations, through placing the body (composed, exposed, soma and tactile) at the centre of the curriculum. The work analyses different practices, with emphasis on composition, Laban studies, somatic education, touch and contact. The methodology of data production involves participative observation of each teacher's lessons along two weeks, alongside interviewing teachers and members of the management staff. These actions were made through the using of the notebook, audio-recording, video and photographs.The analysis, as well as data production, was made through the articulation of Foucaultian studies with the researcher’s embodied artistic-pedagogical knowledge. The thesis identifies the teachers 'artist conduct' built in the relationship with the school, and shows that practices constitute intimate spaces from the dance knowledge.
Pasquer, Emma. « L’interdisciplinarité dans la formation de l’acteur : la place et le rôle des disciplines non-théâtrales dans les écoles d’art dramatique en France : enquête sur cinq établissements d’enseignement supérieur (CNSAD, TNS, ENSATT, ESTBA, ESAD) ». Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100105/document.
Texte intégralWhile many artists strive to redefine the performing arts and break through genre-bound approaches on European stages, actor training in France is still structured around strong disciplinary lines. Throughout their training, student-actors who prepare the “diplôme national supérieur professionnel de comédien” (National Acting Degree) in French-government-accredited acting schools, nonetheless take dance and singing classes, often train in martial arts and somatic practices, and sometimes try their hands at acrobatics, or playing an instrument. These non-theatrical disciplines are integrated to their training with a view to complementing the young actors' set of skills but also to make them experience what philosopher François Jullien calls “l'écart”, and come back to their own art enriched and energised by their foray into other disciplines. Even if the interdisciplinary approach is touted in programmes and theoretical literature issued by the most prominent acting schools, that prestige is not reflected in the share given to non-theatrical approaches in actual syllabuses. The teaching in acting-schools is based on performing the repertoire, with master-classes given by guest directors who bring their own vision of theatre and performance. The underlying value system places individual difference and artistic freedom at the top. This conception of acting can make it difficult to teach techniques based on the body, movement, vocal training, breathing, and focusing. The dilemma is that these practices need to be adapted to the overall teaching context, all the while preserving the otherness that makes them such a fruitful alternative both artistically and pedagogically.Thanks to a survey conducted at five French Acting Schools, alongside teachers and students, this thesis explores actor training in the light of interdisciplinarity, as an attempt to clarify its underlying ideological tenets and its aesthetic potential, as well as what it means for the future careers of professional actors
Lissade, Yolette. « The Effect of an Arts-Based, Anger-Management Intervention for Girls Displaying Aggressive Behavior Who Are Being Reared Without Their Fathers ». Thesis, NSUWorks, 2015. https://nsuworks.nova.edu/fse_etd/25.
Texte intégralKuijlaars, Antoinette. « La civilisation du samba : Sociologie des ritmistas d’école de samba à Rio de Janeiro ». Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2053.
Texte intégral“The greatest show in the world”, the carioca samba schools’ carnival parade is a cultural practice both associated with marginalized, black and popular population and constitutes a symbol of Brazilian national culture, transcending class and race identity. The ethnographical study of the daily life and practices of the ritmistas, who compose the baterias, percussive “heart” of the parades, aims at revealing what is at stake about this contradiction. Inherent to the samba schools since they appeared in the 1920’s and 30’s, this contradiction results into a legitimacy and respectability quest, from those institutions as well as the individuals who compose them, which leads to the implementation of a strong discipline, characterized by the euphemizing of race and class distinctions, such as by complex legitimacy relationships. The ethnographical material has been put into a sociohistorical, theoretical and political perspective, within the framework of a configurational sociology, applied to a domination sociology, in which the interdependence relationships at multiple levels and ongoing reconfigurations are revealed. The thesis aims at questioning the social, symbolical and practical materializations of a power relationship configuration in a postcolonial and postslavery context. The civilization quest in the samba schools, coming within the scope of the Brazilian civilization process, creates a multidimensional disciplinary dispositive, structuring the class, race and gender identities, and has concrete effects on the development of highly symbolical musical practices, such as on the ritmistas’ representations and trajectories. The introductive part of the thesis brings a theoretical, historical and methodological framework, showing the stakes of the specificities of the samba schools’ baterias field. The first part tackles the baterias as an institutional disciplinary dispositive, at a collective as well as individual level, through the study of the social conditions of the beginning of this practice, the configuration of the disciplinary dispositive inside the baterias, its bodily inscription, its temporal dimensions. The characteristics of this dispositive are the cause of the bateria seen as a space of reconfiguration of class, race and gender identities, because of the imbrication of the dynamics of civilization quest and process, which are studied in the second part. The third part questions the effects of this civilization process on the musical practices, through the analysis of the learning modes configurations, practices of musical listening, such as the manufacturing, the use and the reception of judging criteria of the baterias
THULARD, ADELINE. « "Ciò che fa sintomo" contributo al rinnovamento dell'analisi teatrale ». Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/319746.
Texte intégral“When comes the symptom…” A Contribution to the Renewal of Theatre Analysis Through an analysis of works by Tadeusz Kantor, Pina Bausch, Jan Lauwers, Pippo Delbono and Emma Dante, this thesis attempts to open up the traditional analytical tools that tend to be privileged by the discipline of theatre studies to concepts stemming from psychoanalysis or visual arts, which are more appropriate for rendering the intense emotional experience that these works induce. The notion of symptom, theorised by Freud and reappropriated by art history thanks to the work of Georges Didi-Huberman, can allow us to see the stage as more than a “system of signs”, “to be read”, under the influence of semiology and structuralism, but also to go beyond the image, towards something that is not immediately evident. Having shown the limitations of dramaturgical tools, it is possible to highlight the specific moments when a symptomatic gesture irrupts within these works by relying on a more phenomenological analysis. Dream patterns, which have the similar quality of being models of an order-disorder, are essential to our understanding of the organization of stage elements and processes. Whatever moves the spectator, is no longer strictly conditioned by representation, which is itself disrupted by the symptom, but is situated beyond it, under it, between the different scenic elements. The audience’s perception of reality becomes more reliant on imaginable rather than on some form of mimesis: images open up the gaze and alter the spectator’s stance, touching him physically and emotionally. The diffracted theatrical subject contained in the actor’s body helps the public witness Otherness onstage. The works studied here involve an experience of subjectivation and symbolisation, which activates the constitutive elements of the individual’s psyche, in crisis in contemporary society. Within the very physical relationship that is built between stage and audience, the spectator experiences his own position as a subject facing others, himself and the world.
« Ce qui fait symptôme… » Contribution au renouvellement de l’analyse du théâtre À travers l’analyse d’œuvres de Tadeusz Kantor, Pina Bausch, Jan Lauwers, Pippo Delbono et Emma Dante, cette étude propose une ouverture des outils traditionnels des études théâtrales aux concepts de la psychanalyse et aux méthodes des études visuelles pour rendre compte de l’expérience émotionnelle intense que les créations de ces artistes induisent. La notion de symptôme, théorisée par Freud et reprise dans le champ de l’histoire de l’art par Georges Didi-Huberman, permet de dépasser une vision de la scène comme « système de signes » « à lire » – sous l’influence de la sémiologie et du structuralisme – et de penser au contraire ce qui, dans les images proposées, ne se laisse pas saisir immédiatement. Après avoir montré les limites des outils dramaturgiques, il est possible de mettre en évidence les moments d’irruption du geste-symptôme dans les œuvres, en adoptant une attitude plus phénoménologique. Le paradigme du rêve, comme modèle analogique d’une organisation-désorganisation, peut nous permettre de comprendre l’agencement des éléments scéniques. Ce qui touche le spectateur ne se situe plus au niveau de la représentation, mise en branle par la présence du symptôme, mais sous celle-ci et entre les éléments. Le rapport au réel qui s’instaure pour le spectateur relève alors plus de l’imaginable que d’une forme de mimèsis : les images ouvrent le regard et modifient la position du spectateur touché corporellement et émotionnellement. Le sujet théâtral diffracté porté par le corps de l’acteur amène le spectateur à faire l’épreuve de l’Autre en scène. Les œuvres à l’étude proposent ainsi une expérience de subjectivation et de symbolisation qui réactive les processus de la construction psychique de l’individu mise en crise dans la société contemporaine. Dans le corps-à-corps qui s’installe entre la scène et la salle, c’est à sa position de sujet face aux autres, à lui-même et au monde, que le spectateur accède.
Di, Pietro Marica. « Il codice Mscr.Dresd.Ob.21 : una possibile collocazione in area mantovana ». Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden, 2020. https://slub.qucosa.de/id/qucosa%3A70940.
Texte intégralAlves, Sandra Isabel Vieira Sanches. « A dança no currículo da disciplina de educação física : um estudo de caso ». Master's thesis, 2012. http://hdl.handle.net/10437/4962.
Texte intégralNeste estudo de caso pretendemos analisar e refletir sobre o ensino da dança na disciplina de educação física. Enquadrado teoricamente por um conjunto de autores que se debruçaram sobre esta problemática, procurámos conhecer a realidade do ensino da dança na disciplina de educação física na escola EB 2.3 D. José I, em Vila Real de S. António. Procurámos saber se os professores que integram o grupo de educação física da escola referida lecionam a dança nas suas aulas, como o fazem, dificuldades que sentem e soluções que encontram na lecionação dessa matéria, bem como o valor que atribuem à dança no desenvolvimento dos alunos. Este estudo seguiu os procedimentos metodológicos da investigação qualitativa, tendo sido utilizado como instrumento de recolha de informação a entrevista semiestruturada e recorrido à análise de conteúdo, mais especificamente ao método da análise categorial, para o tratamento da informação recolhida. Destacamos como principal conclusão do estudo a manifesta preocupação dos professores em abordar a matéria de dança nas suas aulas, apesar das dificuldades referidas pelos mesmos que se prendem, fundamentalmente, com lacunas na sua formação e preconceitos por parte dos alunos em relação à dança, expressas sobretudo pelos alunos do género masculino.
This case study intends to analyze and reflect on the dance teaching in physical education. Framed theoretically by a number of authors who have studied this issue, we sought to know the actuality of dance teaching in physical education at a specific school located in Vila Real de S. António. We sought to know how teachers develops dance in their classes, their options, difficulties and solutions concern on that matter, as well as the value assigned to the dance towards students development. This study followed the methodological procedures of qualitative research and used semi-structured individual interviews as a tool for collecting data, processed through the categorical analyses We highlight as the main conclusion of the study the fact that teachers seek to develop dance, despite the difficulties referred concerning to the lack of training and preconceived ideologies of dance expressed mainly by male pupils.