Dissertations / Theses on the topic 'Choreographic analysis'

Dance
Ph.D.
This dissertation explores literary-theoretical constructions arising from the consideration of certain non-narrative linguistic strategies and applies them to dance analysis. My intent is not only to provide new, functional tools for dance scholars and writers, but also to alter the theoretical terms themselves: by employing literary critical language beyond its original purpose, I hope to locate the limits of that language as it applies to dance. Moreover, I strive to identify the ways moving bodies complicate concepts normally applied to static and disembodied text. In this way my research moves in two directions: adding a specific theoretical lens to the dance-writing toolbox, and, in turn, using dance to sharpen and focus that lens. I have chosen two theoretical constructs--Julia Kristeva's explication of the semiotic aspect of language and her characterization of the abject--because of the ways they address the unsayable through body, repetition, and rhythm. Kristeva's texts, Desire in Language (1981) and Powers of Horror (1982), provide the dissertation's primary theoretical frameworks. The first text puts forth key concepts about heterogeneous meaning within her conceptualization of the semiotic; the second addresses meaning that exceeds language, and the self, and arises out of the abject (a crisis of the subject when confronted with a breakdown of boundaries between self and other). Both concepts are relevant to dance, emerging from the materiality/substance of language rather than from language as a phantom structure that ideas are placed into. This dissertation grapples with how dance strives to express that which exceeds "paraphrasable" meaning from three vantage points: 1) the assessment of the critical reception of historic choreography (Paul Taylor's Big Bertha) that plays simple narrative against the horror of the unknown; 2) an examination of participants' communications during the choreographic process of innovative choreographer, Gabrielle Lamb, and how research material was transformed during that process; 3) the documentation of my own struggle to express the unsayable during the creation of a hybrid dance/textual piece. These perspectives require different analytic strategies: 1) the casting of an artwork's meaning in historical and cultural contexts, 2) the parsing of the language used to communicate meaning between participants during the creative process, 3) the self-chronicling and reflective analysis of meaning-making during the conception and execution of a hybrid work. My objective is to show how Kristeva's theoretical constructs play out in different types of dance analysis and how the lack of a certain strain of theoretical language in dance discourse has left a hole where discussion might profitably ensue. I seek to use Kristeva's texts and post/modern techniques of the body to offer a multi-layered and technically invested understanding of dance rather than an aphoristic and imagistic one: one that substitutes multiple, specific bodies and their actions for a single idealized institution of the beautiful.
Temple University--Theses

In my research into interdisciplinary choreographic processes, I found there to be a lacking representation of recent scholarship dedicated to exploring the relationship between literature and dance. As a dance theatre choreographer who often utilizes textual sources as impetuses for artistic creation, I have employed methods of traditional dramaturgy in my practice and, in seeking scholarship on this subject, have noted a need for clear examples of dance dramaturgy in practice. In this thesis study, I employed methods from literary studies and dramaturgy in the process of adapting a work of short fiction by Kurt Vonnegut for the stage. I documented my process and have structured the information for the benefit of those who may read it. The artistic product of this research was presented to an audience in direct relation to its literary source. At the conclusion of this research, I posit that dance can function as literary criticism.

With the rise of electronic integration between organizations, the need for a precise specification of interaction behavior increases. Information systems, replacing interaction previously carried out by humans via phone, faxes and emails, require a precise specification for handling all possible situations. Such interaction behavior is described in process choreographies. Choreographies enumerate the roles involved, the allowed interactions, the message contents and the behavioral dependencies between interactions. Choreographies serve as interaction contract and are the starting point for adapting existing business processes and systems or for implementing new software components. As a thorough analysis and comparison of choreography modeling languages is missing in the literature, this thesis introduces a requirements framework for choreography languages and uses it for comparing current choreography languages. Language proposals for overcoming the limitations are given for choreography modeling on the conceptual and on the technical level. Using an interconnection modeling style, behavioral dependencies are defined on a per-role basis and different roles are interconnected using message flow. This thesis reveals a number of modeling "anti-patterns" for interconnection modeling, motivating further investigations on choreography languages following the interaction modeling style. Here, interactions are seen as atomic building blocks and the behavioral dependencies between them are defined globally. Two novel language proposals are put forward for this modeling style which have already influenced industrial standardization initiatives. While avoiding many of the pitfalls of interconnection modeling, new anomalies can arise in interaction models. A choreography might not be realizable, i.e. there does not exist a set of interacting roles that collectively realize the specified behavior. This thesis investigates different dimensions of realizability.
Elektronische Integration zwischen Organisationen erfordert eine präzise Spezifikation des Interaktionsverhaltens: Informationssysteme, die Kommunikation per Telefon, Fax und Email ablösen, können nicht so flexibel und selbständig auf Ausnahmesituationen reagieren wie Menschen. Choreographien ermöglichen es, Interaktionsverhalten genau zu spezifizieren. Diese Modelle zählen die beteiligten Rollen, die erlaubten Interaktionen, Nachrichteninhalte und Verhaltensabhängigkeiten auf und dienen somit als Interaktionsvertrag zwischen den Organisationen. Auch als Ausgangspunkt für eine Anpassung existierender Prozesse und Systeme sowie für die Implementierung neuer Softwarekomponenten finden Choreographien Anwendung. Da ein Vergleich von Choreographiemodellierungssprachen in der Literatur bislang fehlt, präsentiert diese Arbeit einen Anforderungskatalog, der als Basis für eine Evaluierung existierender Sprachen angewandt wird. Im Kern führt diese Arbeit Spracherweiterungen ein, um die Schwächen existierender Sprachen zu überwinden. Die vorgestellten Erweiterungen adressieren dabei Modellierung auf konzeptioneller und auf technischer Ebene. Beim Verlinkungsmodellierungsstil werden Verhaltensabhängigkeiten innerhalb der beteiligten Rollen spezifiziert und das Interaktionsverhalten entsteht durch eine Verlinkung der Kommunikationsaktivitäten. Diese Arbeit stellt einige "Anti-Pattern" für die Verlinkungsmodellierung vor, welche wiederum Untersuchungen bzgl. Choreographiesprachen des Interaktionsmodellierungsstils motivieren. Hier werden Interaktionen als atomare Blöcke verstanden und Verhaltensabhängigkeiten werden global definiert. Diese Arbeit führt zwei neue Choreographiesprachen dieses zweiten Modellierungsstils ein, welche bereits in industrielle Standardisierungsinitiativen eingeflossen sind. Während auf der einen Seite zahlreiche Fallstricke der Verlinkungsmodellierung umgangen werden, können in Interaktionsmodellen allerdings neue Anomalien entstehen. Eine Choreographie kann z.B. "unrealisierbar" sein, d.h. es ist nicht möglich interagierende Rollen zu finden, die zusammen genommen das spezifizierte Verhalten abbilden. Dieses Phänomen wird in dieser Arbeit über verschiedene Dimensionen von Realisierbarkeit untersucht.

The term "Psychological ballet" has been used in reference to Antony Tudor's ballets dating from John Martin's January 16, 1940, review of "Lilac Garden" in The New York Times. Until this thesis, the psychological ballet as a genre has been overlooked and left undefined. The Psychological Ballet can be defined by: (1) using Antony Tudor's "Pillar of Fire" as a model example and (2) analyzing the term "psychological ballet" into its two components "Psychological," and "Ballet," respectively. The contribution of drama, with attention to character, is explored. Those dance works which do not fall under the category of Psychological Ballet but are works whose themes "have mental origin or are affected by mental conflicts and/or states" will be defined as Psychogenic Works.

In my thesis, I plan to explore the realms of academic, professional and community theatre through the eyes of a director and choreographer. Highlighted themes will consist of the varying approaches to the script, music and choreography. This thesis will also include specific teaching and or non-existent teaching methods for professional, academic and community theatre. Included will be three definitive case studies which will consist of one musical production per academic, community and professional theatrical setting. I will focus on the director/choreographer’s overall approach to the research, rehearsal and final performance processes for the Pioneer Theatre Company’s production of My Fair Lady, Virginia Commonwealth University’s production of Chicago and St. Michael’s Catholic Church production of Starting Here, Starting Now.

La tesi parteix de la hipòtesi que el sistema de notació coreogràfica de la Cinetografia Laban / Labanotation és un sistema d’escriptura capaç de transcriure i transmetre la dansa a través del paper a partir de l’anàlisi del temps i de l’espai coreogràfics. Contràriament al drama i la música que utilitzen els seus propis llenguatges per transmetre l’obra artística, semblaria que la forma més ràpida i directa de transmissió d’una dansa, es basa en la facilitat d’aprendre el moviment a través de la imitació. Tanmateix no és la més fiable al llarg del temps, perquè la memòria de l’intèrpret és fal·lible i en conseqüència es posa de manifest la necessitat de disposar de mecanismes que puguin garantir la seva permanència en registres. En aquest sentit la notació de la dansa ha estat present en la cultura occidental, des del segle XVI, i des d’abans en les cultures, grega i egípcia (pintures murals i ceràmica). La tesi fa una revisió d’alguns sistemes de notació coreogràfica que revela l’existència d’una tradició d’escriptura que possibilita l’accés al repertori coreogràfic històric a través d’una transmissió documental. Aquest fet relaciona el moviment i l’escriptura mentre certifica el concepte original del terme coreografia, encara que actualment s’ ometi l’aspecte escriptural en la seva accepció. La tesi mostra com el procés d’escriptura del moviment del cos humà és possible malgrat la seva complexitat. En aquest sentit, l’articulació de símbols gràfic-visuals que formen agrupacions de significat per constituir un llenguatge, crea una relació unívoca i congruent amb l’objecte artístic. El resultat d’aquesta operació és el document de la partitura que identifica l’essència de l’obra artística i permet transmetre-la de manera autònoma, en diferents graus de precisió, un procés que implica analitzar i interpretar l’obra, fonamentalment, a partir de les informacions referides al cos i les seves parts, al temps i a l’espai. Tanmateix, les concepcions del temps i l’espai coreogràfics varien segons l’època. En aquest context, la tesi fa esment de l’aportació metodològica de la notació de Rudolf Laban per realitzar la transmissió coreogràfica. Per demostrar la hipòtesi, la tesi proposa una anàlisi pràctica dels símbols de la partitura de l’escena «The Partisan» de la coreografia The Green Table de Kurt Jooss, creada l’any 1932 i escrita en aquest sistema. Així, s’ordenen els símbols corresponents en quatre categories de moviment i, de les informacions que se’n desprenen, es crea un film del fragment coreogràfic en base el programa informàtic Dance Forms. Finalment es compara amb altres enregistraments de l’obra representada, per validar-ne el resultat. Gràcies a la Cinetografia Laban / Labanotation, s’obté la forma fonamental de l’espai i el temps per reproduir la coreografia de manera virtual, tal com ha estat transcrita pels autors de la partitura. Un fet possible gràcies a l’articulació com a llenguatge de la notació Laban amb la seva ortografia, semàntica i formes sintàctiques. Així doncs, el desxiframent dels símbols i la corresponent reconstrucció, és vàlid per una partitura escrita en aquest sistema. Si això és així, qualsevol dansa pot ser transcrita amb el mateix sistema de notació i transmesa tants cops com sigui necessari amb les partitures que convinguin. Finalment, la tesi conclou que la Cinetografia Laban / Labanotation és un llenguatge de transmissió i un instrument de coneixement vàlid per a l’objectivació de la dansa.
La tesis parte de la hipótesis de que el sistema de notación coreográfica de la Cinetografia Laban / Labanotation es una escritura capaz de transcribir y transmitir la danza a través del papel a partir del análisis del tiempo y del espacio coreográficos. Contrariamente al drama y la música que utilizan sus propios lenguajes para transmitir la obra artística, parecería que la forma más rápida y directa de transmisión de una danza se basa en la facilidad de aprender el movimiento a través de la imitación. Sin embargo no es la más fiable a lo largo del tiempo, puesto que la memoria del intérprete es falible y en consecuencia se pone de manifiesto la necesidad de disponer de mecanismos que puedan garantizar su recuerdo en registros. En este sentido es pertinente tener en cuenta que la notación de la danza ha estado presente en la cultura occidental, desde el siglo XVI y desde antes en las culturas, griega y egipcia (pinturas murales y cerámica). La tesis hace una revisión de algunos sistemas de notación coreográfica que revela la existencia de una tradición de escritura y posibilita el acceso al repertorio coreográfico histórico a través de una transmisión documental. Este hecho, relaciona el movimiento y la escritura mientras certifica el concepto original del término coreografía, aunque actualmente se omita el aspecto escriptural en su acepción. La tesis muestra cómo el proceso de escritura del movimiento del cuerpo humano es posible a pesar de su complejidad. En este sentido, la articulación de símbolos gráfico-visuales que forman agrupaciones de significado para constituir un lenguaje crea una relación unívoca y congruente entre la notación y el objeto artístico. El resultado de esta operación es el documento de la partitura que identifica la esencia de la obra artística y permite transmitirla de manera autónoma, en diferentes grados de precisión, un proceso que implica analizar e interpretar la obra, fundamentalmente, a partir de las informaciones referidas al movimiento del cuerpo y sus partes, al tiempo y al espacio. Sin embargo las concepciones del tiempo y el espacio coreográficos varían según la época. En este contexto, la tesis hace mención de la aportación metodológica que hace la notación de Rudolf Laban para realizar la transmisión coreográfica. Para demostrar la hipótesis, la tesis presenta un análisis práctico de los símbolos de la partitura de la escena «The Partisan» de la coreografía The Green Table de Kurt Jooss, creada en 1932 y escrita en este sistema. Así, se ordenan los símbolos correspondientes en cuatro categorías de movimiento y, de las informaciones que se desprenden, se crea un film del fragmento coreográfico en base el programa informático Dance Forms. Finalmente se compara con otros registros de la obra representada, para validar el resultado. Gracias a la Cinetografia Laban / Labanotation, se obtiene la forma fundamental del espacio y el tiempo para reproducir la coreografía de manera virtual, tal como ha sido transcrita por los autores de la partitura. Un hecho posible gracias a la articulación como lenguaje de la notación Laban con su ortografía, semántica y formas sintácticas. Así pues, el descifrado de los símbolos y la correspondiente reconstrucción es válido para una partitura escrita en este sistema. Si eso es así, cualquier danza puede ser transcrita con el mismo sistema de notación y trasmitida tantas veces como sea necesario con las partituras que convenga. Finalmente, la tesis concluye que la Cinetografia Laban / Labanotation es un lenguaje de transmisión de la coreografía y un instrumento de conocimiento, válido para la objetivación de la danza.
The thesis starts with the hypothesis that Kinetography Laban / Labanotation is a system that, based in choreography's time and space, allows transcribing and transmitting dance onto paper. Contrary to Drama and Music, which use their languages to transmit the artistic work, the fastest and most direct way of transmitting a dance is based on the facility to learn the movement through imitation. However, this method is not the most reliable one over time, since the interpreter's memory is fallible. Therefore, it is necessary to have a tool that can produce a permanent record of the movement. Accordingly, dance notation has existed not only in Western cultures, since the 16th Century, but in ancient ones such as Egyptian and Greek (wall and ceramic pictures). This thesis reviews some of the choreographic notation systems through history, which supports the existence of a dance writing tradition. These documentary transmissions allow access to the historic repertoire. Moreover, this fact connects the moving and writing actions while suporting the primary concept of «choreography», even though currently the scriptural aspect is omitted from the meaning of the term. This thesis reveals how the writing process of the human body movement is possible in spite of its complexity. The research teaches how, from using clusters of graphic-visual symbols, a language can be created. From there, the notation can build a univocal and congruent relationship with the art object. The result of this process, is the dance score document that identifies the essence of the artistic work and allows it to be transmitted autonomously, in different degrees of precision. This process will involve analyzing and interpreting the artwork, using the information referring to the body and its parts, as well time and space. However, the conceptions of time and space in choreography had been changing over time. On this note, the thesis mentions the contribution of Rudolf Laban Kinetography and its approach to carrying out the choreographic transmission. To demonstrate the hypothesis, this thesis proposes a practical analysis of the symbols in the choreography score of the scene «The Partisan» from The Green Table by Kurt Jooss, created in 1932 and written in this system. The corresponding symbols used in it, are ordered in four categories of movement and a film of the choreographic fragment is created, based on the Dance Forms software, using the information obtained with the analysis. The objective is to finally compare it with other existing films of the work represented, to validate the result. Thanks to Kinetography Laban / Labanotation, the fundamental form of space and time to reproduce the choreography has been obtained virtually, as it has been transcribed by the authors of the score. Kinetography Laban / Labanotation is organized as an objective language with its orthographic, semantic and syntactic forms. Therefore, the decryption of the symbols and the corresponding reconstruction is valid for a score written in this system. If this is so, any dance can be transcribed with the same notation and transmited as many times as necessary and with the convenient scores. Finally, the thesis concludes that Kinetography Laban / Labanotation is a transmission language and an instrument of knowledge, valid for the objectification of the dance.

Dance
Ph.D.
Mark Morris is deeply engaged with dance traditions and the classics, but he transforms them into modern, eclectic pieces. He often dissolves the distinctions between reality and fantasy, and good and evil, emphasizing reconciliation and love. Morris sculpts his own story and characters from musical elements within the overarching musical structure, portraying the characters and their emotions through detailed variations of movement quality. Characterizing Morris' dual attitudes as ambivalence, this study aims to highlight the dynamic structure and complexity of meaning in his works. I suggest that Morris' ambivalence is related to his perspective, the way he sees the world.
Temple University--Theses

This thesis spans two fields - South African dance and the philosophy of humour - and attempts to link them through an understanding of their formal mechanisms. I attempt to establish two main ideas: that there is a need for a critical praxis in South African dance, and that humour in dance can be part of this process. In Chapter One, I discuss elements of the South African dance and theatre industries pre- and post-1994 towards arguing my first point (that South African dance would benefit from a critical praxis). I probe some of the challenges facing artists and describe howchoreographers are dealing thematically and stylistically (but not formally) with the concept of the 'New' South Africa. Through an investigation of concerns voiced by critics regarding choreographic form in the country, I argue that South African dance would benefit from critical formal investigations in dance-making. Finally, I discuss traditional views of humour in South African dance/theatre and in philosophy, which suggest that humour is predominantly seen as frivolous and unworthy of serious attenfion. In Chapter Two, I offer a defence for humour's more profound critical aspects, suggesting that humour can in fact be seen as critical 'thinking in action'. A discussion of theories about humour reveals that the basis for humour is the incongruous. A subsequent discussion of form in theatre and dance shows how the incongruous might work within dance form to create meta-dance. In this way, I attempt to link the two fields of humour and South African dance and to make the connection between the critical capaci~ies of meta-dance and those of humour. I suggest, in other words, that humour in dance can create a critical awareness, of the likes advocated in Chapter One. In Chapter Three, I discuss aspects of two works: my own This part should be uncomfortable (2008) and Nelisiwe Xaba's Plasticization (2004). The two analyses differ from each other as does the humour in both works. Despite the differences, I argue that humour in both works is operating on a critical level that includes a meta-level of signification.

Les trois ballets grecs de Stravinsky et de Balanchine s’unissent autour de l’agonisme − qui trouve son origine dans l’agôn, en grec « lutte » − que nous définissons comme étant la conciliation entre l’apollinien et le dionysiaque. Nous tentons de montrer comment le ballet manifeste la recherche d’un équilibre entre les qualités apollinienne et dionysiaque, essence même de la trilogie, par sa représentation et sa dramaturgie. Nous proposons pour cela une méthodologie afin d’étudier la coexistence des arts. Un mémoire sur les écritures du mouvement est joint à la thèse. Il part d’une réflexion menée sur les supports matériels qui conduisent au ballet – enregistrements vidéo, DVD, dessins, photographies, captures d’écran, dessins, partitions chorégraphiques, initiées dans ce travail. En dégageant la signification profonde de la trilogie, nous en proposons une interprétation et une production nouvelles
Les trois ballets grecs de Stravinsky et de Balanchine s’unissent autour de l’agonisme − qui trouve son origine dans l’agôn, en grec « lutte » − que nous définissons comme étant la conciliation entre l’apollinien et le dionysiaque. Nous tentons de montrer comment le ballet manifeste la recherche d’un équilibre entre les qualités apollinienne et dionysiaque, essence même de la trilogie, par sa représentation et sa dramaturgie. Nous proposons pour cela une méthodologie afin d’étudier la coexistence des arts. Un mémoire sur les écritures du mouvement est joint à la thèse. Il part d’une réflexion menée sur les supports matériels qui conduisent au ballet – enregistrements vidéo, DVD, dessins, photographies, captures d’écran, dessins, partitions chorégraphiques, initiées dans ce travail. En dégageant la signification profonde de la trilogie, nous en proposons une interprétation et une production nouvelles

碩士
國立臺灣藝術大學
舞蹈學系
103
In this research, the discussion focus is based on the analysis of the production process on 〈Wish You Were Here〉, a 2015 graduation production which the researcher had involved in. 〈Wish You Were Here〉 is the graduation performance which the researcher has produced for Master of Fine Arts degree in the Dance Department, National Taiwan University of Arts. The performance uses memories as the theme in expression of the thoughts for old times and the yearning for old friends in the past. The researcher’s intention is to lead the audience into the atmosphere of past memories and thoughts through the plot design of each section, the developmental layout of imagery movements, the performance integration from audience interaction, and using ‘probability’ as a concept for dance movement development. The researcher takes a creative approach by using improvisation as a production method to be the relationship development between objects and bodies. Through the performance method of “environmental theater", the researcher makes the connection between the dance works and the environment. This research uses the qualitative research as a method. Through the show production, the content, form, writing and the rehearsal process of 〈Wish You Were Here〉have been thoroughly analyzed in a great detail. The content of this article is also a summary of references from relevant literatures on environmental theater and happening art. Through continuous reviews and consolidations, the process of the performance production was eventually put into text. Exploring the meaning of this work of art from various aspects is beneficial to oneself. During this research writing process, the researcher had not only reconsidered one’s own production process but also rearranged, summarized and transformed the performance into text form. Moreover, the researcher had explored different aspects of her own work. The dilemma faced during reflection and the lack of adequacy are what the researcher hopes to conquer and improve on the road of creation in the future. For one thing, the researcher has demonstrated the learning outcome of the graduate studies through this study with the creativity displayed on choreography and by the practice of dance. For another, the researcher wishes to clarify the direction of the personal choreographic style through this analysis. In addition, any flaw or deficiency from the review of the production process will be amended in the future creation. In conclusion, with the exploration of the connecting relationship between self and this work, the researcher ultimately expects herself to find her own path in the journey of choreography in the future.

This thesis offers two layers of analysis of a contemporary dance titled Watch The Gap, a site-inspired work initiated by the architecture, design, and function of the Jamaica, Queens (New York) train station. For the dance analysis, the investigated question is: can a dance that is inspired by a specific location but performed on a concert stage still fit within the genre of site-dance? By comparing its choreographic methodologies within the field of site-dance, a second investigated question arises: can these practices be codified and taught as part of a course in a university setting? Through this study I examine, explain, and analyze the different choreographic tools and aspects of site-dance impacting the field of dance by a comparison study with Watch The Gap and a pedagogical investigation into improvisation and site-dance. In doing so, pedagogical applications, key terminology, and methods, discussed in the paper, help to clarify and add to the discussion of this rapidly growing art form.
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This dissertation attempts to shed new light on the value of Sergei Prokofiev’s piano transcriptions from the ballet Cinderella, exploring his distinguished body of work through a comparative analysis of the ballet Cinderella and its piano transcriptions. Prokofiev reproduced his nineteen (19) transcription pieces in three sets—op. 95, op. 97, and op. 102—from the ballet, and they are distinctive in many significant aspects, including the organization within a movement, form, harmony, and textural modifications, when compared to the ballet and its piano reduction. In addition, the characters in his three sets are apparent as they are designed in accordance with the dance suite, character piece, and programmatic music. The ultimate object of the dissertation is, through its close examination and reappraisal of Prokofiev’s transcriptions, to provide piano performers with lasting insight into an authentic interpretation of music. The first chapter provides the foundation for the necessity and importance of this comparative analysis between the ballet and the piano transcriptions from Cinderella, and it proceeds to lay out the overall analytical sequence. The second chapter presents a brief overview of Prokofiev’s biography and compositional background relating to his ballet and transcriptions. In particular, it traces Prokofiev’s compositional philosophy and the surrounding historical contexts during the Soviet era. The third chapter examines the distinctions of all nineteen (19) movements of Prokofiev’s three piano transcription sets in terms of their organization, form, harmony, and textural modifications from the ballet scores for orchestra, investigating the distinguishing features of each transcription by way of numerous illustrative examples. In particular, each section analyzes some of the most notable features of all movements based on its title. Finally, the last chapter concludes with a summary of the comparative analysis, assessing the inherent value of Prokofiev’s piano transcriptions as piano solo works incorporating a choreographic gesture, and with the anticipation and hope that the resulting analytical approach can enable piano performers to play with more authenticity and a well-rounded perspective.

Doutoramento em Motricidade Humana, especialidade de Dança
Esta dissertação apresenta uma perspectiva do campo coreográfico contemporâneo. Para tanto, procede a uma análise da coreografia enquanto proposta projectual do espaço. O termo campo coreográfico contemporâneo será ilustrado essencialmente pelo dispositivo relacional e com carácter de instalação Scattered Crowd (2013) de William Forsythe. Partindo do conceito choreographic object da autoria deste coreógrafo, pretendemos esclarecer e aprofundar quer o conceito em si, quer a sua aplicação em áreas como as artes performativas, práticas de produção e projecto de espaço. Actualmente, a clarificação do conceito coreografia pressupõe um espectador-emancipado, um espectador da contemporaneidade. Neste sentido, a nossa presença na equipa de produção de Scattered Crowd permitiu a conjugação de métodos de acesso ao conhecimento dos actores principais desta instalação : William Forsythe e os 10 elementos da equipa que construíram esta instalação. As entrevistas realizadas conjugaram-se com técnicas de exploração de significados (grounded analysis) e com recolhas plasmadas em muitos documentos visuais (diário de campo), gráficos (cartaz) e objectos-vídeo. Assim, a presente dissertação teve como foco principal o estudo do objecto coreográfico Scattered Crowd de William Forsythe, assim como a exploração da coreografia em áreas adjacentes à dança, como a instalação.
FCT - Fundação para a Ciência e Tecnologia

Thesis (M.A.)--Florida State University, 2003.
Advisor: Dr. Sally R. Sommer, Florida State University, School of Visual Arts and Dance, Department of Dance. Title and description from dissertation home page (viewed Sept. 24, 2003). Includes bibliographical references.

碩士
臺北巿立體育學院
舞蹈碩士班
96
This research investigates the Taoist choreography Pilgrimage, which is choreographed on the basis of Ma-Zu related activities and materials. As such carries abundant historical and cultural significances. This research analyzes the ways it involves the life experiences in relation to Taoism. The style of the dance is also analysed with a specific framework that has been invented for examining dance of the similar nature. The methodology of this research is derived from several fields. Firstly, the ways to investigate historical source materials are adopted for the examination of documents in relation to Ma-Zu, in order to clarify and construct the facts and historical layers of Ma-Zu related activities. Secondly, interviews are adopted as a complementary method for understanding the contemporary ideas, belief, and ritualistic activities of pilgrimage in Taiwan. Thirdly, a framework is employed for the analysis of Taoist choreography Pilgrimage in order to elaborate on the style and meaning of the dance. This research discovers that Pilgrimage stands as a kind of medium for the preservation and re-development of historical heritage and cultural values. It reflects not only the traditional spirit of Confucianism and Taoism, but also the contemporary life experiences of Taiwan.

碩士
台北巿立體育學院
舞蹈碩士班
96
A Dance Analysis of the Buddhist Choreography “Meditation through the Flower” with Reference to the Cultural Implications Abstract People can change their recognition of world and appreciation of life through arts. However, dance performance is transient. Without literal record and analysis, people will not understand the elements, structures, properties, and styles of these Buddhist choreographies. Based on this consideration, this study uses “Meditation through the flower” , created by Taipei Folk Dance Theatre, as a sample to analyze Buddhist choreography. This study investigates the cultural background and meaning of “Meditation through the flower”. It also analyzes the elements, structures, properties, and styles of the Buddhist choreography. Through literal record, this study describes the artistic ways in which people change or share recognition of world and appreciation of life. This study firstly elaborates on traditional Buddhist ideas through reading Buddhist literature, and secondly examines the appreciation of Buddhist influences with qualitative interviews with art performers. Finally, this study analyzes the style and meaning of “Meditation through the flower” by using an analytic framework resonating to the Buddhist choreography. This study discovers that “Meditation through the flower” puts across cultural values between generations. In do doing, those values have been enriched or thickened. Moreover, this study holds that this choreography serves as a form of medium for the prevalence of Buddhist ideas, and a way leading to the self-cultivation and the reflection of the value of life.

碩士
中國文化大學
體育學系運動教練碩博士班
104
This study aimed to investigate the study analyzed Men's Artistic Gymnastics Horizontal Bar entire action choreography and connection points. Gymnastics Men's horizontal bar final score project is divided by a D points + E points. D points included the successfully implemented and have valid movement Difficulty Value of ten scores, class of group scores meets the five categories, and connecting flying movement is connected points. E points by the referee assigns a score based on artistic quality, implementation and technical performance of the entire action. How to arrangement the entire action to obtain higher D scores is the focus of this study was to investigate. Research methods in the National Games, Asian Games, Olympics Games Men's Artistic Gymnastics horizontal bar final eight players for the study, analysis of players arrangement the entire action difficulty value scores, connection points and final score of differences. The results obtained the entire action choreography to National Games players, did not pursue the implementation of difficult action to meet the various group of scores, and there is no fight between the connection points flying movement to enhance the D scores, compared to Asian Games and Olympic Games players D scores that are distinctly different. The conclusion of Asian Games and Olympic Games players elements of in the horizontal bar project wins, not only the pursuit of the entire action of difficult moves choreography value points, but also fight for to enhance the connection D score extra points, improve the final score to increase opportunities for victory. Precise connection flight movement, make the arrangement movement be more thrilling, novel and clever, improve the entire action overall rating, worthy of our players to follow, As a result the final score can be improved to increase the chance of winning.

Dances consist of bodies moving through space and time, a concept established by the great choreographer Merce Cunningham. Dance notation is the recording of these movements on paper. This multidisciplinary research aims at bridging the gap between the sciences and the arts. We mathematically investigate an existing system of dance notation, and use mathematical tools to generate new ones. The arts of dance and dance notation contain numerous mathematical concepts, mostly relating to Euclidean geometry. The first objective of this research is to identify these mathematical structures present in Labanotation. The second is to characterize dances using algebra. In one section, positions of partners in contradancing are defined by matrices and calculated through matrix multiplication using Homogeneous Coordinates. In another section, body movements are encoded into 4 x 6 matrices; the rows represent the four-dimensional coordinate space, and the columns the different body parts. After raising into 5 x 7 matrices using the concept of homogeneous coordinates, summing a sequence of matrices provides a choreography matrix representing the final position of a dancer as dictated by the sequence. The third objective is to choreograph using crystallographic groups (or wallpaper groups). Geometric shapes are designed to represent the basic steps of certain ballroom dances, and each group is applied to each symbol using Artlandia's SymmetryWorks in Adobe Illustrator. A brief discussion explains why only five groups are relevant, and the ensuing results illustrate that these groups applied to the dance symbols generate mostly feasible choreographic routines.

В магистерской диссертации рассматриваются и решаются вопросы технической подготовки спортсменов хип-хопе в соответствии с критериями оценивания соревновательной программы.
The master's thesis present the issues of some sportsmen technical training in the discipline of hip-hop, in accordance with the criteria of competitive program evaluation.

В работе рассмотрены условия для развития креативности у спортсменов, занимающихся хип-хопом, являющейся одним из главных элементов в постановке соревновательной программы в фитнес-аэробике.
This paper considers the conditions for the development of creativity among the athletes involved in hip-hop, which is one of the key elements in the formulation of competitive programs in fitness aerobics.

TITLE: Analysis of variability and difficulty of elements in sports aerobics performances- seniors women (European championship 2014, 2017, 2019) AUTHOR: Bc. Tereza Čadová DEPARTMENT: Department of physical education SUPERVISOR: PaedDr. Jana Hájková ABSTRACT: The main aim of this diploma work was to analyse sports aerobic¨s choreographies regarding the difficulty, variability and comparing the results. The analysis focused on the final choreographies of the six best women contestants in the Europe's Championship in 2014, 2017 and 2019 using the observant, analysis and result comparison method. This analysis followed criteria which was given in advance. In the conclusion the analysis results are defined anh show that the choreographies hasn't improved technically in the along the analysed years. KEYWORDS: Sports aerobics, technical index, variability, analysis, elemenst of difficulty