Rozprawy doktorskie na temat „Modern dance”
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Fleischle-Braun, Claudia. "Der Moderne Tanz : Geschichte und Vermittlungskonzepte /". Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.
Pełny tekst źródłaMendini, Shauna Thelin. "GERTRUDE SHURR: PORTRAIT OF A MODERN DANCE TEACHER (DANCE)". Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/291198.
Pełny tekst źródłaHuxley, Michael. "Modern dance : a historical consideration". Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/14170.
Pełny tekst źródłaLee, Tsung-Hsin. "Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594914032775976.
Pełny tekst źródłaContrino, Michelle R. "Contemporary dance praxis a philosophical and pedagogical approach to teaching contemporary dance to incoming dance majors /". Online Access "Search by author or title", 2006. http://www.oregonpdf.org.
Pełny tekst źródłaLau, Tin-ming, i 劉天明. "Modern dance choreography in 1990s Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29511471.
Pełny tekst źródłaMacIntyre, Christine Campbell. "Criterion-referenced assessment for modern dance education". Thesis, University of Stirling, 1985. http://hdl.handle.net/1893/2182.
Pełny tekst źródłaBehunin, Laurie. "The Choreography and Production of "Jacob Five: A Journey into the Olive Vineyard"". Diss., CLICK HERE for online access, 1993. http://contentdm.lib.byu.edu/u?/MormonThesesB,10123.
Pełny tekst źródłaSpalink, Angenette M. "Loie Fuller and Modern Movement". Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277060256.
Pełny tekst źródłaTsoulou, Marina-Georgia. "Philosophical approaches to classical ballet and modern dance". Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/50522/.
Pełny tekst źródłaDu, Plessis Nicolette. "A critical review of contemporary dance/movement therapy". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002367.
Pełny tekst źródłaGriffiths, Carolyn Margaret. "Tracing image and bodily displacement in modern and postmodern dance". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1362.
Pełny tekst źródłaPylyshenko, Katja. "The experience of knowledge: a post-modern somatic approach /". The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu14879345899772.
Pełny tekst źródłaLowry, Sarah. "Bringing spirituality Into modern performance dance an examination of the Silvestre Technique as a space for global syncretism /". Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/1131.
Pełny tekst źródłaFortin, Sylvie. "The Teaching of Modern Dance: What Two experienced Teachers Know, Value and Do". The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392225790.
Pełny tekst źródłaFang, Adriane. "Inspiration to impulse inviting the spectator to enter in /". Fairfax, VA : George Mason University, 2009. http://hdl.handle.net/1920/4566.
Pełny tekst źródłaVita: p. 76. Thesis director: James Lepore. Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Dance. Title from PDF t.p. (viewed Oct. 12, 2009). A separate DVD containing video recordings of this MFA thesis performance from September 2008 titled "impulse Present" can be found with the paper copy located in Special Collections and Archives at George Mason University. ViFGM Includes bibliographical references (p. 73-75). Also issued in print.
Gelfand, Lily M. "Between". Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524828727023704.
Pełny tekst źródłaDavis, Omilade. "Modernism, Métissage and Embodiment: Germaine Acogny's Modern African Dance Technique, 1962-1975". Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/558814.
Pełny tekst źródłaPh.D.
This dissertation positions Germaine Acogny’s Modern African Dance Technique (“the Technique”) as a mode of knowledge that reveals insight into nationalism, Négritude, modernism and perspectives on modernity during the early years of Senegal’s independence. By investigating the Technique in relationship to its historical context, this study aims to identify how cultural and political values, which comprise the Technique’s embodied knowledge, are evident in its aesthetic design and philosophical underpinnings. A hybrid methodological approach is employed that merges theoretical analysis with autoethnography. Fieldwork in Senegal, archival research, interviews and embodied practice informed this study. A new theoretical frame, Wòrándá, is introduced that contributes to existing theories on embodiment in African and Diasporic dance techniques and performance. The findings of this dissertation conclude that the Technique sits at the junction of African and Euro-American cultural templates, which coalesce in the production of a codified movement technique that both embodies and confronts constructivist influences. Correlations are suggested between the Technique, Africentric perspectives and cultural nationalism. The Technique also fulfills Léopold Sedar Senghor’s vision of métissage (cultural blending) and cultural progress. Each of these ideological influences underscores the Technique’s significance as a modernist intervention on the genre of neo-traditional African concert dance, as its progenitor seeks to challenge dominant expectations of the African body in dance.
Temple University--Theses
Vincs, Kim, i mikewood@deakin edu au. "Rhizome/Myzone: The production of subjectivity in dance". Deakin University. School of Contemporary Arts, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051110.154532.
Pełny tekst źródłaBlades, H. "Scoring dance : the ontological implications of 'choreographic objects'". Thesis, Coventry University, 2015. http://curve.coventry.ac.uk/open/items/200b5495-4d08-4228-8c53-2dda6fe53f1f/1.
Pełny tekst źródłaClement, 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.
Pełny tekst źródłaLabelle, Morgan. "Wave: A Dance Composition and Performance". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/508.
Pełny tekst źródłaSterner, Jeanne J. "A school of modern dance in the city of Berlin". Thesis, Virginia Tech, 1994. http://hdl.handle.net/10919/41983.
Pełny tekst źródłaPurkayastha, Prarthana. "Bodies beyond borders : modern dance in colonial and postcolonial India". Thesis, University of Roehampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505323.
Pełny tekst źródłaBisse, Jaqueline de Meira. "Dança e modernidade". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251794.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo : "Dança e modernidade" tem a intenção de trazer um conceito de dança moderna, buscando uma definição de suas características a partir da diferenciação entre a dança moderna e as formas precedentes de dança consideradas como belas artes: a clássica e a romântica. Apresenta elementos da técnica de importantes precursores e pioneiros da dança moderna, tecendo aproximações com os conceitos inicialmente apresentados. Pretende ainda estabelecer uma relação entre as diferentes técnicas e as diferentes possibilidades históricas e culturais de se conceber o corpo e suas expressividades. Pensa a dança como um caminho para reter e fixar os momentos revelados pela memória. Traz à tona a fratura que se opera entre o artista moderno e a época moderna. E compreende a dança também como uma política, um elemento vivo que, ao mesmo tempo, transforma e é transformado dentro dessa dinâmica.Traça observações sobre as implicações ideológicas da dança solo no século XX, buscando detectar o fio comum que liga as tensões aos projetos ideológicos do solo tanto no domínio social como, especialmente, às mulheres nesse contexto
Abstract : "Dance and modernity" intends to bring a concept of modern dance, seeking a definition of their characteristics from the differentiation between modern dance and the earlier forms of dance regarded as fine art: the classical and romantic. It presents elements of the art of important precursors and pioneers of modern dance, creating approaches to the concepts originally presented. It seeks to establish a link between the different techniques and different historical and cultural possibilities of conceiving the body and its expressive. Does the dance as a way to retain and fix the moments revealed by the memory. It brings to light the fracture which operates between the modern artist and modern times. And this includes dance also as a policy, an element that live at the same time, transforms and is transformed within this dynamics. It observes the ideological implications of dance solo in the twentieth century, seeking detect the common thread that links the tensions to the projects ideological ground both in the social field and, especially, the issue of women in that context
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
Friedes, Deborah Eve. "From solo to group: individualism and collectivism in 1930s modern dance". The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328806554.
Pełny tekst źródłaMueller, Isabella F. "Force Attenuation Properties of Padded Dance Support Socks". Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556286663869203.
Pełny tekst źródłaSchwartz-Rémy, Elisabeth. "Ne rien inventer en art : paradoxes autour de la danse d'Isadora Duncan". Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30053.
Pełny tekst źródłaThis thesis, directed by Professor Claude Jamain, questions Duncan’s assertion that she does not invent her dance, which she describes as natural, even though, it is immediately praised for its novelty. In order to deal with this paradox, this research seeks to capture the way she developed her dance as a discipline with its kinesthetic, motor and qualitative aspects,against the historical and cultural contexts she encountered in America and Europe at theturn of the 19th and 20th centuries. After a presentation of bodily-practices in the United States, the thesis shows how the imaginary view of nature in America and the differing visions of antiquity in the United States and in Europe feed the development of her dance.Our conclusion, far from offering a radical answer, would rather consider her dance as are birth of the antique, as well as a new emerging dance
Strohschein, Heather. "Between modern dance and intercultural performance the multiple truths of the Bird Belly Princess /". Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182295842.
Pełny tekst źródłaRandall, Tresa M. "Hanya Holm in America, 1931-1936: Dance, Culture and Community". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/14993.
Pełny tekst źródłaPh.D.
Though she is widely considered one of the "four pioneers" of American modern dance, German-American Hanya Holm (1893-1992) occupies a shadowy presence in dance history literature. She has often been described as someone who fell in love with America, purged her approach of Germanic elements, and emerged with a more universal one. Her "Americanization" has served as evidence of the Americanness of modern dance, thus eclipsing the German influence on modern dance. This dissertation challenges that narrative by casting new light on Holm's worldview and initial intentions in the New World, and by articulating the specifics of the first five years of her American career. In contrast to previous histories, I propose that Holm did not come to the U.S. to forge an independent career as a choreographer; rather, she came as a missionary for Mary Wigman and her Tanz-Gemeinschaft (dance cultural community). To Wigman and Holm, dance was not only an art form; it was a way of life, a revolt against bourgeois sterility and modern alienation, and a utopian communal vision, even a religion. Artistic expression was only one aspect of modern dance's larger purpose. The transformation of social life was equally important, and Holm was a fervent believer in the need for a widespread amateur dance culture. This study uses a historical methodology and accesses traces of the past such as lectures, school reports, promotional material, newspaper articles, personal notebooks, correspondence, photographs, and other material--much of it discussed here for the first time. These sources provide evidence for new descriptions and interpretations of Holm's migration from Germany to the U.S. and from German dance to American dance. I examine cultural contexts that informed Holm's beliefs, such as early twentieth century German life reform and body culture; provide a sustained analysis of the curriculum of the New York Wigman School of the Dance; and consider how the politicization of dance in the 1930s--in both Germany and the U.S.--affected Holm and her work.
Temple University--Theses
Hooper, Colleen. "Public Movement: Dancers and the Comprehensive Employment Training Act (CETA) 1974-1982". Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372703.
Pełny tekst źródłaPh.D.
For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service.
Temple University--Theses
Farrar, Alexandria M. "Exploring Motivations Behind Food Choices of Collegiate Female Modern Dancers". Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1491213244018103.
Pełny tekst źródłaCarlozzo, Abby. "A STUDY OF DANCE IMPROVISATION IN AFRICANIST AND POST-MODERN CONTEXTS AS EXPERIENCED BY PHILADELPHIA-BASED ARTISTS". Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/393830.
Pełny tekst źródłaM.A.
This thesis examines the philosophical and aesthetic characteristics of dance improvisation in two enormous contexts: Africanist dance forms and the diverse genres that this term encompasses, and postmodern dance practices that grew out of the work of the Judson Dance Theater in the sixties. The impetus for this study grew out of previous research in Ouagadougou, Burkina Faso in West Africa where I collaborated with a Burkinabe dancer to uncover how our histories influence our approach to movement-making. I soon realized that we possessed different understandings of dance improvisation, and I endeavor to unpack those differences in this study. I seek to evidence the range of understandings of dance improvisation that exist in the United States by including the voices of six Philadelphia-based artists who I have interviewed for the purpose of this research. Although I initially contacted Olivier Tarpaga, Zakiya Cornish, and Cachet Ivey for their work with African dance genres, and Esther Baker-Tarpaga, Marion Ramirez, and Molly Shanahan for their work with postmodern practices of improvisation, the amount of overlap between the two contexts soon became apparent. In exposing the diverse practices of improvisation, I hope to spark a conversation about what constitutes dance improvisation in the United States.
Temple University--Theses
Tafferner-Gulyas, Viktoria. "Caribbean Traditions in Modern Choreographies: Articulation and Construction of Black Diaspora Identity in L'Ag'Ya by Katherine Dunham". Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5137.
Pełny tekst źródłaReeves, Anthony R. "Understanding French Baroque performance practice via a modern edition of Jean-Philippe Rameau's "In convertendo"". Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/298728.
Pełny tekst źródłaHudler, Melissa Lynne. "The rhetoric of stasis, gesture and dance in Renaissance literature". Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/550333/.
Pełny tekst źródłaKosstrin, Hannah Joy. "Honest Bodies: Jewishness, Radicalism, and Modernism in Anna Sokolow's Choreography from 1927-1961". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300761075.
Pełny tekst źródłaCrisp, Rosalind. "Solo work". Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/29103.
Pełny tekst źródłaBates, Whitney. "Le sacre du printemps: The First Rite (An Exploration of Modern and Aerial Dance as Storytelling)". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/380.
Pełny tekst źródłaWilkinson, Marcy. "Movements of transformation and resistance reading dance in Shakespeare /". Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1663116651&sid=4&Fmt=2&clientId=18949&RQT=309&VName=PQD.
Pełny tekst źródłaSieg, Morgan E. "Changing Tensions: The Use of Percussion in the Modern Dance Pedagogy of Franziska Boas". Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587732772039277.
Pełny tekst źródłaSimmons, Emily H. "All that pushes and pulls: A Choreographic Exploration of the Blurred Relationship Between Individuality and Conformity". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/353.
Pełny tekst źródłaWilliams, 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.
Pełny tekst źródłaBarnes, Duncan Martin. "Selling the modern day tribe: The commodification of rave culture". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2107.
Pełny tekst źródłaTaylor, Bruce D. "Creative collaboration: Defining the collaborative process between a conductor, composer, and choreographer in creating and staging an original work for modern dance". Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280338.
Pełny tekst źródłaViana, Julia Monteiro 1986. "Processo criação fronteira arte vida fronteira key zetta e cia". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285284.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente pesquisa desenvolve um questionamento às fronteiras que separam diferentes gêneros artísticos e a arte da vida cotidiana, a partir da experiência com o trabalho da key zetta e cia, companhia de dança contemporânea de São Paulo. O estudo dos processos de criação de algumas obras produzidas pela companhia conduziram a uma problematização mais abrangente dessas temáticas e de suas relações com práticas corporais de culturas "orientais" e artes performativas contemporâneas
Abstract: The present research questions the bounderies that separates different artistic genders and art from daily life, taking as reference the experience with key zetta e cia, contemporary dance company of São Paulo. The study about some of their creative processes has led to an expanded discussion about these themes and its relations with eastern body practices and contemporary performing arts
Mestrado
Artes da Cena
Mestra em Artes da Cena
Prickett, Stacey Lee. "Marxism, modernism and realism : politics and aesthetics in the rise of American modern dance". Thesis, Open University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304885.
Pełny tekst źródłaStrohschein, Heather Anne. "Between Modern Dance and Intercultural Performance: The Multiple Truths of the Bird Belly Princess". Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182295842.
Pełny tekst źródłaRichardson, Denise Christine. "Pirouettes into parallel : how classical ballet technique informs the training of contemporary dancers". Thesis, Queensland University of Technology, 2000.
Znajdź pełny tekst źródłaSnyder, Marie Carmen Alonzo. "Contemporary female choreographers of Asian descent : three case studies of an evolving cultural expression in American modern dance /". Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1178958x.
Pełny tekst źródłaIncludes tables. Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Ann H. Dils. Includes bibliographical references (leaves 237-248).