Relevant bibliographies by topics / Choreographic practice

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Choreographic practice'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Choreographic practice"

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Womack, Shawn. "Writing on the Divide: The Theorizing Choreographer." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 22–29. http://dx.doi.org/10.1017/s2049125500000868.

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This article makes the case for a less-traveled move across the choreographer-scholar divide—the theorizing choreographer over against the scholar as “performing theorist.” Performative writing exercises exemplify an embodied writing practice in which choreographic process is conjoined with critical theory to write back into one's dance as a reflective and reflexive practice. How might choreographic process infiltrate academic writing methods with its inscriptive bones, interpretive muscle, and theoretical backbone? The premise is that bodily action and choreographic knowledge enlivens the wri
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Oleneva, A. V., and I. A. Stepanik. "BREATHING EXERCISES IN CHOREOGRAPHIC EDUCATION." Pedagogical IMAGE 14, no. 4 (2020): 696–708. http://dx.doi.org/10.32343/2409-5052-2020-14-4-696-708.

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Introduction. The paper emphasizes the importance of work on breathing in professional choreographic education. The distinguishing features of breathing in choreography are presented. The study involves an analysis of various breathing techniques (yoga, pilates, Strelnikova gymnastics, and others), their compliance with the choreographic art requirements, and adaptability to professional choreographic education. Materials and methods. The analysis has been used to compile a set of breathing exercises corresponding to the classical dance requirements. The 5-month practice at the choreographic v
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Liska, Suzanne. "Somatic ethnographic research: A choreographic process informed by Alexander Technique." Choreographic Practices 11, no. 1 (2020): 75–99. http://dx.doi.org/10.1386/chor_00013_1.

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I write from the perspective of a dance artist interested in reflecting on and sharing my experiences of applying the Alexander Technique (AT) to a choreographic process. The inquiry was framed by dance ethnography, and I choreographed, danced, interviewed and performed with emerging to established dance artists specializing in Contact Improvisation, and interviewed and participated in lessons and workshops with AT teachers. During each phase of the research, I asked: why and how does AT guide me to embody my practice as a choreographer and dancer? This self-ethnographic research outlines an A
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Blumenfeld, Alice. "Beyond compás: Stepping outside flamenco’s performance norms." Choreographic Practices 13, no. 1 (2022): 9–24. http://dx.doi.org/10.1386/chor_00039_1.

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This article addresses how flamenco functions as both a noun and an adjective and the interplay between the two in the choreographic process. I use practice as research along with theory and historical analysis to further explore how, as dancer, I initially found and created meaning within the cuadro (a setting where a solo dancer performs with live musicians, typically consisting of a guitarist, singer and percussionists, and relying on shared knowledge of flamenco’s structures to accompany the dance and for the dancer to interpret the music). I then go on to explain how, as choreographer, im
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Harrington, Chrissie. "Choreographic pedagogies: towards an embodied practice." International Journal for Lesson and Learning Studies 3, no. 1 (2013): 100–124. http://dx.doi.org/10.1108/ijlls-09-2013-0047.

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Purpose – The purpose of this paper is to explore the inter-relationship between choreography and pedagogy. It refers specifically to a Participatory Action Research (PAR) project that dealt with investigations into performance making and the design of a teaching and learning model. Shifts from making performance from a pre-determined starting point to a participatory and interactive process are traced to reveal a “choreographic pedagogy” informed and transformed by the experience of its actors. Design/methodology/approach – The paper includes a brief explanation of the terms and shared featur
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Tkachenko, Mariia. "THE ROLE OF THE CHOREOGRAPHIC COMPONENT IN THE SYSTEM OF ARTISTIC DISCIPLINES OF THE EDUCATIONAL PROCESS OF ART SCHOOLS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 205–8. http://dx.doi.org/10.36550/2415-7988-2021-1-195-205-208.

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The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing c
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Shabazi, Shabnam. "The artistic practice of exorcism: Shabnam Shabazi (in conversation with Simon Ellis)." Choreographic Practices 11, no. 2 (2020): 279–98. http://dx.doi.org/10.1386/chor_00023_7.

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This is a conversation between artist Shabnam Shabazi and choreographer (and Choreographic Practices co-editor) Simon Ellis. They discuss Shabazi’s practice and focus on her interest in the archive as a creative resource, the role of the concept of home in her creative work and in the ways in which our bodies are sites of transformation for artists and participants.
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Giddens, Sara, Tony Judge, and John Law. "Dwelling in-between." Choreographic Practices 10, no. 2 (2019): 213–37. http://dx.doi.org/10.1386/chor_00004_1.

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Abstract Choreographer Sara Giddens reflects upon how making a series of ambulant performance works, The Dream-Walks, invited her to dwell in space‐times in-between, and how a resulting stepping aside heralded the opening up of a fundamental change in her relationship to audiences. Drawing upon a range of philosophers, including Bachelard, Heidegger and Rancière, Giddens reflects upon the impact that dwelling in those in-between space-times has had on her professional and pedagogic practice.16 short video clips, taken from the Eight Dream-Walks can be viewed at (<uri xlink:href="https://www
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Gorbatov, Nadiiya, and Nadiiya Gorbatov. "Ballroom dance in the education system: past and present." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 64–69. http://dx.doi.org/10.32461/2226-2180.39.2021.238689.

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The purpose of the article is to reveal the features of ballroom choreographic education in the dynamics of historical development and to characterize promising directions for optimizing the educational process in the context of the professional training of the future choreographer. Methodology. The method of theoretical analysis was applied, which contributed to the study of published scientific sources devoted to the problems of professional choreographic education and related problems in accordance with the topic of the article; the method of systems analysis to identify the goal, task, con
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Sarkar, Kaustavi. "De-centring the choreographer: Historically inspired interruptions/disruptions in an exploration between sculpture and movement1." Choreographic Practices 10, no. 2 (2019): 269–91. http://dx.doi.org/10.1386/chor_00007_1.

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Abstract This article reflects the process of choreographic making where the choreographer actively decentres her choreographic choices by collaborating with participating dancers and historical inspirations. It explores the creative potential of archives ‐ a set of temple-sculptures found in eastern India called the Alasa-Kanyas (meaning indolent maidens) ‐ as past evidence of historically marginalized bodies of the temple-dancers, also known as Maharis, in the field of the eastern Indian classical dance form called Odissi. Alasa-Kanya: Sculpture in Odissi (AK), a Practice as Research (PaR) e
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Dissertations / Theses on the topic "Choreographic practice"

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Fishwick, Emma. "Choreography as landscape: Landscape discourse framing choreographic practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2466.

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At the centre of this research is the notion of landscape and how thinking and talking about landscape impacts choreography. The result of the research is a new work, Dance, Quiet Riot, and an exegesis discussing the process of making it as well an exploration of various art forms, field experiences and the area of cultural geography. I use the development and presentation of Dance, Quiet Riot as a case study or creative artefact, if you will, for how landscape discourse can support and intersect with choreographic practice. This exegetical discussion understands landscape as a relational conv
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Bucar, M. "Aesthetic negativity and choreographic practice." Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/15320/.

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At the core of this doctoral submission is a portfolio of three of my recent choreographic works(all created between 2011-2014), complemented by a text, which attempts to formulate a theoretical approach for explicating the works, through the lens of Theodor Adorno’s theory of the inherent negativity of modernist artworks. Such an approach places Adorno’s ideas at the very centre of the analytical view presented here, albeit via the semiotic (re)articulation of these same ideas in recent work by Christoph Menke. This, in turn, draws on earlier work done within aesthetic semiotics by Viktor Shk
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Seago, Catherine. "Evolving motion : examining flux in choreographic practice." Thesis, University of Winchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.698200.

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The research which is embedded in this thesis through the dances and the context statement is about my experience of dancing and dance-making. During the process of making dances there is a sense of messiness in not knowing what is emerging. In the process of writing this document I have had to shift my experience in order to perceive the messiness and to reflect on how I work with it. The reflection on dance-making has enabled me to notice that the messiness arises from the tensions between the somatic, aesthetic, interpretive and inseparable experiences in performing, creating and receiving
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Matthaei, Nerida K. "Recontextualising my choreographic self: Conceptual and processual strategies for rerouting practice." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116353/1/Nerida_Matthaei_Thesis.pdf.

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This practice-led research project defines a methodological basis for the recontextualisation and rerouting of this artist-researcher's choreographic praxis. This was achieved via experimenting and testing new contemporary strategies underpinned by embodied reflexive practices and creative case studies, which resulted in the creation of new performance works. The study provided the researcher with mechanisms to articulate, recontextualise and interrogate processual choreographic complexities. Situated in the shifting landscape of the independent choreographer-dancer-producer, it identifies tha
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Mafe-Keane, Vanessa. "Settling the score: Pre-scoring spatio-temporal processes for independent dance practice." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/134479/9/Vanessa_Maf%C3%A9-Keane_Thesis.pdf.

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This research project develops Pre-scores, a generative choreographic tool that facilitates the communication and translation of movement concepts. Pre-scores are spatio-temporal dance scores depicting choreographic ideas as embodied inscriptions, using drawing, text and symbols, to transmit imaginative visualisations of movement concepts. Translucent layers of tracing paper reflect the way movement is generated and experienced within a body in motion and become a metaphor simulating the dancer's internal score. Pre-scores provide a low-fi collaborative tool, instigating the flow and transpare
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McLay, Grant A. "Movement Capture: A choreographic re-interpretation of the physical dynamics and sequential movements of a rugby union match." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/109619/1/Grant_McLay_Thesis.pdf.

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This thesis explored ways of coding and reinterpreting physical movement data from sport to create movement responses within a choreographic practice context in the field of contemporary dance. The study consisted of the notation and analysis of the physical dynamics and sequential body patterns of the high impact sport of rugby union to inform and influence the creation of movement scores that resulted in the creation of a new contemporary dance work and contributed to furthering the knowledge, understanding and practice of choreographic approaches to dance.
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McCormack, Jessica Carla. "Dancing other people's words : an investigation of choreographic practice in the field of verbatim dance-theatre." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702272.

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This thesis explores ways to understand, articulate and engage in the process of choreographing movement as a response to verbatim spoken language. Drawing on pertinent aspects in the field of translation studies and Sakhtin's theory of 'heteroglossia' and combining this with experimental choreographic practice, the research develops ways in which to understand, articulate and practice the 'translation' of verbatim spoken language into movement in the context of 'dancetheatre'. Through analysis of ova Physical Theatre's productions To Be Straight With You (2007-9) and Can We Talk About This (2
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Sabisch, Petra. "Choreographing relations : practical philosophy and contemporary choreography." Thesis, University of Greenwich, 2009. http://gala.gre.ac.uk/5650/.

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This thesis undertakes the Deleuzian experiment of a conceptual site development of contemporary choreography through analysis of the works of Antonia Baehr, Juan Dominguez, Xavier Le Roy and Eszter Salamon. It examines the way these works transform choreography qualitatively by elaborating singular methods which couple the issue of movement with the creation of aesthetic regimes. As opposed to a representational outline of choreography’s ontology, my thesis investigates the participatory potential of choreography by focussing on the singular relational assemblages that each choreography creat
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Jackson, Jonathan David. "Crafting community--Doris Humphrey's humanist choreographic practice: a selective inquiry into the ideology of an early twentieth century choreographer's creative legacy." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327680417.

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Han, Chil. "The use of the principles and practice of Zen Buddhism and Korean dance to create a new choreographic style for contemporary classical ballet works." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/317.

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The aim of this research is to create a ballet choreography (Kang Kang Sulrea) informed by practices of Zen Buddhism and Korean dance. This choreography demonstrates my personal interpretation of various aspects of style and practice that have arisen through this research. Meditation was studied as a means to inspire creativity and was then shared with dancers participating in a performance piece called Kang Kang SulRea. This process led to the incorporation of meditation as a pivotal component of the performance itself. The dancers also learned Korean dance, focusing on the concept at “danci
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Books on the topic "Choreographic practice"

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William Forsythe and the practice of choreography. Routledge, 2011.

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Ravn, Susanne, and Leena Rouhiainen. Dance spaces: Practices of movement. University Press of Southern Denmark, 2012.

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Out Loud: A Memoir. Penguin Publishing Group, 2019.

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Janet, Adshead-Lansdale, and National Resource Centre for Dance., eds. Choreography: Principles and practice : report of the fourth study of dance conference, University of Surrey, 4-7 April 1986. Published for the Dance Research Unit by the National Resource Centre for Dance, 1987.

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Performing Process: Sharing Dance and Choreographic Practice. Intellect Ltd, 2018.

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Ritter, Julia M. Tandem Dances. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051303.001.0001.

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Tandem Dances: Choreographing Immersive Performance proposes dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. The idea of tandemness—suggesting motion that is achieved by two bodies working together and acting in conjunction with one another—is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as
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Guy, Priscilla. Where Is the Choreography? Who Is the Choreographer? Edited by Douglas Rosenberg. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199981601.013.28.

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This chapter examines editing as a springboard to envision new types of choreographic practices for screendance and proposes choreographic editing as a dance-making approach embedded within the process of editing, encouraging further headway into screendance practices. Martin Heidegger’s thinking provides insightful tracks to follow in theorizing the role of contemporary screendance choreography and mediated dances/bodies on screen. Erin Braningan’s concept of micro-choreographies and Harmony Bench’s essay on anti-gravitational choreographies in screendance suggest ideas of choreographic editi
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Cvejic, Bojana. Problem as a Choreographic and Philosophical Kind of Thought. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.43.

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This chapter accounts for a distinctive kind of thought, born in and through European dance since the mid-1990s, which has thoroughly transformed choreography and performance by reinventing performed relations between the body, movement, and time under the theme of “problems.” The practice of this thought is rooted in the problematization of specific concerns within contemporary theater dance, such as the body-movement bind with respect to expression and form, improvisation and processuality, or spectatorship. Most important, its forte lies in introducing a method of creation by way of problem
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Pakes, Anna. Choreography Invisible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.001.0001.

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Focusing on Western theatre dance, Choreography Invisible explores the metaphysics of dances and choreographic works. It draws on a range of resources from analytic philosophy of art to develop the argument that dances are repeatable structures of action. The book also analyses the idea of the dance work in long-term historical perspective. Tracing different ways in which dances have been conceptualised across time, the book considers changing notions of authorship, fixity, persistence, and autonomy from the fifteenth century to the present day. The modern work-concept is interrogated, its rel
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Monson, Jennifer. RMW (A) & RMW from the Inside Out. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0014.

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The essay uses poetic, descriptive, and conceptual writing approaches to articulate how the choreographic strategies of RMW(A) & RMW emerged from their historical and political contexts. The work references the 1990s and the early 2000s as historical moments influenced by the AIDS epidemic and the Internet revolution. It proposes that the notion of a queer object and action might be used to differentiate the kinds of desire that are negotiated between the performers and the audience through these choreographic approaches over time. RMW(A) & RMW is described as a practice that adapts to
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Book chapters on the topic "Choreographic practice"

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Jürgens, Stephan, and Carla Fernandes. "Choreographic practice-as-research." In Performance as Research. Routledge, 2017. http://dx.doi.org/10.4324/9781315157672-14.

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Smith, Sophy. "Social media and choreographic practice." In Contemporary Choreography. Routledge, 2017. http://dx.doi.org/10.4324/9781315563596-42.

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Cash, Lucy. "Field Notes from a Choreographic Practice." In The Creative Critic. Routledge, 2018. http://dx.doi.org/10.4324/9781315561059-39.

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Ellis, Simon. "Pause. Listen.: Visibility and Freedom in Choreographic Practice." In Dance and the Quality of Life. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-95699-2_10.

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Wortelkamp, Isa. "Notieren im Tanz." In Bewegungsszenarien der Moderne. Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-7.

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Note taking is a choreographic writing practice that implies processes of thinking, projecting and rejecting ideas. Note by note, a complex scenery of movement emerges through reflexive practices of writing, which are designed for a performative event. This article explores different forms of choreographic notation from the perspective of their performative dimensions and draws on approaches from literary theory, procedures of drafting and drawing, as well as considerations of writing as a thought process. The emphasis will be on specific examples of contemporary dance.
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Nunan, Mary. "A Gallery of Hanging Thoughts: Reflections on a Choreographic Practice (12 Frames)." In Dance Matters in Ireland. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66739-3_10.

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Pakrasi, Ishaan, Novoneel Chakraborty, Catie Cuan, Erin Berl, Wali Rizvi, and Amy LaViers. "Dancing Droids: An Expressive Layer for Mobile Robots Developed Within Choreographic Practice." In Social Robotics. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-05204-1_40.

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Ruhsam, Martina. "I Want to Work With You Because I Can Speak for Myself: The Potential of Postconsensual Collaboration in Choreographic Practice." In Collaboration in Performance Practice. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137462466_4.

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Maar, Kirsten. "Szenarien des Entwerfens." In Bewegungsszenarien der Moderne. Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-11.

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The contribution aims to look at the figure of the scenario as a format directed toward the future, which introduces into the choreographic process the potential agencies of singular materials and media, procedures and practices. On the one hand, the scenario connects to the context of its emergence and on the other, it emphasizes the unpredictable which occurs within the relationality of singular agencies and their assemblages. The various practices of scenography open up the spatial dimension of choreographic assignments and their negotiation within the occurring arrangements. To examine these different ideas and link them to each other, the essay looks at William Forsythe’s ‚Human Writes‘ and explores the concept of his choreographic objects as a mode of expanded choreography, as well Meg Stuart’s ‚sketches / notebook‘ as an interdisciplinary ritual.
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Guzzanti, Paula. "The Language of Affect in Choreographic Practice: Conversations on the Making of Embodied at the GPO." In Dance Matters in Ireland. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66739-3_6.

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Conference papers on the topic "Choreographic practice"

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Крулица, Анна. "Conversation with the past in contemporary choreography." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.18.

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My article examines the problem of the archival turn in scientific works and discourse that affects artistic practice, including the choreographic one. In recent years, we can find several attempts to reconstruct the performances of famous choreographers who worked in the 1920s and 1930s. Modern choreographers have recalled forgotten performances of the former era, but recalling these choreographic works, they want to give them a modern meaning. This attempt is similar to rewriting history. In this context of rewriting history, I want to emphasize the importance of bodily memory and bring the
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Monnazzi, João, and Regis Faria. "Body Building Music: The Kinase Instalation." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10458.

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Thinking on the congruencies between music and sports, we propose with this art installation some novel paths and connections for music production in a little explored field, in the interdisciplinarity with sports. Some similarities in the acting of musicians and athletes, such as the need of technical domain through discipline and practice. A musician who wants to develop her/his technical skills needs to follow a hard routine of practical studies, focusing in improving motor abilities with the proposing to play the piece in the better way possible. This process has a close proximity with the
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Mezzina, Claudio Antares, and Jorge A. Pérez. "Causally consistent reversible choreographies." In PPDP'17: 19th International Symposium on Principles and Practice of Declarative Programming. ACM, 2017. http://dx.doi.org/10.1145/3131851.3131864.

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Allen d'Ávila Silveira, Catarina, Ozgun Kilic Afsar, and Sarah Fdili Alaoui. "Wearable Choreographer: Designing Soft-Robotics for Dance Practice." In DIS '22: Designing Interactive Systems Conference. ACM, 2022. http://dx.doi.org/10.1145/3532106.3533499.

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Popova, N. E., and G. P. Lemeshenko. "Choreography and Health Project: Practical Aspect." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-07-2020-10.

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Corradini, Flavio, Andrea Morichetta, Andrea Polini, Barbara Re, and Francesco Tiezzi. "Collaboration vs. Choreography Conformance in BPMN 2.0: From Theory to Practice." In 2018 IEEE 22nd International Enterprise Distributed Object Computing Conference (EDOC). IEEE, 2018. http://dx.doi.org/10.1109/edoc.2018.00022.

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Azevedo, Maria Isabel. "Digital art holograms: approaches for the development of color choreographies." In Practical Holography XXXVI: Displays, Materials, and Applications, edited by Hans I. Bjelkhagen and Seung-Hyun Lee. SPIE, 2022. http://dx.doi.org/10.1117/12.2608282.

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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Ga
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Law Adams, Marie, and Daniel Adams. "The Choreography of Piling: Active Industry in the City." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.34.

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Gravel, salt, sand, cobbles, and scrap metal – dry bulk materials fundamental to making and maintaining the built environment – are piled in or around coastal cities. The pile is the architecture of the holding stage between a material’s arrival and accumulation from one mode (such as ship or rail) and its distribution into the city through another (most commonly, the truck). Although these piles often approach the scale of large buildings and natural landforms, and their presence is a fixture in the built environment, they are overlooked as a matter of design. In recent decades, some artists
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De Nicola, Alessandra. "HERITAGE AND ART EDUCATION THROUGH THE SCREEN. FILLING THE SPACE BY PERFORMATIVE METHODOLOGIES." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end140.

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Long before the pandemic, museums started to invest, experimenting with some performative practices (Bishop 2006; Lista 2006) as a method and tool to foster access and participation of different audiences to their heritage. Since the advent of the #culturequarantine, in which most of the educational activities have taken place through a digital space, care and attention to gesture and space have become a key to respond effectively to the needs of educators and users. After an initial phase of rejection and disorientation, teachers, educators and trainers had to find new answers. The aim of thi
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Reports on the topic "Choreographic practice"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In m
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