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Massuet, Jean-Baptiste. "Quand le dessin animé rencontre le cinéma en prises de vues réelles : modalités historiques, théoriques et esthétiques d'une scission-assimilation entre deux régimes de représentation". Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00935335.
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Cette thèse propose une réflexion autour de la relation entre le dessin animé et le cinéma en prises de vues réelles, en faisant reposer le propos sur l'étude d'une forme cinématographique hybride, présentant un entremêlement ou encore une rencontre entre personnages graphiques et acteurs réels. Cette recherche interroge, du cinéma des premiers temps aux expériences plus contemporaines, l'évolution d'une forme reposant sur une frontière technique constamment mouvante au gré d'innovations technologiques et de perspectives théoriques historiquement variables. En s'intéressant tout autant aux films qu'à leur réception et leur contexte de production, l'objectif est de de mettre à jour et de comprendre les raisons pour lesquelles l'animation se trouve perçue à l'heure actuelle, à la fois comme une forme radicalement différente de la prise de vues réelles, rattachée à une institution qui lui est propre, et à la fois comme une forme potentiellement assimilable au cinéma photographique, en particulier dans le cadre de certains films à effets spéciaux. L'enjeu est de creuser les racinesde cette relation singulière, de cette scission-assimilation comme nous choisissons de la nommer, qui s'explique selon des modalités à la fois historiques, théoriques et esthétiques, et que la forme hybride permet de mettre particulièrement en évidence. Notre objectif est d'analyser, à travers l'évolution de cette forme et l'usage qu'en dévoilent les films, l'émergence d'une séparation plus esthétique, discursive et institutionnelle que véritablement ontologique entre ce que divers mouvements historiques et entreprises théoriques ont pu contribuer à définir, tout au long de l'histoire du cinéma, comme deux régimes de représentation aussi séparés que potentiellement assimilables
2
Chin, Min-Zhi. "Naga: Combining 2D and 3D Animation". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/119.
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Naga is an animated short about a lively dragon that roams about the lands embracing it’s surroundings dearly. It discovered a barren land while out exploring and was saddened by the sight. After pondering for a while, it then realized it could revive the land with it’s ability to summon rain using it's dragon ball. The short blends traditional animation and computer animation, where the look is similar to 2D animation but the character and a few environment elements are done in 3D. Software utilized to complete the short were Autodesk Maya, Adobe Photoshop, Clip Studio Paint, Adobe After Effects, and Adobe Premiere Pro. The short showcases a stylized Chinese traditional ink painting style, key frame animation, and particle effects.
3
Baroin, Gilles. "Applications de la théorie des graphes à des objets musicaux : modélisations, visualisations en hyperespace". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00943407.
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A la frontière entre musique et mathématiques, cette étude présente un espace musical géométrique original utilisé pour l'analyse et la pédagogie.En utilisant différentes méthodes, les mathématiciens et théoriciens de la musique ont démontré que notre espace des hauteurs tempéré à douze notes peut être considéré comme une combinaison de tierces mineurs et majeures. Nous utilisons le produit cartésien de deux graphes circulaires C3□C4 pour construire le graphe Planet qui répond à ce concept. Comme la décomposition implique deux ensembles et que chaque classe de hauteur est la combinaison unique de ces deux sous-groupes, nous utilisons une coloration en termes de graphes par des nombres complexes et introduisons le concept d'idéogrammes à deux dimensions. Nous effectuons une analyse spectrale du graphe Planet pour déterminer ses espaces propres et obtenir des coordonnées géométriques. Le modèle qui en résulte est appelé Planet-4D, il offre à chaque symbole une position physiquement équivalente. Il comporte plus de symétries que tout modèle discret 3D. A partir de ce modèle, nous construisons une représentation en quatre dimensions où les accords parfaits se trouvent en surface d'une hypersphère. Nous étendons enfin le concept principal pour afficher n'importe quel agrégat de notes sur l'hypersphère dans un cadre atonal. Dans une seconde partie, nous modélisons sous forme de graphes des objets musicaux existants : claviers, réseaux de notes (Tonnetze) ou d'accords ainsi que des schémas de modulation. Nous appliquons des projections spectrales afin de visualiser les symétries inhérentes à ces objets et terminons par des études d'œuvres tonales et atonales, effectuées avec le système de visualisation inventé.
4
Singleton, Joe. "Ascension: A Fine and Performing Art Scholar Thesis". Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/17.
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Correro, Augustine III. "Performing Tennessee Williams". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.
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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the aural ramifications of Williams’s poetry to a now-visually-centered audience; stylistic elements similar to Williams’s contemporaries, including Rice, Brecht, O’Neill, and others; the delicacy of Williams’s signature meter and rhythm in his plays; dramaturgical groundwork in the playwright’s intentions; and a systemization of archetypical Williams characters. This thesis does not prescribe a cut-and-dried set of rules and regulations for performing Williams’s works, for the simple reason that the Williams canon is so diverse that no singular set of “tricks” will be effective in every play. Furthermore, the author understands that a producer, director, or actor will not find use in all facets of a rigid “system”. The thesis does outline a number of practices whose aims are to make productions more effective from an integral perspective. There are exercises to attempt, questions to pose, and matters to consider in the staging of Williams’s plays during any part of production—from in-class reading to designing the scenery, and from deciding why to put a Williams play in a season to the living moments of an actor’s performance. The thesis aims to be helpful, informative, and accessible, rather than doctrinaire: much like the playwright’s works, its purpose is to illuminate dark corners of something that viewers think they already fully understand.
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Southall, Sally. "Pedagogy and Performing Shakespeare's Text: A Comparative Study". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1832.
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ABSTRACT PEDAGOGY AND PERFORMING SHAKESPEARE’S TEXT: A COMPARATIVE STUDY By Sally Parrish Southall A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University Virginia Commonwealth University, 2009 Director: Dr. Noreen C. Barnes Professor, Director of Graduate Studies School of the Arts In the Master of Fine Arts program in Theatre Pedagogy at Virginia Commonwealth University, and in a second program, the Master of Letters/Master of Fine Arts in Shakespeare and Renaissance Literature in Performance at Mary Baldwin College - two specific pedagogical approaches to accessing and performing Shakespeare’s text, both in the post-graduate setting - provide significant analysis tools and performance techniques, yet they use different points of departure and areas of focus. Chapter 1 will give the background, design, and focus of the graduate programs at Virginia Commonwealth University and at Mary Baldwin College. Chapter 2 will discuss and describe Janet B. Rodgers’ teaching orientation and her particular pedagogy in “Shakespeare and Text: The War of the Roses” class at viii ix Virginia Commonwealth University. Chapter 3 will provide Dr. Ralph Alan Cohen’s professional background and the foundational structure and focus of the pedagogy in his class “Language and Performance” at Mary Baldwin College. Chapter 4 explores the parallel and overlapping methods demonstrated in these two classes as well as the contrasting specifics of their particular methodologies. Chapter 5 describes the value of the two approaches, both of which exemplify the individual strengths of the professors.
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Wetterbrandt, Oskar. "Förmedling av känslor genom animation på simplistisk modell : En studie med avsikt att utöka användningsområden för traditionell lära inom animation". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-13603.
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Denna studie undersöker ifall det är möjligt att illustrera känslor genom animation på en simplistisk modell, i detta fallet en kub. Animationerna som genomförs baseras i Disneys animationsprinciper samt Labans rörelseteori, två olika teorier angående hur högkvalitativ animation kan skapas och analyseras. Två animationer skapades, en som är tänkt att illustrera sorg och en som är tänkt att illustrera glädje. Dessa animationer tillsammans med en kort enkät nådde 84 respondenter och fick väntat resultat. Majoriteten av respondenterna läste in känslor i animationerna, men ett par av respondenterna som läste in känslor i animationerna läste in andra känslor än de som var tänkta att representeras. Slutsatsen är att det är möjligt att förmedla känslor genom animation på en simplistisk modell, men arbetet kan utökas ytterligare genom att nå ut till fler, basera animationerna på en bredare vetenskaplig grund samt att animationerna i sig recenseras och revideras av fler animatörer.
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Rogers, Brendan. "Technique arms the imagination developing an acting theory best suited for motion capture performance and the creation of a virtual character". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5029.
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The untrained body, like the sculptor's marble, can express nothing but its own limitations (Lust 70). As acting styles have changed through the years, corresponding schools of thought have arisen to prepare performers for their unique challenges. Perhaps the goal of producing a "gripping performance," one in which the audience is truly invested, has remained the same since the time of Thespis. How one arrives at this desired result, however, has varied greatly through the ages. Techniques, not surprisingly, tend to build on previous theories, beliefs and practices. Etienne Decroux's corporeal mime technique builds on the teachings of Jacques Copeau, but as a result, takes the art form into a radically new direction. Vsevolod Meyerhold studied with Stanislavski, learning his inside-out approach to performance, and, with biomechanics, creates a performance technique that turns Stanislavski's approach on its head. The point is not that these theorists developed something that undermines the previous work, but that they built their theories from knowledge of older techniques. In essence, these theorists learned from the past to prepare for the future. Advancements in film technology have dramatically changed both the nature of film, and performance, itself. Computer-generated characters and environments are becoming more commonplace in film due to the flexibility they provide in composing shots, and the relatively low price tag that comes with them. Technology still can't replace the subtlety that comes from a human performance, so currently, actors find themselves in the unique position of having one foot in the real world and the other foot in the virtual world. The motion-capture process, or moCap, is the best example of this unique relationship.; By placing sensors at key joints on an actor's body, their performance can be tracked by a computer and then directly applied to a computer-generated model (Hooks 30). In a sense, it's digital puppetry. Because only the movements are being recorded and not the actor's physical appearance, performers can play parts that are not necessarily their physical type or even their own species. Director Peter Jackson cast Andy Serkis to play a forty-foot-tall ape in the 2005 remake of King Kong, and thanks to the motion-capture process, the result is a perfect blend of live acting and computer-generated graphics. The relatively low cost and flexibility of this process has made it available, not just to filmmakers in Hollywood, but also to the independent market. I am currently directing a feature length film that utilizes both computer-generated backgrounds and virtual characters accomplished through the motion-capture process. This production has been in the works since I started graduate school. As I learn more and more about specific acting techniques in class, I am always looking for something that I could apply specifically to motion-capture performance. Currently there is little research on the topic and certainly, there's no specific acting theory that applies to this medium. In this paper I hope to formulate an acting technique that is tailored for the field of motion-capture performance, building upon theories of the past. Further study in this technique will better prepare future performers in this field, as well as provide insights for directors new to the medium. The following three techniques in particular, each with their emphasis on an outside-in approach to acting, will provide the basis for this theory: Meyerhold's biomechanics; Decroux's corporeal mime; and Edward Gordon Craig's uber-marionette concept.; I will provide detailed sections on each one of these approaches, discussing the theoretical sides of each, as well as specific exercises students in these schools are asked to perform. Next, I will provide a detailed section on the motion-capture process, discussing how it works and the challenges it presents to performers. Finally I will apply each one of the three theories to the motion-capture process, finding points where the theories apply and also where they fall short. By choosing specifically what applies to the moCap process from each one of the techniques, we will be left with a new theory that specifically relates to virtual performance. This will not only serve as an invaluable guide to both future performers and directors entering the field of motion capture, but will hopefully be the beginnings of an acting theory that can bring performance education programs into the 21st century. Working in the virtual realm requires a performer to use his imagination, but having training and knowledge in theories of the past will mean the imagination is not the only thing actors have to work with.ID: 030422726; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-92).
M.F.A.
Masters
Theatre
Arts and Humanities
Acting
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Jin, Rui. "Memoir of a marionette /". Online version of thesis, 2008. http://hdl.handle.net/1850/8039.
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Gadd, Jordan. "Performing Violence: The (Un)reality of War - Chris Burden, Edward Kienholz, Wafaa Bilal". Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/pomona_theses/29.
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Arjunan, Dorai Raj. "3D Animation: Creating an Experiential Environment". [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0719104-174201/unrestricted/Arj%20with%20animation%2017KB.pdf.
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Thesis (M.F.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-0719104-174201 Includes bibliographical references. Also available via Internet at the UMI web site.
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Moreman, Shane T. "Performativity and the Latina/o-white hybrid identity performing the textual self /". [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001101.
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Alison, Brooke Turner. "Teaching and Performing Theatre for Youth Using Physical Storytelling". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3138.
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For children to enjoy theatre they must see a story played out physically. The same is true when children act. Young performers must be taught to act using a simplified version of the Stanislavski System that puts emphasis on playable action. This thesis evaluates current acting texts for youth based on whether or not the author is able to outline a method that is accessible for children, and highlights the importance of playable action in scene work. It also provides a guide to teaching theatre for youth based on a class of the author’s design where students developed curriculum, managed classes of students, and executed lessons that emphasized the importance of physicality in acting. It includes the process and script of a devised play based on Lewis Carroll’s poem Jabberwocky where the story was told through movement. The final section is results of these experiments and feedback from children.
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Widmer, T. K. "Performing Transition: Depictions of the Transgender Experience". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/362.
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Minority groups have long faced a lack of representation in the entertainment industry. Too often when representation does exist it relied on stereotype and convention. This too is often the fate of transgender individuals when they are depicted on the screen and stage. The majority of film and television depictions of transgender individuals are inadequate. When they are depicted at all the portrayals rarely rise above trope, archetypes, and conventions. Most often the identity of the transgender individual is invalidated. Very rarely are transgender people’s identities supported. This thesis explores my own personal connection with the topic, builds a vocabulary with which to discuss the subject, examines existing film and television performances of transgender characters, and finally examines how new portrayals might challenge the existing stereotypes. I hope that this thesis, which explores a topic not often discussed, will open the door for a new theatre that supports and affirms the identities of the transgender population while managing not to sensationalize or exploit their stories for the simple entertainment of a cisgender dominated society.
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Caudill, Matthew A. "Learning to dance while becoming a dancer identity construction as a performing art /". [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001024.
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Nicely, Brenna. "Belief and Christmas: Performing Belief and the Theory and Practice of Christmas Performance". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5683.
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In the United States, Christmastime has become a time of tension between the holy ideals of family togetherness, childhood innocence, and goodwill towards men and commercial idolatry. Christ and Santa Claus are pitted against each other in the war on Christmas between religion and secularism instead of feasting together on ham and figgy pudding in the traditional fashion. While many would agree that the everyday realities of the Christmas season do not often live up to the ideals imposed upon the holiday, few are able to tell why this is so or even trace the roots of their discontent. In an exploration of the unique anomaly of the hierosecular American Christmas, I propose that the unique systems of Christmas belief extend beyond the usual boundaries of sacred and secular to create a complex web of different beliefs that are performed together to create the unique feeling of Christmas. From a performance theory perspective, I use performance as both traditionally theatrical and as a paradigm for understanding and expressing belief in an effort to explore the essential but elusively defined cultural signifiers of the American Christmas. Through a series of case studies focusing on various traditions of Christmas performance, I apply the performance theories of Diana Taylor, Patrice Pavis, Victor Turner and others to such Christmas staples as Charles Dickens' A Christmas Carol and Tchaikovsky's The Nutcracker. In doing so, I propose different points for viewing Christmas and introducing new points of inquiry for questioning the meaning of Christmas, belief, and performance.M.A.
Masters
Theatre
Arts and Humanities
Theatre
17
Johnson, Matthew. "An Ethnography of the Bay Area Renaissance Festival: Performing Community and Reconfiguring Gender". Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3509.
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This performance ethnography analyzes the means by which performers at Tampa, Florida‘s Bay Area Renaissance Festival constitute community and gender through performance. Renaissance Festivals are themed weekend events that ostensibly seek to allow visitors to experience life in an English Renaissance village. Beginning with the theoretical assumption that performance is constitutive of culture, community, and identity, and undergirded by David Boje‘s festivalism, Richard Schechner‘s restored behavior, Victor Turner‘s liminoid communitas and Judith Butler‘s performative agency, The Festival is explored as a celebratory community that engages in social change through personal transformation.
Employing reflexive ethnography and narrative as inquiry, Chapter Two catalogues and analyzes a broad range of festival performances, from stage acts and handcraft production, to participatory improvisation, dance, and song. Playful and liminoid, these performances invite participants to make performance commitments and mutually to produce community through participative performance, celebratory objects, and the surrender of personal space.
Chapter Three argues that performances of alternative masculinities at festival play out against the backdrop of R.W. Connell‘s heteronormative masculinities. These alternative performances break down social barriers, promote self-definition, and provide agency in the embodiment gendered experiences. Likewise, Chapter Four features Festival‘s feminine performances that reveal the community to be a ―wench‘s world‖ privileging Judith Butler‘s notion of performative agency in order to enable communities of difference. The Wench, the Queen, and the Pirate She- ing all embody feminine power and serve as archetypes of feminine narratives that privilege self-definition. This study demonstrates Festival to be a women-centered community that engages in a mythopoeia of feminist history.
Acknowledging Festival as a multi-vocal community of mythopoets, this ethnography significantly extends the work of previous research on Renaissance Festivals. Rather than focusing on Festival performances as attempts at historical ―authenticity,‖ this study reveals Festival‘s mythological stance and the means by which performers embody mythology and archetype to their own purposes. Moving away from an audience centered discussion of performance, this study demonstrates how individual performers, through personal transformation, become agents of change through performance.
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Williams, Samuel S. "Zig Zag Wanderer". ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2341.
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Narratives recollected from popular sources such as podcast and websites often inspire my animations, paintings, and drawings. My work serves as a pictorial manifestation of everything from visualized passages in literature to eavesdropping. I zigzag from one source to another, combining found images that are loosely associated with one another. I combine them in a simulated collage in order to form an interesting composition. My purpose is to create a magical moment that pulls us away from the monotony of life. Storytelling not only allows one to see oneself and how one relates to others, but it also can provide a way for a person to cope with the unpredictable nature of existence. I am hoping that my art will provide opportunities for the viewer to expand his/her own unique personal narrative.
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Sucharski, David Z. "Performing Jason Robert Brown's The Last Five Years: An Exercise in Communication On Stage and Off". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5521.
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Communication, in its most basic sense, is foundational for any personal, human interaction and relationship. As theatre artists, we are charged with communicating complex story lines, conceptual ideas, and emotion to an audience. Sound communication is paramount to every aspect of a musical production, be it communication between actors/characters, actor and director, amongst the production team, and arguable the most important, between the actors and the audience. My years of education as a Masters in Fine Arts candidate in Musical Theatre have been spent polishing my ability to communicate physical and emotional choices with greater accuracy, depth, and truth. By staging Jason Robert Brown's musical The Last Five Years and performing the role of Jamie, this performance thesis will explore, develop, and examine my mastery of the aforementioned varied forms of communication, all of which are necessary in building a successful musical production. Research will be conducted to gather information on relevant topics, including the history of The Last Five Years, the life of Jason Robert Brown, and his musical and theatrical influences. By further understanding Brown, his life, and his ideas about his works, I hope to more fully understand and communicate the message of the musical itself. A dramatic and musical structural analysis will provide further depth and insight into the piece, with the hopes of informing my production and individual performance. A thorough character analysis will provide connective tissue that will allow myself, as the actor, to more effectively communicate the psychological and emotional make up of the character Jamie. Lastly, the thesis document will culminate with a production journal, documenting the pre-production, rehearsal, and performance process. Through the journaling process, I will document and address the journey that I have experienced with the production, giving focus and attention to its many obstacles and discoveries, successes and failures, all of which have contributed to my personal growth as a young theatre artist.ID: 031001348; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Christopher Niess.; Title from PDF title page (viewed April 18, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 94).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Musical Theatre
20
Rowe, Daniel. "Constant Motion". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3120.
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This thesis contains my writings and concept development, as it relates to personal history, time and animated art. This is explored through various methodologies, including short story and Zen meditative writing. As a companion to my recent thesis exhibition, this paper looks to make logical, emotional and spiritual connections between my art practice, ritualized cultural tropes and contemporary views of mortality.
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Bailey, Shasta. "Building and Using a Character in 3D Space". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/214.
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The goal of this thesis was to take a character from concept to creation and animation. A variety of skills in 2D and 3D computer graphics were used in order to design and build the character for a 3D space. The character was taken from flat concept to 3D model, and then rigged with a skeleton in the 3D program Maya so that the character could be animated. The focus of the animation is a walk cycle.
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Banfather, Kaj, e Kristofer Johansson. "Meningen med LIV1 : Semiotisk karaktärsdesign för animation". Thesis, Karlstads universitet, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68594.
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Meningen med LIV1: Semiotisk karaktärsdesign för animation är en rapport skriven för ett examensprojekt utfört av Kaj Banfather och Kristofer Johansson som studerar Medie- och kommunikationsvetenskap: Visuell kommunikation och design vid Karlstads universitet. Projektets uppdragsgivare var organisationen Fryshuset, där en animation som beskriver ett av deras många sociala projekt LIV1, som går ut på att belysa det positiva med etnisk, kulturell och religiös mångfald, skulle skapas. För att gå i linje med Fryshusets värderingar och målet med LIV1 blev det därför av stor vikt att designa de karaktärer som skulle komma att finnas i animationen på ett etiskt sätt som inte förstärker stereotyper. Med teori om stereotyper och banal nationalism utforskades även idén om förekomsten av banala stereotyper. Stereotypa representationer som blivit så pass normaliserade att de ofta inte ses som direkt kontroversiella. För att identifiera de tecken och koder som kom att användas (eller undvikas) för att representera etniska och kulturella minoriteter utan att bygga på befintliga stereotyper, vare sig banala eller inte, utfördes en semiotisk analys av de två populära, svenska TV-serierna Bonusfamiljen och Torpederna. Analysen utfördes genom att undersöka tecken inom kategorierna det estetiska, beteende och kontextualitet. Resultatet visade att kontextualitet var avgörande för hur etniska minoriteter representeras i de båda serierna. När narrativet kretsar kring vad som ska föreställa svenska familjeliv och de relationer och konflikter som förekommer där, visade det sig att etniska minoriteter fick betydligt mindre betydelsefulla roller och därmed kortare skärmtid. När det istället handlade om kriminalitet ökade skärmtiden för etniska minoriteter då de fick viktigare roller, men detta kopplades starkt till att de representerades som kriminella. Beträffande det estetiska och beteende påträffades inga större avvikelser mer än att etniska minoriteter oftare observerades med våldsamma beteenden, men enbart i den serie som handlade om kriminalitet. Även detta kopplades till kontextualitet och hur etniska minoriteter oftare representerades som kriminella då det övergripande var de brottsliga karaktärerna som iakttogs utföra våldshandlingar. Slutresultatet diskuterades i koppling till de nämnda teorierna och även tidigare forskning om representationer av etniska minoriteter och karaktärsdesign. För att undvika att förstärka stereotyper designades karaktärer utifrån undersökningens resultat. De fyra, unga karaktärerna fick därför olika etniciteter och en jämnare fördelning av skärmtid. De placerades även i kreativa miljöer och representerades med intressen därefter för att motverka stereotypen av att etniska minoriteter oftare är kriminella.The meaning of LIV1: Semiotic character design for animation is a report written for a graduation project by Kaj Banfather and Kristofer Johansson who studies Media and Communication Studies: Visual Communication and Design at Karlstad University. The project's commissioner was the organisation Fryshuset, where an animation describing one of their many social projects, LIV1, that aims to highlight the positive effects of ethnic, cultural and religious diversity, was to be created. To keep in line with Fryshuset's values and the objective of LIV1, it was therefore important to design the characters that would exist in the animation in an ethical way that did not amplify stereotypes. With theories concerning stereotypes and banal nationalism the report also explored the idea of the existence of banal stereotypes. Stereotypical representations that have become normalised to the extent that they are often not seen as directly controversial. To identify the signs and codes that came to be used (or avoided) to represent ethnic and cultural minorities without building on existing stereotypes, whether banal or not, a semiotic analysis of the two popular Swedish television series Bonusfamiljen and Torpederna was performed. The analysis was conducted by examining signs within the categories the aesthetics, behaviour and contextuality. The results showed that contextuality often was crucial for the representation of ethnic minorities in both series. When the narrative revolves around what is supposed to represent Swedish family life and the relationships and conflicts that occur within that, it turned out that ethnic minorities gained significantly less important roles and thus, shorter screen time. When crime was the main topic, screen time for ethnic minorities increased as they were assigned more important roles, but this was linked to being represented as criminals. Regarding the aesthetics and behaviour, no major discrepancies were found more than that ethnic minorities more often were observed with violent behaviours, but only in the series revolving crime. This was also linked to contextuality and how ethnic minorities more often were represented as criminals and how criminal characters mostly were the ones observed to carry out acts of violence. The final results were discussed through the perspectives of the mentioned theories and also previous research on representations of ethnic minorities and character design. In order to avoid enhancing stereotypes, characters were designed based on the results of the analysis. The four young characters therefore received different ethnicities and a more even distribution of screen time. They were also placed in creative environments and then represented with the interests to counteract the stereotype that ethnic minorities more often are criminals.
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Bzura, Katherine. "I'm Not Who I Was Then, Now: Performing Identity in Girl Cams and Blogs". [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001995.
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Abrahamsson, Christian. "Camp Vamp - Att ljussätta en dansföreställning med skiftande förutsättningar". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22633.
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I work on a lighting design for a dance performance to be on tour. A lighting design adapted forthree different conditions was made:- One comprehensive where I allow myself a great deal of creative freedom, adapted for thestages with major technical conditions.- One smaller version for stages with less equipment and with less time for preparation onsite.- One design for very simple conditions.I also examine the specific differences between typical theatrical lighting design and typical dancelighting design, and the best way to prepare for the hands-on stage design phase.
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Eriksson, Cecilia. "Opera för små barn, stora barn och vuxna barn". Thesis, Stockholms konstnärliga högskola, Operahögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-735.
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Den här texten beskriver ett personligt arbete av ett försök med att förena två kompetenser – nämligen det pedagogiska med det konstnärliga. Detta görs genom att undersöka vad som krävs för att skapa en lyckad operaföreställning för barn och unga och genom att undersöka hur jag som vuxen kan gestalta ett barn på scen. Den undersökande föreställningen utgår från Mozarts opera Trollflöjten. Inspiration till föreställningens uppbyggnad hämtas från Operaverkstans och Unga på Operans verksamheter samt erfarenhet och kunskap från min lärarutbildning och tidigare konstnärliga utbildningar. Erfarenheten som görs är att den gemensamma nämnaren för både det pedagogiska och det konstnärliga är viljan att förmedla något. Oavsett om jag befinner mig i en lärande situation eller en konstnärlig situation finns drivkraften och viljan att berätta och engagera.
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Lyons, Reneé Critcher. "The Revival of Banned Dances: A Worldwide Study". Digital Commons @ East Tennessee State University, 2012. http://amzn.com/0786465948.
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Rekindling the flame: the revival of the sadir katcheri (bharata natyam) -- "It is a strict law that bids us dance": the Kwakiutl Hamatsa dance -- Poetry in motion: the hula -- We are all on this earth together: the Plains Indians sun dance -- The churning of the oceans: the survival of the Khmer classical dance ofCambodia -- Of two worlds: the whirling dervishes of Kenya -- A better way of life: the ghost dance of the Plains Indians -- "The only people can shout is right here": the unbroken chain of the ring-shout dance -- Visca sardana!: the astronomical dance of Catalonia -- Capoeiristas: righteous avengers -- The raqs sharqi (belly dance) faces trouble -- Bringing in the May -- All's well that ends well: the English Morris dance -- Feet on fire: Irish dance at the crossroads -- Sacred, yet profane: the Afro-Brazilian batuque and samba -- It takes two to tango!
"This work provides an exploration of dances banned around the world. The sixteen case studies reveal the meaning of the dance to each culture and the importance of the art form to the creation of healthy sociological and political climates. Chapters detail each dance's origins, technical steps and movements, costumes, music, and political history."https://dc.etsu.edu/etsu_books/1083/thumbnail.jpg
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Craig, Pamela S. "A descriptive analysis of the relationship between specific teacher characteristics and teacher efficacy in Florida's low-performing public high schools". [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001740.
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Nilsson, Marcus. "Spelares påverkan av gester i rollspelsdialoger : Hur kan hand- och armgester påverka hur spelaren tar till sig information i en rollspelsdialog?" Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15277.
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Studien gick ut på att undersöka hur hand- och armgester kan påverka hur spelare tar till sig information i en rollspelsdialog och vilken typ av hand- och armgester, ”kompletterande” eller ”ikoniska”, spelare föredrar och varför. Detta gjordes via skapandet av tre olika animationer baserade på teorier om gester, ”ikoniska” och ”kompletterande” gester. Tre animationer skapades, en för varje teori och en ”generisk” animation. Animationerna tillsammans med ljudlagd dialog lades upp på rollspelsforum i form av en online-enkät. Resultatet av enkäten visade att spelare föredrog den ”kompletterande” dialogsanimationen och påverkan på spelare syntes i att de tyckte det var lättare att förstå åt vilket håll en karaktär ville att spelaren skulle ta sig. Det var även större förståelse överlag genom dialogerna när extra gester fanns med.
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Hjärtström, Eloise. "Dansens inverkan på hälsan : Främjandet av dans som mer än en konstform". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-75280.
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Syftet med denna studie är att bredda kunskapen om företeelsen dans och hur dans kan påverka människans fysiska, psykiska och sociala välbefinnande. Studien inriktar sig även på att undersöka samt bredda kunskapen gällande dans som ett hälsofrämjande verktyg. Undersökningen av ovanstående utfördes på ett träningscenter i Norrbotten där verksamhetschef och instruktör intervjuades och en enkätundersökning genomfördes på deltagare som valt dans som träningsform. Totalt genomfördes två intervjuer och en enkätundersökning där urvalet bestod av 17 kvinnor. Studiens data samlades in och analyserades därefter utifrån en innehållsanalys. Resultatet visar på att dansen, via fysisk aktivitet, upplevs ha en genomgripande positiv påverkan på den fysiska, sociala och psykiska hälsan hos de medverkande i studien. Den psykiska hälsan har varit den som upplevts har påverkats mest positivt och visat sig i form av lägre stressnivåer, bättre koncentrationsförmåga och förhöjd dansglädje. Den fysiska hälsan uppfattade deltagarna hade större positivt inflytande på konditionen i jämförelse till styrkan och gällande den sociala hälsan rådde det mer delade uppfattningar om exempelvis huruvida dansen höjt självförtroendet eller inte.
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Sallstedt, Alexander. "Performing the Nation through Nature: A Study of Nationalism and Cultural Objectification : Stories from Icelandic Northern Lights Tours". Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354411.
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Two things are examined in this ethnography. The first regards a local stigmatization of the northern lights tourism industry in Iceland. A stigma, which this thesis argues, is related to a commercial saturation – or, pollution – of Icelandic national identity. The second regards the northern lights and their recent, though continual, cultural objectification, as a result of this commercialization. This will be illustrated with reference to how the northern lights are performed by guides on northern lights coach tours. These two topics will then be analyzed in view of Handler’s (1988) definition of cultural objectification: as the means with which tradition – national identity – is produced. In view of the above, the Icelandic tourism industry has boomed in the last decade. Tourists that come to Iceland desire its advertised pristine wilderness and exotic culture. Against this desire, the northern lights often fail to conform, relative to tourists’ expectations. Drawing from Baudrillard (1998) it will thus be argued that the northern lights are hyperreal and that the Icelandic nation, as a result, has come to acquire theme park like qualities. Taken together, this thesis analyzes the northern lights, and the northern lights coach tours, from the perspective of nationalism and cultural objectification.
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Retzlaff, Hilde. "The Golem Project : Creation, Animation and the Re-enchantment of the World". Thesis, Kungl. Konsthögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-458.
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The Golem Project är en studie i animation av död materia. Projektets två delar består av en essä där framförallt skapelsemyter studerats och ett fysiskt experiment utifrån fastställda hypoteser. The Golem Project presenterades på Galleri Mejan hösten 2017 som en utställning med namnet The Golem Experiment.The Golem Experiment är det fysiska experiment som resulterade av mina studier. Det presenterades i form av en skulptural installation på Galleri Mejan hösten 2017.
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Andersson, Cederholm Tilde. "Kreativitet och skapande inom skolans ramar : En studie om gymnasieelevers upplevelse av kreativitet och sitt eget skapande inom dans". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-75560.
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Den här uppsatsen handlar om hur några gymnasieelever som studerar dans på estetiska programmet upplever kreativitet och eget skapande. Syftet med studien var att undersöka elevernas upplevelse av kreativt skapande inom skolans ramar med fokus på kurserna Dansgestaltning 1 och Koreografi. Det som undersöktes var vilka faktorer som bidrar till att skapa en kreativ miljö och vilka som kan hindra det egna skapandet. Insamlade data bygger på kvalitativa semistrukturerade intervjuer. Sammanlagt gjordes fem enskilda intervjuer med elever från årskurs två och tre på en gymnasieskola i Sverige. Dessa intervjuer transkriberades sedan och analyserades för att hitta olika teman. Temana kodades sedan i olika undergrupper som analyserades. Det som kom fram i resultatet var att eleverna upplevde skapande av dans i skolan som något positivt. När de skapande uppkom känslor som glädje, entusiasm och lugn. Det framkom även vad eleverna behövde för hjälpmedel för att kunna skapa dans. De behövde ha en förförståelse för olika danssteg, en stor lokal med speglar, musik och rätt sinnesstämning. Faktorer som kunde hindra dem var liten yta, klasskamrater, dålig självkänsla, och höga krav på sig själv. Min slutsats var att eleverna ser skapandet som något positivt och de flesta hjälpmedel de behöver finns redan i skolan. Det framkom även att faktorer som hindrar vissa elever i deras skapande kan ha en positiv effekt på andra elevers skapande. Något som också framkom var att eleverna påverkades ytterst lite av betygen.
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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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Jones, Rahim Jamal. "The principal's role in building teacher leadership capacity in high-performing elementary schools : a qualitative case study". [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002167.
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Vigeland, Anne. "Exhibiting Performing Subjects : Curating Outsourced Performance Labour in Museum Settings". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-180926.
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The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences. The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of emotional investments, conflict resolution and social liaison.
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Stentiford, Lauren Jessica. "Femininity, academic discipline and achievement : women undergraduates' accounts whilst studying either a STEM or arts/humanities discipline at a high-performing British university". Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27980.
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In the academic year 1996/1997, the number of women undergraduates enrolled on degree courses at UK universities for the first time in history surpassed the number of men (Dyhouse, 2006). Year-on-year, statistics continue to indicate that women outnumber men in higher education (HE). Feminist scholars have noted that, as a consequence, women’s participation in HE has in recent years been constructed as an unequivocal ‘success story’, with women widely regarded as both outnumbering and outperforming men (Dyhouse, 2006; Leathwood and Read, 2009). This thesis seeks to trouble the notion that women really are the educational ‘winners’ by virtue of their gains at the point of access by highlighting some enduring gender inequalities within HE – that is, women's uneven experiences of the cultures and structures of HE by gender, class, ethnicity and discipline. Using a qualitative case study design, this thesis seeks to explore the everyday ‘lived’ experience of a small number of women undergraduates studying either a science, technology, engineering or mathematical (STEM) discipline or arts/humanities discipline at one high-performing British university. Using a combination of focus group interviews and 14 longitudinal case studies of individual women (comprising participant-kept diaries, in-depth interviews and email interviews), this study seeks to provide a detailed understanding of women's lives both inside and outside of their course and their negotiations of academic achievement, disentangling some of the complex processes involved in identifying with, and specializing in a discipline over time. In this study, a ‘patchwork’ theoretical approach has been adopted in order to conceptualise women’s identities, incorporating insights from feminist post-structural theory, new material feminisms and Becky Francis’ (2012) concept of gender monoglossia and heteroglossia as re-worked from Bakhtin (1981, 1987). This study indicates that women's gender and academic identities are intricately interwoven and often complex, contradictory and precarious – with women differently taking up and discarding dominant discourses of the ‘ideal’ and ‘successful’ university student in line with their distinct classed, ethnic and ‘aged’ backgrounds. This study also highlights the role that academic disciplines play in shaping women’s lived university experience both inside and outside of formalized learning contexts. In particular, the data suggests that the discourses of academic success open to the women were uneven, and powerfully shaped by the science/arts divide. Yet this study also highlights how the high-performing university was constructed by many women as a positive and freeing space, offering up a variety of discourses of student success.
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Guillemin, Alain. "Jeux chamaniques, jeux marionnettiques : Aux sources d'une culture théâtrale". Phd thesis, Université Charles de Gaulle - Lille III, 2012. http://tel.archives-ouvertes.fr/tel-00863950.
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Autour du shaman ou du montreur de marionnettes des liens se tissent pour faire face au désordre grâce à une parole en mouvement. A une représentation humaine ou animale, à un objet animé rituel ils insuflent une vie crédible car simulée et porteuse de l'énergie paradoxale des morts-vivants. La Chine porte la marque profonde de la culture des shamans : on amène un esprit dans la figure pour "jouer les dieux". Voyage initiatique en Thaïlande, Malaisie, Indonésie où l'on confortera cette idée. Mythes et rites se réduisent à des règles formelles... ou retrouvent vie et prise sur l'actualité. Le personnage de bois ou de terre apparaît, dans les mythes africains, comme un secret rapporté du monde des morts ou des esprits. Chez les Papous, en Afrique, en Europe, l'épouvantail, le mannequin, l'effigie permettent de contourner, symboliquement, la reproduction sexuée. Au Moyen Age, en Europe, le marmouset (marionnette, idole, fantôme, épouvantail) et son théâtre, se cachent derrière une chantefable, dans les fabliaux, aux origines de la farce et du castelet. Entre le shamanisme des origines grec et celui des Barbares se resitue l'apport de Platon dans sa définition de l'âme. Comment se définit le "je" chez les Papous, chez le poète Fernando Pessoa, dans le mythe moderne de Pinocchio, chez le marionnettiste qui vit "plusieurs vies" ? L'art dramatique du XIXe siècle se meurt, épuisé par l'ego des comédiens ou écrasés par le réalisme naïf des marionnettes et la Grande Guerre amène à découvrir la prothèse, la vie simulée, l'acteur mécanique, l'effigie. Entre l'absence de conscience du mannequin et la conscience infinie du dieu, dirait Kleist, on agit dans les règles du jeu
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Hansson, Ylva. "A doll’s world : Nora ur olika kulturella perspektiv". Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-968.
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This master’s thesis discusses who Nora Helmer could be today in different parts of the world. With an idea for an modern adaptation of A doll house (with three Noras from different cultural perspectives) as a starting point the purpose is to research the following questions: Who Nora could be today, how Nora could be portrayed through different cultural perspectives, what similarities and differences there are, if anything in the play has to be changed to relate to a contemporary context and what the essence of Nora is. These questions are being explored through in-depth interviews with five different female actors in different continents: North America, Asia, Oceania, Africa and Europe. The actors thoughts are presented through different themes: Who Nora is, motherhood and marriage, Nora’s favourite color, the ideal woman and who Nora could be in their context today. The last part discusses the different versions of Nora, how a classical play can open up for conversations about current gender equality issues and how this material can be used in the continued work towards a stage production.
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Valdes, Marius I. "The Unwantables: An Exploration of Visual Narrative". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1378.
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The Unwantables is a creative project that has evolved from my lifelong interest in and relationship with visual stories. To me the most compelling aspect of visual storytelling is "imagination". The author possesses the ability to create new worlds, interesting characters, and situations that can have the potential to communicate about any topic. My project explores visual narrative as a communication tool to explain the role of imagination in my life.
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Fahlén, Isabel. "Gökungen". Thesis, Konstfack, Grafisk Design & Illustration, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5844.
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Berättelsens huvudpersoner är finansmannen och fågeln som bor i hans trädgård. Världen har blivit fruktansvärt varm och slutet är nära. Men det bekymrar inte finansmannen, han ser ljust på framtiden. Ett utforskande av animation och illustration med avstamp i vår nya tidsålder antropocen.A short story about a financial man and a bird living in the Anthropocene. The world has become terribly warm and the end is near. But that doesn't bother the financial man, he takes a bright view of the future. An exploration of animation and illustration that departs from reflections on the Anthropocene.
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Einarsson, Anna. "Singing the body electric : Understanding the role of embodiment in performing and composing interactive music". Doctoral thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2567.
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Almost since the birth of electronic music, composers have been fascinated by the prospect of integrating the human voice with its expressiveness and complexity into electronic musical works. This thesis addresses how performing with responsive technologies in mixed works, i.e. works that combine an acoustic sound source with a digital one, is experienced by participating singers, adopting an approach of seamlessness, of zero – or invisible – interface, between singer and computer technology. It demonstrates how the practice of composing and the practice of singing both are embodied activities, where the many-layered situation in all its complexity is of great importance for a deepened understanding. The overall perspective put forward in this thesis is that of music as a sounding body to resonate with, where the resonance, a process of embodying, of feeling and emotion, guides the decision-making. The core of the investigation is the lived experiences through the process of composing and performing three musical works. One result emerging from this process is the suggested method of calibration, according to which a bodily rooted attention forms a kind of joint attention towards the work in the making. Experiences from these three musical works arrive in the formulation of an over-arching framework entailing a view of musical composition as a process of construction – and embodied mental simulation – of situations, whose dynamics unfold to engage musicians and audience through shifting fields of affordances, based on a shared landscape of affordances.
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Sjöholm, Sigrid. "practical, efficient, necessary". Thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-915.
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This essay is one part of my Bachelor's degree project, the other part being a dance performance with the title practical, efficient, necessary that was premiered in January of 2021. The essay discusses the main problem of the project (which was necessary movements and the lack thereof in dance) as for thoughts and methods that was used in the project in working with the theme of necessity. The essay begins by looking into movements of necessity from the perspective of a necessary movement being a practical movement that is in relation to survival and sprung out of urgency. It further explores necessary movements from the martial arts-perspective, and more specifically Muay Thai. The essay touches upon subjects such as the nervous system and the stress response as for preparatory movements as long term responses to urgency, while also looking into body-mind split theories. The essay also discusses protests as a method of self-defence, referring to artist and activist Rodney Diverlus analysis of the movements used in Black Lives Matter demonstrations. The main reference and conversation partner to many of the topics discussed in the essay is Pragmatist philosopher John Dewey and his thoughts in Art as Experience (1932) and Experience and Nature (1925). Further the essay describes the various methods used in the process of making the performance such as 'systematic choreographing' and 'temporary truths'. This allowed for further explorations of topics in the essay such as the starting and ending of movements, the power of repetition and sounds as necessity. The essay ends with reflections and refiguring of the concept of necessary movements.This work includes both a performing and a written part.
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Batchelder, Daniel Lev. "American Magic: Song, Animation, and Drama in Disney's Golden Age Musicals (1928-1942)". Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1523442817785887.
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Horta, Azeredo Monica. "A representação do feminino heroico na literatura e no cinema : uma análise das obras Quarto de Despejo, diário de uma favelada (Carolina Maria de Jesus), Estamira e Estamira para Todos e para Ninguém (Marcos Prado), De Salto Alto e Tudo sobre Minha Mãe (Pedro Almodóvar)". Phd thesis, Université Rennes 2, 2012. http://tel.archives-ouvertes.fr/tel-00745051.
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L'objectif de ce travail est d'analyser la représentation de la figure de l'héroïne en cinq oeuvres littéraires et cinématographiques: Talons Aiguilles (1991) et Tout sur Ma Mère (1999), films espagnols de fiction dirigés par Pedro Almodóvar; Estamira (2004) et Estamira para Todos e para Ninguém (2004), documentaires brésiliens en long-métrage et moyen métrage, respectivement, dirigés par Marcos Prado; et Le Dépotoir (19602), livre brésilien écrit par Carolina Maria de Jesus et édité par Audálio Dantas.Je propose d'analyser, entre autres, comment ces textes littéraires et cinématographiques façonnent et présentent ses respectives protagonistes le long de toute le récit: Rebeca (Talons Aiguilles), Manuela (Tout sur Ma Mère), Estamira (Estamira et Estamira para Todos e para Ninguém) et Carolina (Le Dépotoir).Le travail est développé en quatre chapitres. Le premier : traite des théories de représentation, de la conceptualisation et représentation de l'être héroïque, des particularités pertinentes de chaque genre (mélodrame, documentaire, journal autobiographique), et de la question d'intertextualité où chaque oeuvre s'entremêle avec d'autres types d'art. Le secondchapitre se consacre à l'analyse des questions identitaires pertinentes dans l'univers des personnages principaux, considérant son constant dialogue avec le lecteur/spectateur. Le troisième et quatrième chapitres décrivent les stratégies d'éloignement et d'approximation des héroïnes par rapport au lecteur/spectateur, observées dans les textes filmiques et littéraires.Talons Aiguilles raconte la vie de deux femmes - mère et fille - qui vivent des moments différents. La mère, la chanteuse et actrice fameuse Becky Del Páramo (Marisa Paredes), revient à Madrid, sa ville natale, où elle prétend passer ses derniers jours. Elle retrouve sa fille Rebeca (Victoria Abril) aprés quinze ans de séparation. La jeune fille n'a jamais pu surmonter le désir d'imiter sa mère.Tout sur Ma Mère représente la souffrance de Manuela (Cecília Roth), qui perd son fils unique, Estéban (Eloy Azorín) peu avant de lui raconter toute la vérité sur son père. Elle décide alors de revenir à Barcelone pour retrouver son ex-mari Estéban (Toni Cantó). Celui-ci, peu avant de l'enfanter, avait décidé de devenir le travesti Lola.Estamira et Estamira para Todos e para Ninguém, racontent l'histoire d'Estamira Gomes de Souza (1939-2011), une brésilienne qui souffre de troubles mentaux et durant près de deux décennies vit et travaille au dépotoir d'ordure du Jardim Gramacho, à Rio de Janeiro, dans de terribles conditions de vie.Le Dépotoir raconte les confidences quotidiennes de Carolina Maria de Jesus entre 1955 et 1960. L'édition a été faite par Audálio Dantas, qui lut les vingt cahiers contenant les récits de l'auteur. Dans ce livre, Carolina décrit sa routine comme favelada au côté de ses trois enfants et d'autres qui, comme elle, lutent pour survivre à la misère dans le bidonville duCanindé, à São Paulo, aujourd'hui démoli. Pour dévoiler les intentions implicites des films, j'utilise comme méthodologie, l'analyse des commentaires des personnages et l'observation des autres composants littéraires ou filmiques, comme la gestuelle, le dialogue, le scénario, les figurines, le lieu, l'atmosphère, le montage. En proposant cette analyse je me base sur des théoriciens tels que MichelFoucault, Stuart Hall, Mikhaïl Bakhtin, Kathryn Woodward, Antonio Candido et Anatol Rosenfeld
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Sheffield, Caroline C. "A multiple case study analysis of middle grades social studies teachers' instructional use of digital technology with academically talented students at three high-performing middle schools". [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002867.
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Poccia, Joseph D. "The Transformations of the Saints". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/108.
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Fucci, Trent. "Beyond performance portraying a gay character truthfully and effectively". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4896.
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Queer culture is finding an ever-increasing voice in the arts. Plays like The Laramie Project, Rent, and Angels in America have contributed to making queer identity a very present voice in popular culture. In this thesis, I investigate the excitement and complexity of a straight actor becoming a gay character on stage. Using my interpretation of "Jack" in Debbie Lamedman's new play, Triangle Logic, as a case study, I catalogue a three-month journey towards the effective embrace of truthfulness on stage. I expand the idea that actors must not layer on possibly offensive stereotypes to convey sexuality, but, instead, focus on telling the story through honest character relationships.ID: 029810171; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 67).
M.F.A.
Masters
Theatre
Arts and Humanities
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Ababou, Lyazrhi Noureddine. "Le cinéma postmoderne espagnol : Icíar Bollaín : réalisme et engagement d'une cinéaste humaniste : la libération de la femme comme dépassement des stigmates sexuels". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00802109.
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Dès ses premiers films, Icíar Bollaín a réussi à démontrer que critique sociale et succès cinématographique ne sont pas incompatibles. Elle y est parvenue principalement grâce à sa capacité à construire ses narrations autour de personnages, de situations et d'ambiances quotidiennes facilement reconnaissables par le public. De ce fait, sa filmographie ouvre un large terrain d'études dans le domaine de l'analyse cinématographique, et dans une perspective sociologique. Néanmoins, il existe un autre niveau d'analyse dans le cinéma d'Icíar Bollaín, auquel nous allons nous intéresser tout particulièrement dans ce travail. C'est ce niveau subtil, moins évident, mais sans aucun doute présent, faisant référence aux conflits et aux tensions tant culturelles, sociales qu'économiques, générées par certaines structures de pouvoir et de domination que la réalisatrice dénonce. Sans nous proposer un genre de cinéma à "thèse" ou strictement documentaire, Iciar Bollaín démonte les mécanismes de ces relations de domination, surtout entre hommes et femmes et nous livre une magnifique réflexion sur la quête identitaire, les identités genrées, le processus de libération et les solidarités tant personnelles que collectives. Pour la réalisatrice, seul le dépassement des stigmates sexuels pourrait mener à des relations solidaires entre les hommes et les femmes, leur permettant de se retrouver vraiment en tant qu'êtres humains. En approfondissant encore, nous pouvons détecter, de la part d'Icíar Bollaín, une critique de l'activité scopique du spectateur et du narcissisme du créateur artistique, rapprochés respectivement de la masculinité et de la féminité. La véritable rencontre entre les deux ne pourra se produire qu'à condition que le spectateur renonce à sa position d'observateur passif et se sente prêt à agir et que l'auteur-metteur en scène fasse le pari du partage plutôt que de l'exhibition de son travail.
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Metz, Evie. "The Puppets Look Like Flowers At Last". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5922.
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The urge to uncover aspects of human condition permeates my work, from the fundamental curiosity of a child tearing apart their doll to uncover what lies within to continuing a quest in uncovering basic human urges through my puppet animated dramas and tragedies. There is a controversial line between the childlike and the adult-like that can be ambiguous, and at some times more discernible while other times less. I create handcrafted stop-frame puppet animations that explore self-conscious emotions such as embarrassment, shame, and envy within unpredictable life scenarios. These are animations about inner life, attempting to resolve conflicting elements of the human psyche. At first glance, these puppets might appear scary, but upon closer observation the viewer may realize it is the puppet who is scared.
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Bromberg, Annika. "Klimatet, vår viktigaste berättelse : den (o)hållbara scenkonsten". Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-954.
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Denna undersökning har som övergripande syfte att undersöka vilka möjligheter scenografer och kostymdesigners har för att kunna arbeta med hållbarhet inom scenkonst. Studien fokuserar på att undersöka vilka konkreta verktyg scenkonstnärer, institutioner och branschorganisationer har till sitt förfogande idag och hur ett strategiskt hållbarhetsarbete kan läggas upp. Den undersöker också dilemmat mellan att vara både konstnär och hållbarhetsmedveten i en konstnärlig process. Metoden för undersökningen har varit att intervjua scenkonstnärer och branschorganisationer från Danmark, Norge och Sverige, för att få en helhetsbild av de olika ländernas hållbarhetsarbete och hur scenkonstbranschen medverkar till klimatomställningen. Undersökningen har analyserat material från en case study, intervjuer, litteratur, handlingsplaner och egna erfarenheter med syfte att undersöka hur scenkonstnärer arbetar med hållbarhet. Resultatet av studien visar att branschen i de olika länderna kommit olika långt i sitt hållbarhetsarbete samt att det saknas gemensamma verktyg, mål och handlingsplaner. Intervjuerna pekar också på värdet av att frågan tas på allvar, lyfts till ledningsnivå och att konstnärerna inkluderas i detta arbete. Studien har inte tagit hänsyn till huruvida extra resurser behöver tillkomma branschen för att göra tillräckliga åtgärder i tid men den pekar på vikten av att de stora institutionerna måste ta ett mer övergripande ansvar för att driva branschens framtida utveckling. Förhoppningsvis kommer studien att kunna användas som en igångsättare; av enskilda konstnärer, institutioner och andra berörda i deras omställningsarbete till en mer hållbar scenkonst.