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1
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.
Abstract (sommario):
Les œuvres numériques interactives remettent en question le rôle du spectateur. Il est sollicité physiquement et sensoriellement afin de l’inciter à être actif. Dans ce projet de thèse, nous mettons en avant le potentiel créatif enfui dans chaque participant à travers sa gestualité interactive dans la co-création de l’œuvre.À partir de l’exploration des différents gestes performatifs à travers les courants et les disciplines artistiques existants sous forme de performances et d’installations, nous avons identifié et créé le geste performatif recherché dans nos créations artistiques : la gestualité interactive créative et performative. Par ailleurs, dans le cadre de cette recherche-création, la réalisation de performances dansées augmentées et d’installations interactives performatives a été consolidée par l’observation et l’étude des comportements des participants afin de déterminer les possibilités et les limites de la co-création des œuvres réaliséesInteractive 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
2
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.
Abstract (sommario):
Au croisement de l’anthropologie sociale et des arts du spectacle, cette thèse est consacrée à la transmission dans les danses mongoles en Mongolie contemporaine. En abordant l’étude de la performance dansée sous l’angle de la transmission, l’objectif principal de ce travail est de comprendre le rôle des danses dans l’engendrement d’un sentiment d’appartenance national. Dans cette perspective, la Mongolie constitue un terrain d’investigation particulièrement fécond. D’une part le bii bielgee, danse des Oirad (Mongols de l’ouest), inscrit au Patrimoine Culturel Immatériel de l’UNESCO, est intimement associé, par ses évocations mimées, au mode de vie pastoral nomade. D’autre part, la « danse mongole scénique », qui en constitue la version professionnelle, donne à ces représentations stéréotypées une légitimité nationale et internationale. Mon analyse des gestes dansés ainsi que mon enquête sur les institutions, les réseaux et les pratiques de transmission et de performance montrent que l’efficacité des danses mongoles repose moins sur les représentations qu’elles véhiculent que sur les conditions relationnelles de leur performance. Les apprentissages formels et informels que j’ai observés, et auxquels j’ai parfois pu participer, visent moins la formation physique des danseurs que la sélection et la légitimation graduelle de ceux d’entre eux qui font montre d’un « talent » (av’yaas) remarquable à se produire en public. Au cœur des processus de transmission se trouve ainsi la distinction entre danseurs et non-danseurs. Capable, par son art de la performance, de susciter des modalités de participation spécifiques chez les spectateurs, le danseur apparaît alors comme un spécialiste quasi-rituel. Délégué du groupe dont il est l’émanation légitime, il déploie ainsi dans le même acte performatif la mise en danse de la culture mongole et la légitimation de celle-ci comme un des fondements de la « mongolité »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”
3
Bidgood, Lee, e Joseph Sobol. "Performance at Historic Jonesborough Dance Society Contra Dance". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1061.
4
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.
Abstract (sommario):
Depuis ses débuts, l'anthropologie du tourisme a connu de profonds changements : d'abord dénonciateurs d'un phénomène jugé destructeur pour les cultures étudiées, les anthropologues ont peu à peu souligné que le tourisme pouvait aussi être un moyen de définir les identités locales et, pour les minorités politiques, de faire valoir certaines revendications. Comme d'autres phénomènes liés à la mondialisation, les pratiques touristiques sont ainsi traversées de tendances contradictoires, entre uniformisation et particularisation culturelle. Cette thèse propose de comprendre et d'expliquer comment les « performances touristiques » tongiennes et maori permettent de donner du sens à ces tensions pour des acteurs sociaux aux attentes et aux représentations diverses, voire contradictoires. Pour cela, il est nécessaire de comprendre les spécificités des performances touristiques, en tant que type d'action qui permet de délivrer des messages divers à des publics tout aussi divers (touristes et danseurs) par le recours à des moyens variés : langage, expérience corporelle et manipulation d'objets notammentSince 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
5
Bidgood, Lee, Trae McMaken e Roy Andrade. "Performance at Historic Jonesborough Dance Society Contra Dance". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3260.
6
Latuner-El, Mouhibb Marie-Thérèse. "Dessin - Pratiques rituelles - Danse : porosités et transports". Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3093.
Abstract (sommario):
La recherche explore, dès le départ, une pratique qui croise le dessin avec des pratiques de danse contemporaine, investissant la tension dynamique avec le sol, l’espace gravitaire. Ces pratiques sont questionnées et réinvesties par l’expérience et l’apprentissage en Inde du sud, de rituels de dessins de poudre tracés au sol : les kolam, apparaissant sur les seuils des maisons tamoules à l’aube et les kalam, réalisés lors de cérémonies rituelles au Kérala. Des dessins éphémères où alternent tracés et effacements, dans un geste sacré qui fait puis défait. Le dialogue entre pratiques rituelles et pratiques artistiques est envisagé partant de cette expérience et de cette immersion ouvrant une proximité avec l’approche anthropologique. Au-delà du religieux, qu’apporte cette mise bord à bord avec les rites, avec ces rites indiens en particulier ? Dans ces entre-deux, la pratique se déploie et engage la collaboration fertile avec différents danseurs, devenus passeurs, dans l’espace ouvert de la performance qui rend visible ce processus de mue du dessin. La poudre constitue un matériau essentiel à ces traversées fragiles. Le dessin est analysé dans ses transports successifs du sol aux corps des danseurs, à l’espace de l’installation, jouant dans l’instant des seuils du visible, disparaissant dans le geste de l’effacement, devenu le geste essentiel dans cet accès au rite. Un dessin qui propulse l’action des corps. Qu’est-ce qui peut se transporter ou non de ces pratiques rituelles et ébranler ainsi la pratique du dessin, devenant à la fois trajectoire et processus ? En quoi finalement ces rites nous regardent-ils, nous plasticiens, malgré leur profonde opacité ?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?
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Brauner, Nathan. "Dance Gala 2016: navigating stage management in dance". Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5425.
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Stavretis, Lyn, e 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.
Abstract (sommario):
This qualitative study identified the formal and informal performance management (PM) practices in use in Australian public universities for academic staff Levels A, B and C. It asked the following research questions. What PM practices are currently in use in these universities? What are the similarities in approach and what issues does PM raise? How do academic staff who take part in these practices (as either staff or management) experience them? What cultural and contextual factors (if any) contribute to this experience? What are the perceived effects of these practices on the performance of individuals, teams and the organisation? Which system elements do academic staff and academic managers perceive to be most effective in academic cultures and why? The context of substantive change within Australian universities was outlined and literature pertaining to the field of PM in general, and in educational organisations in particular, was explored. The existence, structure, purposes and other factual details of formal PM systems were identified, although the study focused on the opinions, perceptions and attitudes of the respondents. Findings suggested that current PM practice in Australian public universities did little to meet the needs of any of the key stakeholders and remained fundamentally unsatisfying to all concerned. Furthermore, the failure to clearly articulate the purposes and to consider the implementation and ongoing costs of a formal PM system typically resulted in widespread cynicism and a ritual dance of compliance that demonstrated palpably low engagement with systems. Formal PM systems helped to clarify objectives and workload allocation for some staff, but were found to be poorly linked to organisational planning processes, poor at differentiating levels of performance, not valued by academic staff as a vehicle for meaningful feedback, failing to follow through on development outcomes and thus did little to build team, individual or organisational capability. Study recommendations suggested that developmental models of PM were more appropriate and acceptable in academia and that considerable work would be required to incorporate evaluative links such as performance-related pay successfully. More rigorous evaluation, consultation processes regarding user preferences, piloting of PM systems prior to full implementation, and dedicated resources for the PM function and its outcomes (such as staff development), would be required as a part of a comprehensive change management strategy to overcome historical resistance. A thorough capability analysis of the people management skills for Heads of School and above was seen as a priority, given that feedback skill and the management of under-performance were consistently identified as problematic. The costs of under-performance warranted this expenditure. A national evaluation study of PM practice in higher education was recommended to assess the real outcomes, costs and benefits and determine whether continued investment in PM systems was actually merited. Alternative models and approaches such as modular PM systems for the different stages of an academic career, promotion portfolios, reflective practice or peer learning groups were suggested as potentially more successful in enhancing the accountability and performance of academic staff than mandated hierarchical PM.
9
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.
Abstract (sommario):
Traditionally dance is regarded as the mute performing
art, and it is true that many dances rely solely on
movement of the human body for the communication of
meaning. This paper explores the synthesis of vocal
elements and movement by one choreographer in her
efforts to create meaning. It is a personal analysis
by the artist who uses her choreography as research.
The paper must be read in conjunction with the viewing
of the videos of the two dance works: DREAM HUNTERS
and DARK HEART.
10
Grund, Meagan E. "Columbus cares a benefit dance performance/". Connect to resource, 2008. http://hdl.handle.net/1811/32150.
11
Vest, Jessica M. "Echoes: A Dance Composition and Performance". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/404.
Abstract (sommario):
Echoes: A Dance Composition and Performance analyzes the creative process of choreographing a dance with aerial elements to convey an emotional narrative. My experiences as a theatre and dance Fine and Performing Arts Honors student at East Tennessee State University from 2013-2017, culminated with my final senior capstone project as director, choreographer, and performer of The Echoing Effect, performed February 9, 2017 at the Bud Frank Theatre. The following research of the history and development of aerial dance as an art-form created a better appreciation of the artistic field and informed how I approached the daunting task of composing expressive dance that seamlessly connected movement from the ground to the air on an aerial apparatus. Through research and practical application, I explored the world of the aerial dance choreographer, and this thesis serves as a record of my journey.
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Labelle, Morgan. "Wave: A Dance Composition and Performance". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/508.
Abstract (sommario):
Wave: A Dance Composition and Performance is a choreographic work and performance that tells a personal narrative in comparison to a wave. I performed the modern/lyrical dance with two other dancers, Rachel Crabtree and Kate Trabalka, on the evening of November 16th, 2018 in room 205 of the ETSU Campus Center building. My previous technical dance training, and training as a dance minor at East Tennessee State University from 2015-2018 prepared me to proudly present a piece that was entirely choreographed by me. The following research of modern and lyrical dance shaped my choreography, as well as my musical choices that I carefully selected and edited. Using weight sharing and partner work, and pulling inspiration and direction from the Laban Movement Analysis, I thoughtfully created a ten-minute-long production. Through research and contemplation of my life, I dove head first into pouring my heart and soul into the choreography, and this thesis documents all of the aspects that came together to create Wave.
13
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.
Abstract (sommario):
The administrative skills acquired through this internship include time management, organizational, preservation, presentation, and documentation skills. This internship is a wonderful opportunity to experience the methods different dance organizations use to preserve their past, and promote their organizations through a historical perspective. Preserving the history of an organization is an important task that many of arts administration courses fail to acknowledge. However, since many other aspects of arts administration can be more easily accomplished if this task is performed efficiently, it is a valuable subject to understand.
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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.
Abstract (sommario):
This study investigated children's attributions for their performance in creative dance and folk dance. Eighty-six grade 5 and 6 children from a suburban elementary school participated in five creative dance and five folk dance lessons as part of their regular physical education program. After participation in each dance type, children completed a questionnaire which assessed their perceived success and attributions for their performance. After rating their perceived success in creative/folk dance, children gave an open-ended attributional statement for their performance, and then scored their statement along the four causal dimensions (personal control, locus of causality, stability, external control) (Weiss, McAuley, Ebbeck, & Wiese, 1990). Thirteen dance lessons were videotaped and the teacher's behavior was analysed. Results showed that children in both creative and folk dance tended to: (a) perceive their performance as successful, and (b) make functional attributions by attributing their performance to factors which they perceived as being personally controllable, internal, and not under the control of other people. Results indicated no significant effects of dance type or gender for perceived success and the four causal dimensions. However, two significant effects were found for grade, as the grade 5's perceived their performance to be more successful than the grade 6's, and also attributed their performance to factors that were less under the control of other people. Results from children's open-ended attributional statements and the observational recordings of the teacher's behavior supported the notion that creative dance and folk dance are two distinct forms of dance. The overall results appear to have positive implications with respect to the influence of creative dance and folk dance on the motivation of children. The findings therefore support the inclusion of dance in elementary physical education programs.
15
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.
16
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.
Abstract (sommario):
Femininity and Dance at the Interface of Performance: An exploration of Femininity through Performance in Suit Up, a choreographic/performance dance thesis compiles the research behind Suit Up, a ten-minute dance for six women, which investigates the performance of femininity, and provides a deep analysis of the choreography of Suit Up. This thesis looks at all elements that went into the production of Suit Up and explores the relationship a woman has with her femininity and the performance of her femininity. This thesis focuses specifically on the gestures that the particular women in this piece associate with their femininity and what this means when femininity and dance are explored together as performance. This is by no means a comprehensive thesis about the concept of femininity, but it begins to investigate the idea that women perform femininity in different contexts. What are the various ways in which femininity can be performed, including for one’s own self? A video of Suit Up is available at Scripps Dance.
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Iasci, Cyril André Victor. "Le corps qui reste. . . : travestir, danser, résister !" Paris 1, 2009. http://www.theses.fr/2009PA010655.
Abstract (sommario):
R Nous étudions I'art de la performance qui pourrait se définir comme un art qui travaille les normes de la Ia représentation. II s'agira d'imposer dans le champ de l'art une figure travestie et dansante. En ce sens, notre travail interroge une certaine sexualité "dominante" en regard de celle représentée par le travesti. D'ailleurs, Ie travestissement hante les arts plastiques mais il hante d'autres domaines. Le travesti interroge la différence , sexuelle et les rôles attendus des deux sexes. En ce sens, il est un « doux iconoclaste qui refuse l'anatomie biologique et la symbolique qui lui est rattachée. A travers la notion de techniques du corps de Marcel Mauss, nous constaterons l'impossible nudité de l'humain qui s'habille de différentes matières. Nous constaterons que le genre sexuel est parmi nos vêtements celui qui est le plus enraciné dans notre psyché. Mais Ie travesti nous prouverait que des brouillages des codes sexuels sont possibles. Ainsi, par la théorie de la performative de Judith Butler, nous envisagerons la possibilité de concevoir le genre sexuel dégagé du sexe biologique afin de nous réinventer un corps, à l'instar du travesti, capable d'un nouveau "rapport dansant " au monde.
18
Naerebout, Frits Gerard. "Attractive performances ancient greek dance : three preliminary studies ... /". Amsterdam : J. C. Gieben, 1997. http://catalogue.bnf.fr/ark:/12148/cb37003611c.
19
Denoual, Fabienne. "Le corps/objet dans les arts plastiques et la danse contemporaine". Paris 1, 2006. http://www.theses.fr/2006PA010641.
Abstract (sommario):
Cette thèse fait état du problème que soulève la rencontre du corps et de l'objet dans les arts plastiques et la danse contemporaine. Elle tente de faire apparaître qu'au-delà du rapport du corps à l'objet, au cœur du vacillement issu de leur rencontre, se dégage une entité propre formalisée par le concept de corps/objet, dont ce travail se propose de relever les modalités dynamiques - entre indifférenciation et dialectique. Plus qu'une simple description des types de relations corps-objet. Ce concept de corps/objet permet de mettre à jour un véritable processus métabolique fondé sur la transfiguration transfiguratrice du vacillement qui devient ici le vecteur d'une métamorphose éclatante, le corps devenant créateur. C'est à débusquer sa présence au cœur même des dispositifs artistiques étudiés, et son implication chez ceux qui lui sont confrontés (artistes, danseurs, spectateurs) que ce cheminement nous invite
20
Kafetzi, Eleni. "Interdisciplinarité en représentation théâtrale. Éléments du Musical dans le spectacle interdisciplinaire contemporain". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA046.
Abstract (sommario):
L’interdisciplinarité est une pratique largement employée dans le spectacle vivant contemporain. Que l'on aborde le concept de coopération ou celui d’intégration, il s’agit d’une procédure de fusion qui, dans le cas des arts du spectacle, se concrétise par la croisée des disciplines artistiques entre elles, avec d’autres sciences, ou d’autres arts. Dans la scène théâtrale l’interdisciplinarité se présente sous plusieurs formes. La présente étude se concentre sur les spectacles contemporains mariant théâtre, musique et danse et leur relation avec le genre interdisciplinaire par excellence que représente le Musical. Ce dernier est par nature un genre hybride, car il combine plusieurs arts en une seule entité. Ces arts doivent à la fois maintenir leurs intégrités propres et se combiner pour former une unicité organique. Malgré sa complexité, il réussit à être un genre à part entière qui a influencé d’autres genres, ainsi que plusieurs essais artistiques contemporains. En tant que genre autonome, il possède des lois de fonctionnement, des signes récurrents, des règles esthétiques. Nous avons choisi de traiter cinq spectacles interartistiques afin d’en dégager les caractéristiques du genre et parallèlement d’ordonner ces singularités. Notre recherche s’établie sur Out Loud de STOMP, Tubes du BLUE MAN GROUP, Perseus d’ithakArts, Elektra Fragments mise en scène par Michael HACKETT et 2, mise en scène par Dimitris PAPAIOANNOU. Ces spectacles qui échappent à toute catégorisation, présentent des similarités avec le Musical. Cette thèse se focalise ainsi sur la recherche des éléments du genre au sein de ces spectacles et propose un choix de conventions qui définissent le MusicalInterdisciplinarity 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
21
Varanda, Paula Gouveia. "Dance performance in cyberspace : transfer and transformation". Thesis, Middlesex University, 2015. http://eprints.mdx.ac.uk/18820/.
Abstract (sommario):
The aim of this research undertaking is to understand the potential development of dance performance in the context of cyberculture, by examining the way practitioners use new media to create artworks that include audience participation, and by endeavouring in their theorization. With specific reference to cyberspace as a concept of electronic, networked and navigable space, the enquiry traces the connections such practices have with conventions of the medium of dance, which operate in its widely known condition as a live performing art. But acknowledgement that new media and new contexts of production and reception inform the characteristics of these artworks and their discursive articulation, in terms of the way people and digital technologies interact in contemporary culture, is a major principle to their analysis and evaluation. This qualitative research is based on case-study design as a means of finding pragmatic evidence in particulars, to illustrate abstract concepts, technological processes and aesthetic values that are underway in a new area of knowledge. The field where this research operates within is located by a mapping of published literature that informs a theoretical interdisciplinary framework, which contextualizes the interpretation of artworks. The selected case studies have been subject to a process of systematic and detailed analysis, entailed with a model devised for the purpose of this enquiry. From this undertaking it can be claimed that while an extensive array of technologies, media and interactive models is available in this field, the artists pursue a commitment to demonstrate their worth for specifically developing (new media) dance performance, and for dance performance to articulate technological and critical issues for cyberculture studies. The results of this enquiry also contribute to conceptual understanding of what dance can be, today, in the light of technological changes.
22
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.
23
Gorney, Christopher Cole 1977. "Hip Hop Dance: Performance, Style, and Competition". Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9869.
Abstract (sommario):
vii, 41 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.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
24
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.
Abstract (sommario):
The response project and accompanying thesis aim to affirm the role of the dancer as an authority in revealing patterns and traces of accumulated lived experience, knowledge and ideas through the practice and performance of dance improvisation. The dancing body is investigated as a dynamical and complex system of research that is embedded in a process of continual response to the present. These bodily inscriptions and the process of active response form the seminal grounds for the physical and energetic exchange of improvised dance in performance.
25
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.
Abstract (sommario):
Cette thèse a pour objet d’étude théorique/pratique la performance et le performer. Il s’agit, plus précisément, de l’étude de l’utilisation de la mythologie personnelle du performer dans des processus de recherche, de créations de mises en scène et/ou des performances pour lesquelles le matériau de construction est l’univers personnel du performer. La problématique de ce projet est donc la mise en scène de la mythologie personnelle du performer qui donne son origine à une performance située entre l’autobiographie et l’autofiction. Il est question d’étudier la performance, plus précisément celle dite « autobiographique », en élargissant le champ de recherche à des créateurs qui associent le théâtre et la danse, mais également au champ des arts plastiques.A travers ce croisement des disciplines et le surgissement des nouvelles formes artistiques qui en découlent, l’objectif de ce travail est d’étudier le performer et la performance en tant que « signature » personnelle. Il est question ici de témoigner et de repérer un parcours singulier qui est à l’origine d’un processus artistique pratique/théorique lequel assume des formes esthétiques inévitablement individuelles, tout en dépassant l’affaire privée pour arriver à une notion plus large et collective. La tentative est celle d’assumer les influences et les métissages à travers lesquels nous nous sommes constitués. Elles ont ouvert la possibilité de regarder à l’intérieur de moi-même les chocs qui ont créé des itinéraires pour ensuite les accepter en tant que matériau pour ma propre création artistiqueThis 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
26
Bollen, Jonathan James, University of Western Sydney, of Performance Fine Arts and Design Faculty e 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.
Abstract (sommario):
What is happening on the dance floor at the gay and lesbian dance parties? What are lesbians and gay men doing when they dance? This thesis presents a project in performance research that takes as its locus on investigation the dance parties that have been produced annually by gay and lesbian organisations in Sydney since the early 1980s. In particular, it focuses on the largest of these dance parties, Mardi Gras Party and Sleaze Ball, during a period of research from 1994 to 1998. Harnessing these resources, the thesis aims at investigating how dance parties sustain an ongoing salience for gay men and lesbians in Sydney. On the basis of ethnographic research, performance documentation, and movement analysis, the investigation pursues an analytical trajectory across the making of dance parties within a subcultural scene, to the doing of dance parties as performance events, and then onto the dance floor as a site for performative practice. Responding to a persistent debate about straights at the parties, the anlayses register the salience of dancing as an etiquette of doing dance party as it is done, as a queer kinaesthesia sustained on the dance floor, and as an occasional community danced into existence. The thesis attests to the pertinence of analysing movement. It analyses the mobility of practice, rather than its textual residue; the kinaesthesia of performative identities, rather than their morphological contours; and the choregraphy of community, rather than its substantive contents. Recognising that queer theory too has an interest in movement, in proliferating metaphors for the mobility of queer identifications and desires, the thesis argues in conclusion that such metaphors represent imaginative flights of fancy to the extent that they fail to grasp the corporeality of queer kinaesthesiaDoctor of Philosophy (PhD)
27
Malmquist, Cassandra Muree Kathleen. "Theatre and dance lighting design". Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1688.
28
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.
Abstract (sommario):
PhilosophyPh.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
29
Bidgood, Lee. "Music and Dance in Appalachia". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1088.
30
Needham-Beck, Sarah. "Cardiorespiratory fitness in contemporary dance training and performance". Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/18150/.
Abstract (sommario):
This PhD thesis presents a thorough investigation of the relevance and importance of cardiorespiratory fitness in contemporary dance training and performance. Through an initial introduction and literature review, gaps in the current understanding of, and challenges presented by, dance training and performance practices are highlighted, as are five commonly presented conclusions of previous research. Firstly, it is often stated that dance activity predominantly consists of intermittent work periods of varying intensities, secondly that significant differences exist in the cardiorespiratory demands of class, rehearsal, and performance, thirdly that class and rehearsal intensity is insufficient to elicit an aerobic training response, fourth that the aerobic capacity of dancers is relatively low, and, lastly that high injury rates in dancers are often attributed to fatigue and overwork. However methodological limitations of previous research put into question the accuracy and validity of these statements. In order to develop understanding and overcome some of these limitations, five research studies were designed as extensions and enhancements of previous studies in this area. Three aims of the PhD were stated: 1) to investigate cardiorespiratory demands of contemporary dance performance repertoire, 2) to investigate cardiorespiratory adaptation to contemporary dance training and performance, and 3) to critically appraise methods commonly used in physiological investigation into dance and propose recommendations for future research. The main findings are that cardiorespiratory adaptation in relation to dance training and performance is highly specific and only detected through relative change in the demand of dance activity itself. Findings suggest that measures of cardiorespiratory fitness related to aerobic capacity (VO2peak) and anaerobic threshold do not change over time and are not correlated to dance performance competence. It is emphasised throughout that current methodological limitations restrict our ability to accurately document the relative cardiorespiratory demands of dance performance and change in these across a period of extended training and/or performance. The highly varied nature of contemporary dance performance is discussed throughout, including fluctuations in demand experienced by individuals, and it is emphasised that this needs to be taken into consideration in future research. Potential implications of findings from the perspective of both the researcher and the dance educator are postulated as are the contributions made to the knowledge base.
31
Fong, Yan Alycia. "The Effect of Jazz Shoes on Dance Performance". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10007.
Abstract (sommario):
The effect of jazz shoes on dance performance Despite dancers performing up to 200 jumps per class, the effect of dance shoes on jump performance has not previously been explored. Sautés are a two-legged dance jump used as a foundation for more complex jumps. The aims of this thesis were to explore the impact attenuation properties of jazz shoes and their effect on sauté height, landing and takeoff technique, and impact attenuation. A systematic review of the literature was undertaken to examine the impact attenuation effect of conventional shoes compared to barefoot during weight-bearing activities (Chapter 2). Few studies investigated the effect of shoes on jump landings, with no studies investigating dance shoes. Mechanical impact testing of four different jazz shoe designs was performed to determine their impact attenuation properties. The newest jazz sneaker design was the most impact attenuating jazz shoe despite another design having a thicker sole. 3D motion analysis of dancers performing a series of eight sautés in the different shoes with and without music was undertaken. Jump height was reduced in the high-heeled shoes compared to all other shoe conditions with a subsequent increase in stance time to synchronise with the music (Chapter 3). Knee flexion was greater in high-heeled shoes, and ankle flexion was greater in all jazz shoes than barefoot. Conversely, midfoot and MPJ motion was reduced by all jazz shoe designs (Chapter 4). Knee joint stiffness was reduced in high heeled shoes and both sneaker designs compared to barefoot (Chapter 5). The jazz shoes reduced midfoot joint velocity thus restricting midfoot joint power, with the opposite effect at the ankle during both landing and propulsive phases (Chapter 6). The jazz shoes tested in this thesis altered lower limb motion, with larger kinematic and kinetic changes displayed in the Chorus shoes resulting in a subsequent decrease in jump height. Future research should assess dance shoe design in terms of both function and aesthetic performance.
32
Kise, Laura Ann. "Performance Art as Sublimation: The Case of Dance". OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/353.
Abstract (sommario):
AN ABSTRACT OF THE THESIS OF LAURA A. KISE, for the Master of Arts degree in CLINICAL PSYCHOLOGY, presented on April 14, 2010, at Southern Illinois University Carbondale. TITLE: PERFORMANCE ART AS SUBLIMATION: THE CASE OF DANCE MAJOR PROFESSOR: Dr. Stephen Dollinger Creativity and sublimation have been linked throughout the theoretical literature on psychological defense, especially in relation to artistic creativity. As a performance art, dance has been included as a creative form in one of the commonly used measures of creative accomplishments. These links suggest the possibility that dance and sublimation may be related. The purpose of this study was to determine whether dancers endorsed sublimation more than did non-dancers. Participants consisted of 126 female participants recruited from two psychology courses and a university dance company. They completed a questionnaire about level of involvement in dance, Hocevar's Creative Behavior Inventory (including a number of dance items), and the Defense Styles Questionnaire with additional sublimation items (modeled after the sublimation item already in the DSQ) embedded within it. Results indicated that sublimation was a significant predictor of dance, as was SES. SES had a curvilinear relationship with dance such that those identified as well-off were most likely to dance. Four of the six individual sublimation items correlated significantly with dance. Particular motivations to dance also correlated significantly with sublimation and dance. Dance correlated with some of the other CBI creativity scales, but not all, suggesting domain specificity.
33
Andersen, Hannah. "Dance Science and Somatics in Training and Performance". Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22666.
Abstract (sommario):
This mixed methods investigation analyzes the effect of a novel somatics training program on dance skills. Fourteen dancers were divided into treatment and control groups. The treatment group participated in an eight-week workshop on the use of the spine utilizing sensory experiences, mini-lectures, and dance exercises. During entry and exit, all dancers learned two phrases by video containing the same motor-patterns with contrasting choreographic intents; Phrase A fluid, sustained and slow, Phrase B, dynamically enhanced. Participants performed each phrase for the camera, to be scored by a judging panel. Descriptive statistical analysis of judging data suggests the workshop positively affected their execution of skills in Phrase A, over B. Data reduction and interpretation of the participants’ interviews, questionnaires, and journals yielded several themes. This study has vast implications, suggesting combination of dance science and somatics in dance as efficacious for dancers’ experiences and execution of technical dance skills.
34
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.
Abstract (sommario):
This research is a dance-based, autoethnographic study which explores my connection with place as a Savolainen woman born on Kalkadoon country; an Australian-born Finn. Edward Relph states 'the more profoundly inside a place the person feels, the stronger will be his or her identity with that place' (1976, 49). I am interested in how a sense of "place identity" has informed my choreographic practice. Autoethnography is important because it places the research within a lived experience: my insider account of a lived experience within the White Australia Policy through my lens as a first generation Australian-born Finn. It also speaks to the space in-between for those, like me, who feel they do not fit into mainstream identity but look like they do.
By exploring my lived experience through dance autoethnography, new understandings of my place identity within a cultural, social and political context have emerged. Ellis and Flaherty state ‘subjectivity is situated such that the voices in our heads and the feelings in our bodies are linked to political, cultural, and historical contexts’ (1992, 4). In order to begin my rehearsal process, I wanted a cultural framework which related to connection with land to guide the research. My investigations led me to the Maori examples of "Tikanga Maori" (Tikanga are the customs and traditions), in particular the "Pepeha" (Introduction) and allowed me to challenge my choreographic practice through this cultural framework.
35
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.
Abstract (sommario):
La danse est a priori muette. Toutefois les danseurs contemporains utilisent de plus en plus la parole sur scène. Or, ils le font comme les comédiens et non en tant que danseurs dans le sens où la parole n’est pas influencée par la danse et inversement. C’est-à-dire que la structure linguistique n’est pas modifiée par le geste dansé ni dans sa phonétique, ni dans sa grammaire ; la structure chorégraphique n’est pas non plus transformée par les mots dits, ni dans sa motricité, ni dans sa composition. Nous verrons comment ce constat que la langue parlée n’est pas agie par le corps en mouvement et réciproquement pourrait être éclairée par les réflexions des certains philosophes : depuis Platon le corps a été soumis à l’esprit et aujourd’hui c’est l’esprit qui est soumis au corps. Cette problématique d’une relation figée et quelque peu oppressive entre danse et parole m’a motivé à chercher à fluidifier ce rapport dichotomique. Depuis 2012 je développe donc la Phonésie, une technique performative qui désautomatise et réagence les liens structurels entre geste et oralité. La Phonésie met à disposition des danseurs parlants une boîte à outils à la fois pratique et théorique : les outils pratiques proposent d’opérer un montage performatif permettant au geste dansé d’agir sur le mot dit et inversement ; les outils spéculatifs constituant des concepts inventés aidant à expérimenter différents agencements soma-linguistiques. Ces néologismes parfois plus évocateurs qu’explicites participent d’une nouvelle langue hybride, volontairement conçue comme sémantiquement plurielle et performative. La présente thèse expose un cheminement de création-recherche qui, partant des œuvres phonésiques, dévoile les processus de création de ces outils pratiques et théoriques ; ceux-ci, à leur tour, sont réinjectés dans de nouveaux projets phonésiques, remettant ainsi ce gain cognitif au défi de la création. Cette poïétique s’inscrit notamment dans la continuation d’artistes venus non seulement du milieu chorégraphique, mais aussi du théâtre, de la poésie sonore et du cinéma. Au travers d’œuvres phonésiques de formes très variées (spectacle immersif, performance participative, conférence-performance, film-action, spectacle en réalité mixte, streaming interactif) le lecteur est amené à suivre les évolutions de la Phonésie en quête d’enrichissement du champ chorégraphique, voire d’une forme nouvelle d’expression qui tente d’ouvrir un terrain inédit où le sensible et l’intelligible peuvent rencontrer de multiples intricationsDances 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
36
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.
37
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.
Abstract (sommario):
This thesis locates at the intersection between the practice of dance and the notion of 'cultural difference' in the discourses of contemporary globalization. Electing to focus on dancers and dance practices from South East Europe, and critically drawing on post-colonial, Balkan, and globalization studies, the thesis interrogates the multiplying and shifting meanings of the terms East and Eastern Europe in an age of globalization and transnationality. By investigating masculinities and labour in professional dance in the context of the contemporary dance scene in South East Europe, the thesis looks at the cultural, historical, and material conditions that shape both the dancer's experience of his/her dance practice and his/her experience of 'the everyday'. The emphasis on the dancer's experience of 'the everyday' is designed to critically explore and to challenge the established methodological boundaries of dance studies: the critical focus shifts away from the scholarly attentions that are more regularly paid to the phenomenology and perception of performance towards the conditions of dance production. As the thesis approaches dance as a practice similar to any other art practice in the globalized art markets of 'the contemporary modernity', it understands the production of dance as now bound to the function of performance in relation to the historical and cultural discourses of dance, and as conditioned by geopolitical tensions and contradictions in the world of twenty-first century globalization. Finally, in respect to dance practices in South East Europe, the thesis traces the aesthetic and political choices that dancers make in their attempts to articulate their 'difference' through practice/s resistant to commodification as a 'spectacle of difference' in an increasingly globalized contemporary dance market.
38
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.
39
Boivineau, Pauline. "Danse contemporaine, genre et féminisme en France (1968-2015)". Thesis, Angers, 2015. http://www.theses.fr/2015ANGE0034/document.
Abstract (sommario):
Cette thèse porte sur un objet complexe liant danse contemporaine, genre et féminisme dans l’espace français de 1968 à 2015. La danse partage les préoccupations des militantes féministes à l’égard des problématiques d’identité, de sexualité, d’émancipation,de déconstruction du genre et des binarismes, de recherche universaliste ou de féminitude. Nous analysons comment le féminisme informe les artistes qui, quelle que soit l’époque, peinent à se dire féministes ou à penser leur art comme l’expression de leur engagement. Considérer le potentiel subversif de la danse implique une analyse de son rapport au genre et en particulier au genre féminin, doublée par celle de la place réelle et symbolique des femmes. Les idées reçues et les stéréotypes se confrontent à la réalité.L’année 1968 marque un tournant social qui concorde avec celui de la danse, y compris d’un point de vue politique. L’art chorégraphique prend son essor au moment où la seconde vague féministe arrive sur le devant de la scène. En 50 ans les rapports qu’entretiennent la danse et le féminisme sont reconfigurés, ce qui permet d’évaluer les influences réciproques et de postuler l’existence d’une danse féministe. La confrontation aux langages des chorégraphes hommes permet de comprendre les constructions genrées et leur potentiel de remise en cause du système hétéronormé et androcentré.Comment les grandes mutations politiques (mise en place des CCN, turn-over des directions, parité, etc.),féministes (apparition d’une troisième vague, etc.),esthétiques et médiatiques nourrissent-elles la danse en tant que moyen d’expression du genre et du féminisme ? La généralisation de la nudité et la queerisation de la danse soulèvent l’enjeu du passage de la transgression du genre à sa subversion. Il s’agit de comprendre comment la troisième vague féministe, plus ouverte à la dimension culturelle et intersectionnelle, permet à la danse d’être féministeThis 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
40
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.
Abstract (sommario):
Includes bibliographical references.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'.
41
Caltabiano, Pamela Ann. "Embodied Identities: Negotiating the Self through Flamenco Dance". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/anthro_theses/33.
Abstract (sommario):
Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot-ic” passion.
42
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.
Abstract (sommario):
Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.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.
43
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/.
Abstract (sommario):
The aim of this thesis is to investigate the social and cultural significance of butoh dance beyond its original context of postwar Japan. In order to do so, the thesis explores ideas, practices and experiences of butoh dancing among contemporary–Japanese as well as non-Japanese –practitioners: primarily the Oxford-based butoh dance company Café Reason, which constituted the main case study for the research. The ethnographic particularities of butoh, as defined by its practitioners, provided the core of the investigation. That is, a common notion among teachers and students of this dance form is that butoh has no conclusive form or style. They also say that butoh is defined by its very defying of definitions. Thus, the central question that runs through the thesis is: ‘How does butoh, a dance that resists codification and classification, continue to be practised and reinvented?’ The central hypothesis of the thesis is that the core of butoh lies in its perceptual, rather than its formal, constitution and articulation. In order to test this hypothesis I engaged an unorthodox methodology that, by explicitly mobilizing sensory engagement in the processes of training and performing butoh, brought my own experience to the centre-stage of the analysis. In turn, the methodological focus on the senses unveiled the sophisticated aesthetic dimensions of butoh dancing, especially its reliance on tactile-kinesthetic perception. Based on these methodological premises, a review of butoh training and performances allowed an approach to the semantic and perceptual ‘indeterminacy’ of the butoh body. The latter is typically associated with unintelligible levels of experience: in the form of either intense, and often ‘anti-social,’ emotional states, or augmented, near-religious, states of awareness. These findings led me to identify ‘emotion’ and ‘otherness’ as the core experiential dimensions of butoh dancing, which, in turn, explains its continuity and significance as an art form. Ultimately, butoh’s synthesis of ‘art’ and ‘spirituality,’ or of ‘dance’ and ‘therapy,’ allows the analysis to situate this cultural phenomenon in a continuum between ritual and aesthetic performance, with different butoh dancers placing themselves at different positions within this spectrum.
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Coleman, Ariana Kaitlan. "Dance and Performance Arts Center: Building from the Core". Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23237.
Abstract (sommario):
Core is defined as the central, innermost, most essential part of anything. In dance every technique and movement requires intense control, which is provided by core strength. The core in the human body is the torso that consists of the abdominal muscles. These muscles cover the rib cage and protect the lungs which are the respiratory center for the body. Breath controlis 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
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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.
Abstract (sommario):
A partir de l'anàlisi d'una sèrie d'obres programades a Catalunya en aquests darrers anys, s'analitzen les aportacions de la tecnologia digital a l'escenari de la dansa actual i les seves repercussions tant en l'àmbit teòric com en el de la producció. S'arriba a la conclusió que la dansa amb mediació digital no deixa de ser dansa contemporània, per bé que el concepte de corporalitat i de tot el que se'n deriva resulti inevitablement alterat. Per tal de poder argumentar el rol de la tecnologia en la dansa actual, ha estat necessari realitzar un estudi diacrònic de l'ús de les tecnologies al llarg del temps, subratllant-ne continuïtats i ruptures. Un dels aspectes que ha resultat més complex ha estat el d'ordenar la pluralitat i diversitat de conceptes que se solen emprar, essent la seva reconceptualització una de les aportacions principals d'aquesta tesi.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.
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Sandri, Sarah, e 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.
Abstract (sommario):
This thesis investigates the representation of African dance in the United States, particularly through African dance classes and public performances. It chronicles the motivations that catalyze participation for students and instructors and studies the effects of practice on Americans' understanding of Africa as an imagined place. My findings are based on ethnographic field research in community dance classes and dance troupes in Eugene, Oregon and southern New Hampshire and Vermont from 2009-2012. The project details dance practices produced for the stage in West Africa that are reinterpreted and re-produced in American dance class settings and then subsequently retranslated for the stage by Americans. It illustrates how West African griot culture, economic realities, and audience demand influence transnational dance instruction and suggests alternative ways of understanding concepts of representation, agency, and authorship. Further, it explores how American dance students apply narratives about African dance they learn in class to forge new communities that provide fulfillment absent in their daily lives. Ultimately, the thesis demonstrates how intersections between personal and social histories and performance and performativity in African dance communities in the United States can both reaffirm and disrupt official discourses about race, ethnicity, and artistic expression.
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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.
Abstract (sommario):
This development of a performer practice that integrates elements of traditional Korean dance technique and Western forms of physical theatre and contemporary dance is based on an approach to internal understanding and external execution. Central to the work is the concept of body energy, or Ki. This ancient Eastern term is translated into a contemporary practice that enables a performer to engage mental and physical training. Breath and the use of breath in performing are the principal means of achieving this level of engagement.
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Maas, Penny. "A Pedagogical Perspective on Storytelling through Movement and Dance". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2721.
Abstract (sommario):
Dance in most musical theatre is an assumed visual element and something that is often taken for granted in production. What is its purpose is the question being pondered in this paper. Since Agnes de Mille first presented her legendary dream ballet in Oklahoma! in 1943, theatrical dance has never been the same. She revolutionized the function of dance in theatre forever. No longer would dance merely be used as interludes or divertissements. Though a seemingly simple theatrical concept, to use movement and choreography to either further the plot or to communicate a character’s journey, it is not only much easier said than done, it is also less commonly occurring than one would imagine. Dance for dance’s sake is still prevalent and the theatre suffers because of it. My thesis will be a journey paper reflecting on my teaching perspective as it has developed and changed based on my two years at Virginia Commonwealth University. I will look at the specific productions and classes I have been involved in and how they have all contributed to and shaped my emerging pedagogical philosophy regarding dance, choreography, direction and teaching. I will explore and prove the importance and necessity of “storytelling through movement” as well as explore the need for a clearly communicated goal and unifying element in all theatrical productions.
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Laugier, Catherine. "Apprentissage par observation en danse : rôle des processus représentatifs dans la reproduction de mouvements". Montpellier 1, 1995. http://www.theses.fr/1995MON14002.
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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.
Abstract (sommario):
As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based
choreographic processes led to the following areas of significance in the study, those
being; enacting a narrative, physicalising interactivity, performing virtual dance, and
choreographing through a digital perspective. Findings that enunciated the evolution
of newmedia choreographic forms and structures arose from reflective practice, dialogue with participants and feedback from a live audience.