Teses / dissertações: "Emotions in the performing arts"

1

Brundage, Kimberly A. "Understanding the Role of Emotions and Social Influences in Charitable Giving Decisions". University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1417865883.

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2

Woods, Belinda Jane. "Ritual perspectives : an investigation into the epistemology of performance /". Connect to thesis, 2010. http://repository.unimelb.edu.au/10187/7116.

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This dissertation takes the form of an inter-subjective investigation into the ritual of performance, considering its function in terms of community engagement and its place in contemporary society. Ritual is placed in a secular context in which music is performed through the development of individual artistic expression, yet presented in a way that engages the audience as active participants. In this way audience and performer are united in experiencing the affect of music upon the emotions and the mind.
The views of art theorists, historians and critics, anthropologists, musicologists and arts practitioners, are held in the light of the author’s creative output through which a range of questions emerge regarding the cultivation of artistic identity, the artist’s role in the refinement of cultural expression, the relevance of live performance in the digital age, the transformational qualities of artistic practice upon the social and intellectual evolution of humanity, and the value of new musical language.
Chapter One examines the relationship between audience and musician from a performer’s perspective, in relation to Milton Babbitt’s article, Who Cares if You Listen? The connection between music performance and ritual practice and the possibility that artistic expression can actively engage audience receptivity is discussed in Chapter Two. Chapter Three contemplates the philosophical stance of the Art for Art’s Sake movement, that art exists in its own right without reference to the emotive experiences of humanity. Topics such as formal structure, the absence or presence of ethical content, the concept of aesthetic emotion and self objectivity, are examined alongside discussions of perception and consciousness. Chapter Four argues that performance, as ritual ceremony, becomes a porous boundary between lived and dream-like experience, through which the audience may pass to experience art on a profound level. The shared gesture of performer and audience becomes a life-enriching act that in turn nourishes all of society.

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3

Smith, Jacqueline. "Emotional well-being in children and adolescents attending specialist schools for the performing arts". Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264169.

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4

Rowe, Katherine. "Childhood Development: How the Fine and Performing Arts Enhance Neurological, Social, and Academic Traits". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/464.

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Abstract Childhood development has always been a major topic when studying psychology and biology. This makes sense because the brain develops from the time a child is conceived to the time that child has reached around the age of twenty-seven. Doctors, psychologists, and sociologists look at numerous things when studying childhood development. However, how common is it for researchers to study how the fine and performing arts affect childhood development? Sociologists tend to be extremely open and mindful of all aspects of things such as culture, sexuality, religion, and even age. By taking a sociological standpoint when studying the arts and studying childhood development, society is able to make connections between the two that leads to better understanding of a child's development socially, mentally, and academically.

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5

Pietraroia, Regina. "The Effects of Dance Education on the Emotional Intelligence of Underserved Students". University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1321294319.

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Pandolfi, de Rinaldis Gianna. "Fighting for Health: Theatre of the Oppressed as a Therapeutic Technique that Explores Changes in the Emotional State of Cancer Patients and Survivors". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1312437259.

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7

Albrecht, Joshua David. "Affective Analysis of Music Using the Progressive Exposure Method: The Influence of Bottom-Up Features on Perceived Musical Affect". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338310010.

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Diaz, Raymond. "Primo Passaggio: Measures Associated with Different Interpretations Sung by an Elite Soprano Performer". Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522530897483835.

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9

Schindeler, Marda. "Alberta performing arts policy". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ38440.pdf.

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Schindeler, Marda, e University of Lethbridge Faculty of Arts and Science. "Alberta performing arts policy". Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1998, 1998. http://hdl.handle.net/10133/77.

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Alberta's first arts legislation, the Cultural Development Act, was passed in 1946. It was followed by numerous policy initiatives to support the arts, including creation of facilities for training of artists, development of agencies and agreements to deal with arts funding, enactment of regulations to guide arts institutions, and creation of various Departmental structures depending on organizational location of this policy sector. The thesis examines the historical evolution of performing arts policy in Alberta from 1905 to 1997 to identify government activities, shifts in policy-making, and methods of implementation. The study utilizes Paul Sabatier's advocacy coalition approach, which treats public policy as determined by the dynamics of the advocacy coalition within a policy sector and the manner in which external factors and system parameters steer policy development. This study concludes that Alberta performing arts policy has largely developed within the context of meta public policies emphasizing economic development and provincial statebuilding.
iii, 97 leaves : ill. ; 28 cm.

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11

Human, Martie. "Encore - performing arts centre". Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11212003-110815.

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Loy, Brittany Elizabeth. "A Study of The Impact of Employee Engagement and Empowerment on Performance Management in Nonprofit and Community Theater". Franklin University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=frank1627685378575136.

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Buttolph, K., Cynthia R. Chambers, J. Gaines e T. Wynn. "Power of Performing Arts (POP Arts): An Inclusive Performing Arts Program for Individuals with and without Disabilities". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3876.

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14

Bernardi, Nicholas J. "Vitality of the performing arts". This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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Richards, Alison 1951. "Bodies of meaning : issues of field and habitus in contemporary Australasian theatrical performance practice". Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7815.

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Gallagher, Kelly A. "RUBBER MEETS ROAD: RESEARCHING, WRITING, AND PRODUCING ANORIGINAL PLAY". Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1526384703233597.

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Chambers, Cynthia R. "The Power of Performing Arts—inclusion in the Arts". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3873.

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Ngan, Chiu-long Sunny, e 顔昭朗. "Performing arts centre at Quarry Bay". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986729.

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Choa, Gillian Ann, e 蔡敏志. "The performing arts' concern: the alternativeleader". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45007913.

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20

Guo, Ying Ping. "Folded Intersection: a performing arts center". Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9606.

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This project proposes a performing arts center in Chattanooga, Tennessee, a 170-year old industrial city. As part of the city revitalization, the design seeks to build up a "stage", and create a piece of edge at the city's northern boundary. Two folded bands, one made of skeletal steel and surfaced with copper connecting the river and the mountainous landscape beyond with the city, the other made of reinforced concrete folded to form a spatial intersection housing a series of activities: performing, spectating, and exhibiting. A curved metal screened circulation wall opens at the bottom to allow the copper band to pass as an entrance into the lobby to develop its folded intersection. Through it, an industrial stack in the middle of the site is isolated from busy city, and anchored with the building as a monument. Along the west side, an additional element characterized as the education box hovers over the ground, with unobstructed views of the river and the old steel bridge on one end, and the green hill on the other.
Master of Architecture

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21

Mugira, Fredrick. "PERFORMING ARTS FOR HIV/AIDS COMMUNICATION". Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21060.

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Basing on drama theory, social learning theory and activation theory of information exposure among others, this thesis set out to explore the effectiveness of live drama as a communication tool for raising young people’s awareness about HIV/AIDS and to draw conclusions in terms of strength and weakness. This thesis used a case study of DramAidE organization in KwaZulu Natal province of South Africa which has since 1992 been using participatory drama and other interactive educational methodologies to control the spread of the HIV/AIDS epidemic in especially KwaZulu Natal province which has the highest HIV prevalence rate in the country. Data collection methods ranging from in-depth interviews, focus group discussions, E-mail interviews, real life case studies, direct observations to desk reviews were employed to collect data. The findings depicted live drama as a creative, interactive and fun way to raise young people’s awareness about HIV/AIDS. It was found out that Live Drama is participatory, uses both word and emotion and combines entertainment to educate and communicate highly sensitive information. This makes it an ideal communication tool that easily attracts the young people’s attention, helps them to personalize the risk of HIV/AIDS and participate in finding their solutions to this problem. On the other hand, it was discovered that though live drama is highly effective in raising young people’s awareness about HIV/AIDS, it is disadvantageous because its performance might be limited due to the facilities, bad weather and the environment. Development of drama and preparation of performance takes long time, it is expensive to buy costumes and live drama might cause the audience to try to practice some of the bad ideas they watch.

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Ngan, Chiu-long Sunny. "Performing arts centre at Quarry Bay". Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949159.

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Chambers, Cynthia R. "Performing Together through Inclusive Arts Programming". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3869.

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24

Fine, Jenny. "Performing Tenderness". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276799884.

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25

Reynoso, Humberto. "Performing Binaries". CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/252.

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I take a critical view of sociopolitical and cultural issues dealing with homoeroticism andgay politics. I explore gender theories in order to further understand what it means to bemasculine or feminine and how it affects my placement in society. I use art as a tool forexpressing sexual freedom while questioning traditional sexual identity. I'm interested in exploring ideas of the oppressor and the oppressed, and how power becomes an inevitable force (in every society) that creates a hierarchy, consequently establishing control. But what is power? According to various definitions, power is an entity that possesses and or exercises authority or influence. I want to focus on this idea of exercising authority, which one can argue we need, but why? To prevent chaos or is it to control a society? What about exercising influence? Do we need an influence exercised upon us? Or does that make us subjected to another person's subjective point of views? These are questions that I directly or indirectly ask with my work in relationship to gender, gender roles, and sexual orientation. I am interested in Judith Butler's theory in performing gender, and how in performing gender, one assumes social hierarchy of power depending on what gender we are performing. If I am a man performing as a man then I am treated differently by society than if I am a woman performing as a woman. But what happens if I am a man performing as a man who prefers men as lovers, or a woman who prefers other woman as lovers? In what context is this situation accepted by our society? And is it different for men and women? And why? What does it mean to be a man? What does it mean to be a woman, within the context of performance? Then taking it a step further and argue that we are all performing subjective ideas constructed by social norms.

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26

Matravers, Derek Cameron. "Art and the emotions". Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386125.

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27

Chinnery, Michael. "Creating a Christian based performing arts company". FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2341.

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The art of song, dance, poetry and theatre have been implemented into today's church programs. Most church organizations have little knowledge of what producing a successful event requires. Knowing the correct market research tactics, securing proper facilities, budgeting or booking the artist, are some of the elements needed in producing a high quality event. A business plan and study of the arts program within church organizations were the methodologies used in this study. Surveys and interviews were used to collect data from church members. The goal of Living Waters Performing Arts Incorporated is to educate, empower, and build society through the arts and faith principles with the knowledge of performing arts production. By implementing the different elements that contribute to the success of an event, Living Waters Performing Arts Incorporated will produce high quality productions.

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Choa, Gillian Ann. "The performing arts' concern : the alternative leader /". View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39873584.

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Strain-Bell, Sheila L. "Organizational conflict : in a performing arts organization". Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/77674.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1985.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 161-165.
by Sheila L. Strain-Bell.
M.C.P.

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30

Arthurs, Katherine E. "St. Martin's Episcopal School Performing Arts Department". ScholarWorks@UNO, 2000. http://scholarworks.uno.edu/aa_rpts/35.

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St. Martin's Episcopal School is located in Metairie on an 18-acre campus, bordered by Airline Drive, West Metairie, Green Acres and Haring Roads. This organization is a PreK-12, nonprofit, independent school.

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31

Mintz, Charlotte. "Vilar Performing Arts Center: An Internship Report". ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/aa_rpts/126.

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The following report documents Charlotte Mintz’s internship from January to April of 2011 at the Vilar Performing Arts Center in Beaver Creek, CO. The Vilar Performing Arts center has presented a fine array of performing arts in a mountain ski resort for the past 13 years. The Vilar Performing Arts Center offers a state of the art venue for residents and visitors to the Vail Valley to visit and see performances including plays, concerts, ballets, operas, and other various family entertainment options. This report analyzes the best practices of the Vilar along with areas with room for improvement.

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32

Pribish, Robert E. "A performing arts center on the Potomac". Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53270.

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The nature of Architecture, as it could exist at the edge of a river, was investigated through the design of a Center for Performing Arts located on the design of a Center for Performing Arts located on the Potomac River. Site analysis, functional requirements and structural feasibility were among the considerations utilized in arriving at the proposed design. The Center is comprised of three theaters, restaurants, a marina, administration offices, guest suites, and their ancillary spaces. Six stair towers support a thick wall which is situated at the river’s edge. Stage areas for the theatres were located within the wall between pairs of towers, with seating on one side of the wall and backstage areas on the other. A serpentine “riverwalk” connects the towers and four plazas, encouraging public use of the river’s edge. Parking is provided by a crescent-shaped garage which also serves as a buffer to the adjacent expressway traffic.
Master of Architecture

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33

Dontsa, Luvuyo. "Contemporary political performing arts in South Africa". Thesis, SOAS, University of London, 1990. http://eprints.soas.ac.uk/29483/.

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Despite the fact that 'transculturation' between Africans and Europeans in South Africa has been going on for more than two centuries, African contemporary political performing arts continually reflect indigenous performing arts' genres of the pre-colonial era. Although a contemporary political performing artist does not play exactly the same role that is played by the traditional artist, who 'criticises the chiefs for perverting the laws and the customs of the nation and laments their abuse of power and neglect of their responsibilities and obligations to the people' (Mafeje, 1967: 195), he still represents the public: in this case a much wider public, and expresses the views which are shared by Africans throughout the whole country. The thesis surveys the political roles of contemporary African performing arts in South Africa. It demonstrates how performing arts have been systematically used as a mechanism to 'step in arenas' where one would dare not with political vehicle, and conveying political messages to promote the struggle for national liberation. The work shows the unique manner in which political performing arts are implemented, and to what degree they have succeeded. It also reveals an element of fear among both Africans and Europeans as being an overt manifestation of the national struggle by the Africans, which has resulted in harassments and detentions of the former, and the loss of privileges to the latter. Lastly, it reflects frustration among the Africans, as their endeavours for national liberation are thwarted. The research has covered the techniques employed by the performing artists to convey political messages. It also assesses the relationship between the traditional and the avant-garde (non-conventional) performing arts, and evaluates the reasons for the change in tactics. Reactions of resentment to change in cultural and social life are discussed; how the Government has ruthlessly responded to such addresses; and how people have reacted to harsh response from the Government. The work also reveals how performing arts have appealed for international attention to address the South African situation, and how international artists have used an international forum to highlight the South African situation. Lastly, the work analyses South African contemporary political performing arts in worldwide context.

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Fabbri, Rita <1992&gt. "Performing arts between Deaf and hearing world". Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10067.

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Tse, Po-fung Jordon. "LIVE performance informal performance space within the city /". Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B31985464.

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Thesis (M.Arch.)--University of Hong Kong, 2000.
Includes special report study entitled : Identification of streetscape with performance space & identification of performance space with streetscape. Includes bibliographical references. Also available in print.

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Warg, Jakob. "Emotionella ting : applied emotions". Thesis, Konstfack, Grafisk Design & Illustration, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5862.

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Hunicutt, Julie. "In The Telling| Theatrical Devising Practice as Performance Pedagogy". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.

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A detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.

Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.

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Yeagley, Jeremy R. "Commercial music for the classical trumpeter". Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589665.

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The modern trumpet performer will be called upon to perform many different styles during their career. One of the ways a classical trumpet student can learn to play different styles is through performing in as many ensembles as their school offers and playing solos written in the vein of third stream music. One of these solos is Alfred Reed's Ode for Trumpet. This work allows the performer to experiment with jazz sounds and style without the worry of improvisation. To successfully perform this work one must have a proper sound concept, style, and the ability to tastefully embellish the melody.

The methodologies that will be used in this project report are performance practice, theoretical and analytical, and narratology. The performance practice methodology will be used to describe how to perform a work in the third stream of music. The theoretical and analytical methodology will be used to show why certain embellishments work harmonically and why the piece is considered third stream music. Finally, the short biographies of Alfred Reed and Don Jacoby will fall under the narratology methodology.

The purpose of this project report is to investigate how to properly and successfully perform trumpet works in the third stream genre and how they relate to the needs of the everyday professional trumpet player. It will cover sound concepts, style, and embellishments that will help guide a performer to their own voice in this music. The ability to change tonal colors, swing, and use extended techniques will be required of the player in various musical settings from playing in pops orchestras to Broadway style musicals to playing in a big band. These topics are important for every trumpet player, specifically classical trumpeters, to learn because they will be required to be knowledgeable and have mastered these skills to have success as a professional trumpeter.

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Felbo, Bjarke. "Teaching machines about emotions". Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/119084.

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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2018.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 69-77).
Artificial intelligence algorithms are becoming an increasingly important part of human life with many chat bots and digital personal assistants now interacting directly with us through natural language. Such human-computer interaction can be made more useful by enriching the underlying algorithms with a detailed sense of emotion. In my thesis I propose new ways to detect, encode and modify emotional content in text. First, I show how we can leverage the vast amount of texts on social media with emojis to train a classifier that can accurately detect various kinds of emotional content in text. Secondly, I introduce a state-of-the-art domain adaptation method that is explicitly designed to tackle issues occurring in the messy real-world text data that existing NLP methods struggle with. Lastly, I propose a new algorithm that could be used to decompose text inputs into disentangled representations and then manipulate these representations in a controlled manner to obtain a modified version of the input.
by Bjarke Felbo.
S.M.

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40

Langenbach, William Ray. "Performing the Singapore state 1988-1995". View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041027.174118/index.html.

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Barrios, Oswaldo A. "School of performing arts in Georgetown, Washington, DC". Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53281.

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Chambers, Cynthia R., e K. Buttolf. "Building Skills, Strengths, and Interests through Performing Arts". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3889.

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BASTIA, ELENA. "Il marketing management nelle imprese di performing arts". Doctoral thesis, Università degli Studi di Milano-Bicocca, 2013. http://hdl.handle.net/10281/43853.

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La tesi analizza le applicazioni degli strumenti del marketing nelle imprese di spettacolo dal vivo. Punto di partenza è un’analisi del settore culturale e del settore delle performing arts nello specifico, in riferimento alle caratteristiche peculiari e all’applicabilità del marketing, con i relativi vantaggi. Ad una trattazione approfondita del prodotto spettacolo e della domanda di spettacolo, segue una descrizione delle imprese di spettacolo dal vivo e del loro funzionamento, per poi descrivere il marketing strategico e operativo sviluppato all’interno di queste tipologie di imprese. Viene inoltre dedicata attenzione all’introduzione del Market-Driven Management nelle imprese di spettacolo dal vivo, ancora in fase iniziale ma meritevole di attenzione.

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44

Rosatelli, Meghan. "A Framework for Digital Emotions". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/239.

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As new media become more ubiquitous, our emotional experiences in digital space are increasing exponentially as well. While there is much talk of “affective” computing and “affective” new media art, a disconnect exists between networked emotions and the popular media that they inhabit. This research presents a theoretical framework for assessing “digital emotions”—a term that describes the feedback process between digital technologies and the body with respect to short, networked inscriptions of emotion and the (re)experience of those inscriptions within the body and through digital space. Digital emotions display five basic characteristics that can be applied to a variety of media environments: (1) They describe a process of feedback that link short, emotive inscriptions in digital environments to users and their (re)experiences of those inscriptions; (2) This feedback process includes, but is not limited to, the inscriber, the medium, and the receiver and the emotive experience fuels the initial connectivity and any further connectivity; (3) The emotional value varies depending on the media, the community of users, and the aesthetic experience of the digital emotion; (4) Digital emotions influence our emotional repertoire by normalizing our paradigm scenarios; and (5) They are highly malleable based on changes in technologies and their ability to both expand and contract emotional experiences in real time. The core characteristics of digital emotions are applied to three broad and overlapping categories: technology, community, and aesthetic experience. Each of these aspects of digital emotions work together, yet they exist along the massive spectrum of our online, emotional experiences—from our casual click of the “like” button to digital community artworks. Applied to digital spaces along this spectrum, digital emotions illuminate the feedback process that occurs between the media, the network, and the environment. The framework ultimately suggests that the process of digital emotions explicates emotions experiences that could only occur in digital space and are therefore unique to digital culture.

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Ho, Wing-ip. "The performing arts in Hong Kong is venue so critical? /". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B36790254.

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46

Paley, Sky Matthew Riel. "Theatrical Spaces as Platforms for Resistance and Revolt| The History of St. Croix and Its Present-Day Predicament through the Lens of the Play Antiman". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784929.

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This thesis explores the ways in which Caucasian theatre makers can become more effective educators and directors in diverse student populations. By drawing attention to their “whiteness” and overcoming the fear of being implicated in the subjugation of these student populations, Caucasian theatre makers can instead embrace this implication and thereby transform classrooms and theatrical spaces from static appreciations of sovereignty and beauty, into platforms for resistance and revolt. In this thesis, I interrogate my own process in the direction of my multi-actor, undergraduate student production that was borne of the journey of the creation of my solo play entitled ANTIMAN. In this play, I implicate my family and our own racism and naiveté and the many challenges I faced in telling a story that explores such controversial subject matters as racism, antiblackness, colonialism, colonization, and settler-indigenous relations from my own white, male, heterosexual orientation. It is my hope that through this examination of both my failures and successes in this process of creating and directing ANTIMAN, in concert with the history of St. Croix, that I will articulate the present-day predicament of St. Croix in a manner that creates a space for discourse, resistance, and change.

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47

You, Jihee. "The vision of new management in the performing arts /". Philadelphia, Pa. : Drexel University, 2002. http://dspace.library.drexel.edu/handle/1860/403.

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48

Hanson-Broten, Susan. "Making a living in the performing arts, reform in Canadian postsecondary performing arts curriculum : equipping artists with essential career management skills". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/MQ57659.pdf.

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49

Hanson-Broten, Susan (Susan Edith) Carleton University Dissertation Canadian Studies. "Making a living in the performing arts; reform in Canadian postsecondary performing arts curriculum: equipping artists with essential career management skills". Ottawa, 2000.

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50

Le, Thi Kieu Huong. "Performing Arts Management in a Climate of Adjustment: Case Studies from Vietnam and Australia". School of Policy and Practice, Faculty of Education and Social Work, University of Sydney, 2005. http://hdl.handle.net/2123/1115.

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Doctor of Philosophy(PhD)
This thesis investigates performing arts administration and management in the current economic and social environment in Vietnam and Australia within a context of globalisation. A comparative study of two major arts organisations in both Vietnam and Australia was carried out to investigate the following: why and how performing arts organisations are adapting to the changing environment; how arts leaders are adapting to changes; and whether arts managers need specific arts management training. The suitability of pertinent training packages and tertiary arts management courses from an Australian perspective are examined to determine whether these could be adapted for arts administration training in Vietnam. A qualitative case study approach was employed, using judgemental sampling. Two case studies were in Vietnam (the Vietnam National Symphony Orchestra and the Hanoi Youth Theatre), and two in Australia (the Sydney Symphony Orchestra and the Melbourne Theatre Company). Some arts administrators involved with managing these performing arts organisations were interviewed in-depth, and relevant documents, regulations and policies in the arts field were also analysed to lay a foundation for comprehending the operation and management of performing arts organisations in both countries, at a time of change. Findings indicate that globalisation and particularly economic changes are major pressures that are pushing arts organisations to adapt. Furthermore, in the context of the knowledge economy, credentials have become increasingly important for arts leaders to obtain their positions, while in order to be successful in their positions, practical experience, innovation and an entrepreneurial mindset proved to be even more essential. It is suggested that some pertinent arts management training courses in Australia could, if adapted, contribute to enhancing arts management and the entertainment industry in Vietnam, as well as providing mutual benefit to both Vietnam and Australia.

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