Дисертації з теми "Dance body movements"
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Weege, Bettina [Verfasser], Bernhard [Akademischer Betreuer] Fink, and Lars [Akademischer Betreuer] Penke. "Social Perception of Dance Movements : Investigating The Signalling Value Of Male Body Movements Using Motion-Capture-Technology / Bettina Weege. Betreuer: Bernhard Fink. Gutachter: Bernhard Fink ; Lars Penke." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2015. http://d-nb.info/1077648499/34.
Повний текст джерелаRiskin, Seth. "Light Dance : light and the nature of body movement." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/46405.
Повний текст джерелаIncludes bibliographical references (leaves 37-39).
Light Dance is a conscious transfiguration of the body, its movement and the encompassing space; a transposition of matter to light exalted in the dance. This corresponds to the conceptualized spirit of the performer whose body is "consumed" by light. A transposition occurs between the performer and audience. The audience experiences the dissolution of the body into light. In this thesis I assemble fragments of visible and inner light experiences and concepts of the body by an intuition of the spirit . The purpose is to equate visible and inner light. The writing is based on light as the physical self of the spirit; the significance of the body and movement. Specific examples are cited to create a contextual fabric for the inspired design of Light Dance.
by Seth Riskin.
M.S.V.S.
Bågander, Linnea. "Body of movement : (in)forming movement." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-13271.
Повний текст джерелаAcker, Shaun Albert. "Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002361.
Повний текст джерелаFredricson, Flodin Fia. "Rörelsekatalysator : En fenomenologisk studie i högskolelärares kroppslighet i undervisning." Thesis, Södertörns högskola, Centrum för praktisk kunskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33034.
Повний текст джерелаThis master thesis has the form of a scientific essay within the theories of practical knowledge. It is an attempt to a phenomenological survey of higher education teacher´s relationship to their own corporality in teaching in a teacher education program. I investigate following question; In what ways do university teachers experience their own body and its movements in teaching? How does the teacher´s own experience of its corporality influence the understanding of the own presentation? What is the relationship between teacher´s corporality and the content of the teaching? In what way does the teacher´s corporality create relationships within the teaching?My investigation contains of narratives from my experience as a teacher in dance. It will also contain filmed observations and interviews with four other teachers in higher education at the teacher education program at the Södertörn university. The methodological and theoretical background of my study is phenomenological, based on the French philosopher Maurice Merleau-Ponty´ s work on lived body and intersubjectivity and movement and dance theories of Rudolf Laban about body, time, space and effort.Within the analysis of my empirical material I have high lightened three dimension of corporality; presentation, formation (creation) and relation, which I have discussed further in relationship to my theories. As a phenomenological study I have first tried to describe the four teacher´s experience of their own corporality and then reflect on the outcome. It is not my goal to present a quick fix answer to the best way to teach in relationship to the corporality. Instead my interest is to really try to understand how body and it´s movements can be a greater part of the interest and the curriculum of a teacher education program.
Acaron, Rios Thania. "The practitioner's body of knowledge : dance/movement in training programmes that address violence, conflict and peace." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=229434.
Повний текст джерелаFournié, Fanny. "Danse, émotions et pensée en mouvement : contribution à une sociologie des émotions : le cas de Giselle et de MayB." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENH032/document.
Повний текст джерелаThis study stands at a crossroads between a sociology of emotions – the main focus of our research – and a sociology of art. The survey here presented is grounded in two dance performances, the romantic ballet Giselle, by Jules Perrot and Jean Coralli on the one hand, and on the other hand, the contemporary dance performance MayB, by Maguy Marin The point of this analysis was to bring out the various movements of emotion at play in the course of a choreographic performance. First, I have studied the dancers' movements on stage, which, while resting on the body's technique as well as the music, the story, the costumes and the decors, participate in the making of emotions. Second, I have delved into the movement of thoughts, perceptible in the dancers and in the audience, via a kind of interior dialogue which takes part in the making of various emotions. Last but not least, I have looked into the collective and continuous flow of emotions moving back and forth between the dancers and the audience, and which is necessary for the construction of choreographic material. The methodology here used is a qualitative one, aiming to grasp the various moments in the making of emotions. Direct observations carried out during rehearsals allow for a prior understanding of how a dance technique can create emotions. Participatory observation during the performances grants an intimate illustration of the physical and emotional response of a spectator: the ballet becomes experience and the spectators become actors of the evening in the making. Finally, the audience and dancers' interviews offer food for thought, building towards a comprehensive sociology. In the end, this thesis presents emotions as “the body” of social relationships. Through them, individuals take hold of one another, underlining their differences or similarities. They adapt to the group or they do not, depending on the hold the emotions of the ballet may have on them
Odhiambo, Seonagh. "A Conversation With Dance History: Movement and Meaning in the Cultural Body." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/25258.
Повний текст джерелаPh.D.
This study regards the problem of a binary in dance discursive practices, seen in how "world dance" is separated from European concert dance. A close look at 1930s Kenya Luo women's dance in the context of "dance history" raises questions about which dances matter, who counts as a dancer, and how dance is defined. When discursive practices are considered in light of multicultural demographic trends and globalisation the problem points toward a crisis of reason in western discourse about how historical origins and "the body" have been theorised. Within a western philosophical tradition the body and experience are negated as a basis for theorising. Historical models and theories about race and gender often relate binary thinking whereby the body is theorised as text. An alternative theoretical model is established wherein dancers' processes of embodying historical meaning provide one of five bases through which to theorise. The central research questions this study poses and attempts to answer are: how can I illuminate a view of dance that is transhistorical and transnational? How can I write about 1930s Luo women in a way that does not create a case study to exist outside of dance history? Research methods challenge historical materialist frameworks for discussions of the body and suggest insight can be gained into how historical narratives operate with coercive power--both in past and present--by examining how meaning is conceptualised and experienced. The problem is situated inside a hermeneutic circle that connects past and present discourses, so tensions are explored between a binary model of past/present and new ways of thinking about dance and history through embodiment. Archives, elder interviews, and oral histories are a means to approach 1930s Luo Kenya. A choreography model is another method of inquiry where meanings about history and dance that subvert categories and binary assumptions are understood and experienced by dancers through somatic processes. A reflective narrative provides the means to untangle influences of disciplines like dance and history on the phenomenon of personal understanding.
Temple University--Theses
Williams, Tamara Lynn. "Dance/movement therapy and architecture : an investigation of modern dance as an informative discipline and theories of the body in architectural design." Thesis, Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/21612.
Повний текст джерелаUtley, Allie Elizabeth. "Children and Dance: Spontaneous Tempo, Body Morphology, and The Problem of Synchronizing to an External Beat." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243958048.
Повний текст джерелаBaird, Emily Lynne. "A Qualitative Investigation of What "Body Awareness" Means to Dancers at a Public Midwestern University." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1587991748223295.
Повний текст джерелаKissell, Kristin. "Dancing Theology - A Construction of a Pneumatology of The Body." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/941.
Повний текст джерелаCurra, Audrey D. "Body and Dream| Authentic Movement and Dream Work Evoking the Great Mother Archetype Within Psyche." Thesis, Pacifica Graduate Institute, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076219.
Повний текст джерелаThis thesis examines the use of two depth psychological techniques, somatic active imagination, known as authentic movement, and dream work in aiding a woman to embody elements of the Great Mother archetype within her psyche. These techniques act to unearth unconscious material, providing access to archetypal symbology. They help identify and explore the boundless archetypal content within, drawing it from the unconscious into consciousness for psychic integration. Dreams and authentic movement sessions are used to demonstrate how one might assist a woman in developing an embodied relationship with the Great Mother archetype and the archetypal Feminine as it exhibits within her psyche. The process is analyzed from a Jungian perspective and uses a heuristic methodology, contemplating the Great Mother archetype as an avenue for psychic transformation.
Vilaplana, Talia B. "An Analysis of Intentional Kinesthetic Empathy: A Somatic Therapeutic Approach." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/815.
Повний текст джерелаRomaguera, Lauren D. "Identification Through Movement: Dance as the Embodied Archive of Memory, History, and Cultural Identity." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3666.
Повний текст джерелаBotha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
Повний текст джерелаAcknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
Goldstein, Alexis. "The Roads are Bumpy Ones: A Study of Body Image Through Abstract Performance." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2267.
Повний текст джерелаBuckner, Margaret C. "Laban for the Actor: The Mind/Body Connection." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4748.
Повний текст джерелаVan, der Merwe Sarita. "The effect of a dance and movement intervention program on the perceived emotional well-being and self-esteem of a clinical sample of adolescents." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/27209.
Повний текст джерелаDissertation (MA)--University of Pretoria, 2010.
Psychology
unrestricted
Langston, Jeanne. "The Lived Experiences of Adult Male Trauma Survivors with Dance Movement Therapy." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6598.
Повний текст джерелаKessie, Priscilla A. "Reflections and enchantments: influences of myth, technology, identity and movement in Mirror, mirror perfected." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6972.
Повний текст джерелаCoates, Maran. "Moderat's Rusty nails and Loie Fuller's Serpentine dance : analysis cloth, the body and movement as symbolic interpretation of meaning in film." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1015733.
Повний текст джерелаBrandes, Alessandra Rodrigues Santos 1988. "Corpo-dança : um olhar discursivo." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268937.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Neste trabalho, visamos abordar o corpo tomando-o como materialidade significante e como condição de produção primeira para a dança. Uma das formas mais antigas de expressão humana é sem dúvida a dança. A dança não é somente expressão ou forma de comunicação, mas, também é arte e, sobretudo, uma forma de linguagem na história. Na literatura que trata sobre a dança, encontramos, por exemplo, estudos que abordam a dança relacionada a rituais religiosos e outros aspectos culturais, a uma lógica biomecânica e/ou a técnicas artísticas. O nosso trabalho, também aborda a dança, mais especificamente o corpo que dança pela perspectiva da linguagem. Para tanto, filiamonos ao quadro teórico e metodológico da Análise de Discurso de perspectiva materialista, (doravante AD), datada do século XX com Michel Pêcheux, na França e, posteriormente, difundida no Brasil pela Eni Orlandi. Nessa perspectiva, tomamos a constituição do discurso na relação entre língua/sujeito/história e o sentido como um efeito de um trabalho simbólico também afetado pela história. Consideramos neste trabalho, o corpo-dança como materialidade significante (LAGAZZI, 2007, 2009), que tem uma história que o produz de determinada forma e não de outra, ou seja, aspectos que são historicamente determinados. O corpo é aqui abordado além das características biomecânicas e fisiológicas, como material de linguagem social e simbólico que produz sentidos e é significado no discurso (HASHIGUTI, 2008). Ao olhar para a relação corpo-dança, não nos detemos apenas aos aspectos biofísicos, mas também olhamos para as questões histórico-ideológicas e os diferentes discursos constituídos de sentidos que se movem na história e que atravessam tal materialidade. Portanto, pensamos o corpo-dança em relação às posições históricas constituídas por/em uma memória discursiva, determinadas por condições de produção. Pensar o corpo-dança discursivamente é considerar os processos de significação que constituem o que é dançar, as imagens de dança bem como a dos corpos que dançam. É pensar como os diferentes discursos configuram e interpretam o corpo, ou seja, como esse corpo-dança se significa e quais os sentidos produzidos nele e sobre ele, e, além disso, como a dança se constitui em um "modo de acontecimento do/no corpo"
Abstract: In this paper, we intend to study the body as a significant materiality and as a first condition of production to dance. Undoubtedly, one of the oldest forms of human expression is dance. Dance is not only expression or means of communication, but also arts and, above all, a form of language in history. When it comes to the literature regarding dance studies, we could find some research related to religious rituals and other cultural aspects, and also related to a biomechanical logic and / or artistic techniques. Our object of study is also dance, but more specifically the body that dances from the language studies perspective. Therefore, our study is based on the theoretical and methodological approach of French Discourse Analysis (henceforth FDA), which was grounded in the 20th century with the studies developed by Michel Pêcheux, in France and, afterwards, widespread in Brazil by Eni Orlandi. In this perspective, discourse constitution is taken in its relation to language/subject/history. The body-dancing is understood, in this paper, as significant materiality (LAGAZZI, 2007, 2009), which has a history that produces it in a way and not in another; in other words, aspects that are historically determined. The body is understood beyond its biomechanical and physiological features, but as a social and symbolic language material that signifies and it is signified by/in discourse (HASHIGUTI, 2008). By studying the relationship named body-dancing, it is not our purpose to explore only the biophysical aspects of the body, but the ideological-historical issues and the different discourses that are constructed by meanings that move through history and constitute such materiality: bodydancing. Thus, the body-dancing has been thought in its relation to historical positions that are constituted by/in a discoursive memory, which are determined by conditions of production. Understanding the body-dancing, from a discoursive view, means to consider the signifying processes that constitute what dance is, the images of dance, and bodies that dance, as well. It is thinking how different discourses interpret and shape the body. In other words, it is analyzing how the body-dancing signifies itself and what meanings are produced in and upon it. Besides, it is how dance is constructed as "an event of/in the body"
Mestrado
Linguistica
Mestra em Linguística
Coughlin, Katherine Coughlin. "Appendage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531784815209006.
Повний текст джерелаPotrovic, Laura. "Ce qu'un corps peut devenir : cartographie entre danse et philosophie." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA087/document.
Повний текст джерелаThis thesis does not explore what body is, but what a body can become. It explores the body as event-in-making throughout the concepts such as Body without Organs (Antonin Artaud, Gilles Deleuze and Félix Guattari), bodying (Erin Manning), body-in-making (Erin Manning). What all of those concepts have in common is the same state - a state of becoming. Here, body becomes, and as such - it is a verb, an activity, a force. This thesis does not only explore the body as a force of becoming, but it also explores the becoming of that force - at the molecular, experiential and relational level. As Manning says, a body is always more-than one. Here, we are trying to approach the physical, experiential and relational becomings of a body in movement. That which moves the body from the state of being into the state of becoming is movement. This thesis is trying to show how movement never stops. We always move, therefore, there is a continuity of becoming. A body is never just a form, but a force-form. Movement is that which opens the body toward its becoming of force(s). A moving body is not a form of expression, but a force-field of expressivity. Movement makes the body, therefore, the body itself is a movement. We are not dancing with the body, we are dancing the body itself. The body is a score, a body-score, of its own becoming
McDavitt, Wallin Frida. "Tecken på rörelse." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5814.
Повний текст джерелаWe use our bodies as tools to measure space, stability, scale and direction. Architecture stimulates our senses and sets a stage for movement. Choreography is a composition of movements. Choreography is also deciding how people move. My project investigates in what way architecture choreographs the body and how I as an interior architect can act choreographer in my work.
Yakhni, Mathilda 1959. "Movimento, percepção, imaginação e a via artística : o método Feldenkrais de educação somática como parceiro para o treino de dançarinos." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284375.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente estudo tem como ponto de partida a idéia de que o Método Feldenkrais de Educação Somática pode ser um interessante parceiro no treino e no desenvolvimento de dançarinos de diferentes técnicas e estilos. A expectativa, ao longo do processo, é saber se os dançarinos participantes percebem diferenças em seu treino cotidiano após terem vivenciado o processo proposto. Para captar a idéia de cada participante sobre dançar, treinar e sobre o processo vivido durante o presente estudo foram utilizados entrevistas e observação de desempenho dos dançarinos enquanto realizavam seus treinos (gravados em vídeo), antes e depois de passarem pelo processo do Método Feldenkrais de Educação Somática. Os dados obtidos foram analisados com métodos qualitativos explicitados no decorrer da análise. Os resultados obtidos confirmaram a expectativa de que os dançarinos podem ser beneficiados pelo Método Feldenkrais de Educação Somática
Abstract: The present study takes as its starting point the idea that the Feldenkrais Method of Somatic Education can be an interesting partner in the training and development of dancers of different techniques and styles. The expectation over the proceedings is whether the dancers perceive differences in their training routine after having experienced the process proposed. In order to capture the idea of each participant on dance, train and on the process experienced during this study I used interviews and observation of performance while the dancers perform their practice (videotaped), before and after undergoing the process of the Feldenkrais Method of Somatic Education. The data are analyzed with qualitative methods. The results confirm the expectation that the dancers can benefit from the Feldenkrais Method of Somatic Education
Mestrado
Artes Cenicas
Mestre em Artes
Sastre, Cibele. "Nada é sempre a mesma coisa. Um motivo em desdobramento através da Labanálise." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/26547.
Повний текст джерелаThis thesis describes the creative and analytical process I used to develop choreography for three dancers called The Chair_/ An Island. I developed this trio choreography from one fragment of an earlier solo choreography called Chair Experiment, using an aspect of Laban Movement Analysis called "motif writing". I used this method as a score to multiply the original motifs into other bodies/subjects, objects, spaces, and time. My work was done in Brazil in collaboration with two other dancers, Juliana Vicari and Luciana Hoppe. From a post-positivist approach and artistic perspective, this thesis describes features of Laban Movement Analysis and Dance Dramaturgy which enhance the creative process. Both help us to understand possible choices and directions which are available to us when creating a choreography. I conclude that motif writing is efficient as a movement score for dramaturgy composition or reposition and that the use of this procedure encourages the artists for a self revelation. I found the 'reduplication of the Other in myself‘ as a creative potential and affirmative way as a performer.
Damkjaer, Camilla. "The Aesthetics of Movement : Variations on Gilles Deleuze and Merce Cunningham." Doctoral thesis, Stockholms universitet, Institutionen för musik- och teatervetenskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-645.
Повний текст джерелаPilbäck, David. "E=(motion)2 : Mellan rörelse och dans." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18963.
Повний текст джерелаBonnet, Aurore. "Qualification des espaces publics urbains par les rythmes de marche : approche à travers la danse contemporaine." Phd thesis, Université de Grenoble, 2013. http://tel.archives-ouvertes.fr/tel-00846710.
Повний текст джерелаDievaitytė, Ugnė. "Užsiėmimų, paremtų šokio - judesio terapija, efektyvumas keičiant 18-25 m. merginų kūno vaizdą." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110621_094008-00823.
Повний текст джерелаThe aim of the research is to evaluate the efficacy of sessions based on dance/movement therapy in altering body image of 18-25 years old girls. 105 girls from Vytautas Magnus University Social Sciences Faculty participated in the research. 40 girls of the intervention group attended all of the five sessions based on dance/movement therapy. 37 girls of the control group attended a lecture and pre and post measuring. Once a week intervention group participants attended one and a half an hour duration sessions based on dance/movement therapy designed for improving body image. Control group participated in two hours duration lecture about eating disorders, distorted body image and the applicability of dance/movement therapy. In order to evaluate the efficacy of the sessions based on dance/movement therapy research participants filled in Body Shape, Eating Attitude, Evaluation of Sessions Utility Questionnaires, Positive and Negative Emotions, Weight Preoccupation, Appearance Evaluation, Appearance Orientation, Body Areas Satisfaction Scales. Research participants had to fill in Positive and Negative Emotions scales before and after each session as well. The results of the research indicate that the methods used in the sessions based on dance/movement therapy have a positive effect on improving body image, i.e. positive emotions towards one’s body increased, negative ones – decreased in quantity, preoccupation with weight and appearance reduced and one’s appearance evaluation... [to full text]
Saladain, Lise. "Approche critique du "corps disponible" dans le champ chorégraphique : une contribution à l'étude des modes de structuration du monde de la danse par l'entrée de la diffusion des savoirs." Thesis, Bordeaux, 2017. http://www.theses.fr/2017BORD0004/document.
Повний текст джерелаVery often nowadays, the dance community addresses the following formulation: «available body». Taking an overall look of the transmission process of the making of a dancer, it is suggested that in dance a well rounded performing body is not a body customized to artistic requirements for a codified dance anymore, but a body whose adaptation would paradoxically lie in both esthetic and physical great plasticity. What can this new dance body concept induce on choreographic transmission – and beyond - on today's neoliberal society? The study first examines the context of the emergence and enforcement of the available body idea. This thorough investigation on the construction of a dance body in the 20th century reveals that there is a connection between the available body cultural production and a certain idea of freedom. What is then the actual meaning of this term? In order to answer this question, the second part of the study involves an almost two year ethnography undertaken with companies creating new work. The observation of the use of the body in work context, between dancers and choreographers, provides information on this knowledge-practice available body: it is used by the dancers and choreographers to develop new corporealities. More specifically, the way the availability of the body is brought up to date in the daily creative work process in dance is examined, testing the hypothesis that the body regarded as available within the professional field is never isolated from the Bourdieusian disposition concept. We will thus discuss how do availabilities and dispositions adjust themselves so that to make intelligible this available body knowledge. The last phase of our study will be devoted to the development of this knowledge: How do dancers use this available body knowledge in the profession? And how does this knowledge disseminate to other areas of practice?
Rebeschini, Nicola. "Image corporelle, Corps d'images. Processus de création et œuvre aujourd'hui. Hypothèses pour une esthétique organique : Étude comparative à partir de l'installation-performative Sketches / Notebook de Meg Stuart (Berlin, 2013)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA138.
Повний текст джерелаThe body is being-in-the-world. The body is the image's-being-alive, and thus, the body is an inhabited-image. The image-body gives place to the sensitive space within its advent. Can the Being, as Nature, be visible through images or gestures ? Is there a specificity in certain filmic or performative fragments about the figure of the body and forms taken by a persona ? If this specificity is proven, through which means of the aesthetic creation can these images or gestures be created and how do they impact the artwork ? What are the devices of material and immaterial sensitive sharing of space, as settled by the artwork, that allow the onlooker to live the experiment of the emergence of being through the image or the gesture which he is witnessing ? This study is based upon the experience of practical and theoretical research on artworks. The meaning of said research is rooted in the experience of creation concerning performative dance, cinema of the body and, in a wider perspective, dance cinema. The quest for a theory of the sensitive, in our work, has its foundations, first in the study of the process involved in transdisciplinary creation involving body and images / images and body in motion ; second, in the study of moving pictures generating an experience of the body's presence, considered as specific to human matters. In light of this point of view, our project, through the process of performative creation, is to study the conditions which give birth to the upsurge of what we call a body of images and, in filmic artwork, to grasp and describe the modalities through which what we define as a corporeal image appear. Concerning practical research, we have taken part in the creative team of Meg Stuart's performative setup, Sketches / Notebook, and thus assembled a set of documents which we have analysed and compared, all along our theoretical research, to a complementary set made of performative and, most of all, filmic artworks (among which are included Pina Bausch's Die Klage der Kaiserin and Béla Tarr's Sátántángo). This research gave us the opportunity to call to mind the numerous links existing between different philosophical and aesthetical points of view, as well as to deepen our construction of the janus bifrons concept of corporeal image / body of images, as related to the expression of the persona in an environment made of setups and symbols which our research designates as specific to an organic aesthetic. In fact, we recognize in specific fragments of these filmic or scenic artworks the creative power of sensitive space ; the arrangement of setups within the image or within the gesture, able to operate a mutation of the space of signs and their reception. Therefore, it is our understanding that, regarding the creation process, some performative fragments and some images appear to participate in protocols in creative experience which, in a more suitable manner than others, lead, or even give birth to images of the body as images of a persona, through the presence, all together individual and universal, of the human being as the anachronistic sign of a mortal presence
Padonou, Assomption. "Danser, c'est manger : pour une ethnographie de la créativité artistique chez les Gun de Porto-Novo (Bénin)." Thesis, Strasbourg, 2019. https://publication-theses.unistra.fr/restreint/theses_doctorat/2019/PADONOU_Assomption_2019_ED519.pdf.
Повний текст джерелаThe importance of Gun dance is not the beautiful choreography on which the spectators are often focused, but rather the activity of blood in the dancing body, including the cultural dynamics aroused by the endogenous knowledge to which the endogenous knowledge refers ancestral traditions among the Gun people. Indeed, the movements observed during the Gun dance are contractions of muscles each time accompanied by relaxations of the body, as if it were a renewed alternation between a cumulative and an expenditure of energies. As a result, dance feeds on energy. On the one hand, it feeds on a physical energy under the impulse of the heart that rhythms the proper circulation of blood irrigating the body dancing with nutrients. On the other hand, dance feeds on emotions aroused by knowledge that awakens memory to joy, to the sense of hope that sustains life. Hence, the dance consists in the hatching of the body through the beautiful ultrasound; it reveals both an opening of the heart punctuating life and an awakening of memory to the beauty of paradise, in the sense of forgetting the miseries of men and their history. As part of this thesis, I argue that dance is not only an art, but it is also a form of food. Dance is an art in which the dancing body eats life. Gun dance has nutritional characteristics of emotions, both performative and communicative, which help to express the most fundamental relationships of the Gun people with each other, including with their Vodǔn
Verdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16631/1/Maria_Adriana_Verdaasdonk_Thesis.pdf.
Повний текст джерелаVerdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16631/.
Повний текст джерелаGustafsson, Lovisa. "Experimenterande dans med förskolans yngsta barn : En studie i och med dans kropp och rörelse i förskolan." Licentiate thesis, Stockholms universitet, Barn- och ungdomsvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-191933.
Повний текст джерелаThis essay examines experimental dance practices with one- and two-year-olds in preschool, both practically and theoretically, a topic which has up until now only been examined in a few studies and never before in an empirical and praxis-oriented project with the youngest children of preschool. The purpose of the study is to investigate how dance practices can be made possibleand what comes to expression in experimental dance practices with the youngest children in a preschool environment when they are made to be active participants in the content and execution of experimental dance in a preschool environment. During the three months long practice-based empirical study, the researcher experiments in participation with a group of 1-2,5-year-olds at their preschool department. This work is documented with still image and film camera by the researcher and the children. Methodologically, the study has been conducted through support and inspiration from a/r/t-ography, a practicebased and arts-based research method wherein the researcher uses her own body as an instrument of research. The analysis of the data material, which consists of films, photographs and process notes, is carried out using the concepts of immanence-philosophy, mainly through texts by Gille Deleuze and Felix Guattari and of Erin Manning, and the concept as method, as a method of analysis. The results show that when the youngest children are given the opportunity to experiment in dance together with an initiated and participating researcher, the dance practice becomes varied and dynamic during its course of events. The dance practice also shows novel expressions of form and movement, group constellations, and choices of material and duration than what is commonly described of dance when discussed in literature and research. Furthermore, this essay contributes additional knowledge to the field by showinghow the access to the philosophy of Gille Deleuze and Felix Guattari can produce new ways of doing and thinking about dance practice and the dancing body and alternative ways to arrange dance with the youngest children of the preschool. The study also offers didactical knowledge of how teachers in a preschool environment can arrange creative dance practices for the youngest children in everyday activities.
Invartsen, Mette. "EXPANDED CHOREOGRAPHY : Shifting the agency of movement in The Artificial Nature Project and 69 positions." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-177.
Повний текст джерелаLINKS
https://vimeo.com/164552586
https://vimeo.com/164558381
Büscher, Barbara. "Live Electronic Arts und Intermedia : die 1960er Jahre." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-39497.
Повний текст джерелаThe developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage's ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art's techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose
Fdili, Alaoui Sarah. "Analyse du geste dansé et retours visuels par modèles physiques : apport des qualités de mouvement à l'interaction avec le corps entier." Phd thesis, Université Paris Sud - Paris XI, 2012. http://tel.archives-ouvertes.fr/tel-00805519.
Повний текст джерелаYu-Teh, Yang, and 楊妤德. "The expression of flowing space from body movements of dance." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/9qpr6d.
Повний текст джерела實踐大學
時尚與媒體設計研究所碩士在職專班
94
Abstract This research attempts to create with performing dance movements and the flowing expressions of costume-sculpted space by drawing from the concept of amoebic body movements introduced by Rudolf Amheim. It examines the interplaying connections between physical movements and clothing forms, and the ways in which they mutually limit or complement each other; through manifestations of dance movements, changing visual space takes place in the combination of body and costume. The human body is infused with perception, sensation and dynamics. Physical movement is produced when bones, joints and muscles interact, which operates in time tracing, with no definite or fixed demarcations. Such changes of movement create a visual image similar to that of a moving amoeba, while the dancing body brings forth an energetically flowing visual, in which the costume shapes to the moving figure, just like the outer membrane, changing forms with body movements. On the other hand, the process is a kind of internal/external interaction: When the body meets its costume, it reacts to the constraining or supporting forces of the clothing form in movements and strengths, both directly and indirectly. The forms stimulate reactions in the nature of body movement, which re-enters and returns to the flowing expressions of the dynamics between body and costume, exhibiting the interdependent relationship between them, and creating the third state, as if extending from the body, in sculpting images. This creative study investigates principally the ways in which the formal space of costume conditions the movements and their characteristics.The flowing creation consists of four consecutive parts: First, the movement relationships qualified by restraints from inside and outside the clothing forms and the subsequent changes of flow are examined. Second, various physical movements are transfigured into representations of forms in costumes. Third, study of space-rhythm relationships and their manifestations is experimented in making forms with a variety of materials. Fourth, active energies of the body interact with forms; the stationary camera documents the studying of static/dynamic state of forms. It is not merely creative designs for fashion. The focal point of this creative study lies in the interplaying relationship between body dynamics and clothing forms in their unity: In the process of inside interaction between body and costume, followed by the changing movements outside, clothing and body movements progressively come into one being, which is the third visual transformation, expressed in the integration of the two.
Kang, Man-Jung, and 康曼蓉. "The Body Conceptions in Contemporary Movements of Truku Traditional Dance." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/40749068549682173952.
Повний текст джерела國立東華大學
族群關係與文化學系
103
This thesis attempts to understand the body conceptions and cultural meanings in the contemporary movements of Truku traditional dance by means of historical documents, fieldwork observations, interviews, Labananalysis(LMA), and Bartenieff Fundamental. The thesis elucidates how does the Truku culture transfer the tribal life experiences into the forms of dance, and how does tribal body view represent myths, Gaya and their spiritual belief system. The movements of Truku traditional dance consider the body norms of Gaya as an agent, and further integrates the myths, spirit belief and Gaya into the body conception of the tribe, thereby re-shaping the differences of the movements between men and women. The thesis claims, for Truku tribe, that the dance movements do not focus on the forms but on the guides of the tribal spirit belief. The form of Truku traditional dance expresses the characteristics of the tribal people; the roles of men and women thus will be specifically distinguished. Drawing on the movements of Truku dance, the body concepts of Gaya and spirit belief, the Truku traditional dance is therefore refined through its own culture.
Wu, Guan-De, and 吳冠德. "Splicing of Upper and Lower Body Dance Movements for Kinect Applications." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/6atrbu.
Повний текст джерела國立中正大學
資訊工程研究所
103
In this thesis, we present a motion splicing method for generating dance movements which make dance step more diversely. Specifically, we show that spatial and time alignment technique by using virtual direction and velocity-based synchronization for spliced movements looks natural and smooth. Hence, in the proposed motion splicing approach, it is possible to increase the number of generated motions as well as the number of desired actions that can be performed by virtual characters. Additionally, we implemented motion blending by using Dynamic Time Warping to produce a next motion table of recommendations. Finally, the generated results show that the proposed solution can be beneficially applied to generate varied movements as well as the dance movements which non-spliced with a small amount of motion database.
Dumas, Russell. "Necessary incursions : rethinking the unstable body in dance." Thesis, 2014. https://vuir.vu.edu.au/28776/.
Повний текст джерелаCheng, Yu-Wen, and 鄭育雯. "The Effects of Creative Dance on Body Movement Creativity of Elementary School Students." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/66216034362658160954.
Повний текст джерела台南應用科技大學
生活應用科學研究所
99
The purpose of this study was to explore the effects of creative dance on body movement creativity of the lower grade elementary school students. The study adopted the pretest-posttest nonequivalent-group design, randomly selecting two 1st grade and 2nd grade classes in an elementary school in Tainan as experimental objectives. The experimental group participated in the self-designed creative dance class, 16 periods and 40 minutes for each period, while the control group participated in routine dance class. Two groups were pretest and posttest by the "Action and Action Creativity Test”and a video recorder. The findings were addressed as below. 1. With complete performance, the experimental group made an obviously progress. 2. The fluency, uniqueness and imagination of the experimental group were obviously enhanced. 3. The fluency and imagination of the control group were obviously enhanced, but their imagination indicated indifference between the pretest and posttest. 4. The experimental group demonstrated better performance in fluency, uniqueness and imagination while comparing the control group.
"MOVE." Master's thesis, 2013. http://hdl.handle.net/2286/R.I.17915.
Повний текст джерелаDissertation/Thesis
M.F.A. Dance 2013
Costa, Diana Sofia Esteves Castro. "O Ensino de Filosofia com Dança no mundo da Escola e na Escola do mundo." Master's thesis, 2020. http://hdl.handle.net/10316/93746.
Повний текст джерелаO presente Relatório de Estágio intitulado “O Ensino da Filosofia com Dança no mundo da Escola e na escola do mundo” é realizado no âmbito da unidade curricular “Estágio e Relatório Final” do Mestrado de Ensino de Filosofia no Ensino Secundário da Faculdade de Letras da Universidade de Coimbra. Este relatório contém uma parte de exposição, de consideração e de crítica relativamente à Prática Pedagógica Supervisionada à qual me submeti no Ano Letivo de 2019/2020, bem como uma descrição do contexto educativo da Escola Secundária com 3º Ciclo D. Dinis, Escola onde estagiei. Para além destas, encontramos aqui, também, um momento de pesquisa e de reflexão acerca de conceitos que se mostrarão fundamentais ao longo deste documento, como o conceito de pensamento filosófico, que se autoafirma corpóreo e o conceito de movimento na Dança, que é um movimento peculiarmente pensante. A partir do estudo dos conceitos supramencionados veremos que estes se relacionam e que esta relação leva a um outro momento de pesquisa e de reflexão que proporcionará a abertura de um novo horizonte sobre o pensamento acerca da Dança e sobre o pensamento acerca da Filosofia que irão gerar uma nova forma de lecionação da disciplina de Filosofia no Ensino Secundário. Uma nova forma de lecionar a partir da utilização do caráter pedagógico-didático da Dança como metodologia para o Ensino da Filosofia no Ensino Secundário, não nos desviando minimamente daqueles que são os objetivos que constam no documento Aprendizagens Essenciais de Filosofia no Ensino Secundário, em articulação com o do Perfil dos Alunos à Saída da Escolaridade Obrigatória.
The presented Internship’s Report, entitled “Teaching Philosophy with Dance in the School’s world and in the world’s school” is carried out within the curricular unit “Internship and Final Report” of the Master Degree in Teaching High School Philosophy at Coimbra’s University Humanities College, attended in the academic year 2019/2020. This Report has a part of exposition, consideration and criticism regarding to the Supervisional Pedagogical Practice to which I submitted, as well as a description of the educational context of the Secondary School with 3rd Cycle D. Dinis, in which I interned. Beside these, we also find here a moment of research on concepts that are crucial throughout this paper, like the concept of philosophical thought, which asserts itself corporally and the concept of movement in dance, which is a peculiarly thinking movement. From the study of the aforementioned concepts, we will see that they are related to each other and that this relationship leads to another moment of research and reflection, which allows the opening of a new vision on the thought about dance and on the thought abou philosophy, that will create a new way of teaching Philosophy in Secondary School. A new way of teaching from the use of the pedagogical-didactic character of Dance as a methodology for the Teaching of Philosophy in High School, without deflection from the objectives presented on Essential Learning of Philosophy in Secondary School, in conjunction with the Student Profile on Leaving Compulsory Scholarity.
Potgieter, Colleen Angela. "Creating awareness of contact-making styles through movement within a gestalt context." Diss., 2006. http://hdl.handle.net/10500/1707.
Повний текст джерелаSocial Work
M. Diac. (Play Therapy)
Romarco, Evanize Kelli Siviero. "Dança e educação somática : a aplicação do método GDS para o aprimoramento do movimento expressivo e performático em dança." Doctoral thesis, 2014. http://hdl.handle.net/10400.5/8349.
Повний текст джерелаO campo da educação somática fundamenta-se em contínua sistematização e estruturação do conhecimento empírico em que a prática é a base da teoria, e a percepção das sensações (por meio da experiência) é a base do aprendizado. A dança contemporânea se funde a esses princípios criando indagações que o bailarino e o coreógrafo encontram ao trabalhar o movimento, possibilitando, por meio da experiência, superar as dificuldades e voltar o olhar a outros horizontes, novas danças e novos movimentos. Por este caminho e pela construção e reconstrução da postura corporal nasce o método GDS, uma prática somática que se apresenta como um procedimento de leitura da postura, dos gestos e formas do corpo que fornece elementos para o diálogo entre o corpo e suas relações internas e externas. Assim, conduzir o corpo a um processo de aprendizado integrado, que envolva a capacidade de ler sensações, hábitos e comportamentos pode trazer contribuições significativas a favor não só da boa saúde, mas também, da expressividade artística e do movimento na dança. Nesse sentido, os objetivos deste estudo foram: a) desenvolver um método de trabalho didático-pedagógico de aplicação dos princípios do GDS à dança contemporânea e verificar se o mesmo pode contribuir para o desenvolvimento e aprimoramento do movimento expressivo e performático de graduandos de curso superior de Dança; b) analisar se as posturas morfocomportamentais do método GDS podem contribuir para melhorar a qualidade performática do bailarino; c) verificar se o fatores tempo e intensidade deste trabalho prático pode influenciar o seu resultado e d) refletir sobre a propagação da aplicação do método GDS na dança, em outros terrenos como na vida diária e profissional dos bailarinos. Para alcançar tais objetivos, realizamos uma pesquisa de campo com uma abordagem crítico-dialética, por meio de uma pesquisa-ação com aplicações do método GDS em aulas de dança contemporânea para 32 bailarinos dos cursos de bacharelado e licenciatura em dança da Universidade Federal de Viçosa-MG-Brasil organizados em dois grupos – G1 e G2. Na coleta dos dados utilizamos cinco instrumentos: 1) registros videográficos e fotográficos das aulas; 2) observações das aulas e dos registros videográficos; 3) diário de bordo; 4) entrevista focal de grupo; 5) questionário de qualidade de interpretação dos bailarinos. O tratamento dos dados realizou-se por meio das análises qualitativa e quantitativa (porcentagem simples, teste de Friedman e de Sinais). Como resultado, os alunos puderam, por meio do GDS, ter um olhar mais apurado sobre si e para as suas posturas quando dançam. Quanto ao processo de percepções de mudanças do corpo e no movimento constatamos que a maioria dos alunos dos dois grupos percebeu, já nas primeiras sessões, que ocorreram mudanças referentes à propriocepção, aos vícios posturais, à consciência corporal e à própria qualidade do movimento, elementos essenciais para o desenvolvimento de um corpo sensível no ato de dançar. Os participantes – com o método GDS – ultrapassaram as paredes da sala de aula aplicando-o em alguns aspectos da vida diária e em outros estilos e contextos da dança (Balé clássico, Composição coreográfica e solística). Constatamos que a proposta didático-pedagógica de aplicação do método GDS na dança é relevante e eficaz para o seu entendimento e desenvolvimento como um elemento diferenciado para o aprimoramento do movimento expressivo e performático de graduandos em dança, contribuindo para a sua formação profissional.
ABSTRACT - The field of somatic education is based on a continuous and systematic structuring of empirical knowledge where the practice is the basis of the theory and the perception of sensations through experience is the basis of learning. We believe that contemporary dance merges these principles by creating questions that the dancer and choreographer find to work the movement, allowing through of the experience, overcome difficulties and turn our gaze to other horizons, new dances, and new moves. Permeating this way and by construction and reconstruction of body posture, the GDS method born, a somatic practice that primarily presents as a procedure of reading posture, gestures and body shapes that provides elements for dialogue between the body and its relations internal and external. Thus, lead the body to an integrated process of learning, which involves the ability to internally read feelings, habits and behaviors that they can reveal, can bring significant contributions not only for good health but also of artistic expression and movement in dance. The aim of this study was to develop a didactic-pedagogical proposal for applying the principles of the GDS method to contemporary dance and ensure that it can contribute to the development and improvement of the expressive and performative movement undergraduate degree in Dance; whether the morphological postures this method can help improve the performative quality of the dancer; verify that the factors time and intensity of practical work can influence the outcome and reflect on the spread of this method in dance, other fields as in daily and professional lives of dancers. For this study we conducted a field study with a critical- dialectical approach, through an action research through the applications of the GDS method in dance classes, for 32 dancers of degree course in dance from the Federal University of Viçosa-MG-Brazil divided into two groups named G1 and G2. To collect the data we chose to use five instruments: video and photographic records of the classes; observations of lessons and videographic records; logbook; focal group interview and the questionnaire of the quality of interpretation of the dancers. The data analysis was conducted through qualitative and quantitative analysis (simple percentage, Friedman and Signs test). As a result the students were able through the GDS have a closer look at themselves and their attitudes when they dance. As regards the process perception changes in body and in movement we can analyze that most learners in both groups realized changes since the first sessions regarding the proprioception, to bad postural habits, body awareness and the very quality of movement, essential elements for the development of a sensitive body in the act of dancing . Participants with the GDS method surpassed the walls of the classroom by applying it in some aspects of daily life and in other dance styles and contexts (Classical ballet, choreography and composition individual), which implies that the proposal didactic- pedagogic for the implementation of GDS method in dance was relevant and effective for your understanding and development as a distinctive element to improve the expressive and performatic movement of undergraduates in dance, contributing to the training of the same.