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Theodoridou, Danae. "Short (research) stories : drama and dramaturgy in experimental theatre and dance practices." Thesis, Roehampton University, 2013. http://hdl.handle.net/10142/283932.
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This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.
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Sommerlade, Kristine. "Identity, knowledge and ownership : contemporary theatre dance artists in the UK's creative economy." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/25866/.
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This thesis examines contemporary theatre dance artists' economic conduct to fill a gap in knowledge in current dance scholarship. It seeks to identify economic competencies and behaviours which dance artists employ in their work lives. Furthermore, it explores to what extent the theatre dance field's senior representatives are influential in shaping these competencies and behaviours. It also investigates the relationship between dance artists' economic conduct and their artistic and financial status, in and outside of theatre dance. The thesis's central hypothesis is that dance artists approach their artistic practice(s) and related economic circumstances and behaviours as interrelated value spheres, despite publicly upholding their separateness. An empirical ethnographic investigation, which has involved twenty-two research participants, underpins the thesis's argument. By utilising interviews, community reviews and the embodied presence of the researcher in the field, the study's methodology has aimed to create a more level playing field between the researcher and participants. In addition, it draws on commissioned governmental and independent reports which document and debate New Labour's cultural policies between 1997 and 2010. This study's economic perspective on its research field has been absent in previous key studies. It calls into question idealised perceptions held by many about dance artists as labourers and theatre dance as a work field. To achieve its goals, the study, firstly, provides insights about dance artists' livelihood systems which emphasise that they employ distinct economic strategies and engage expertly with multiple value economies. Secondly, it reveals that New Labour's cultural policies inadvertently disrupted the theatre dance sector's central value-generating mechanisms. In doing so, they destabilised the secondary dance-related labour market and affected dance artists' ability to self-fund their practice. Thirdly, the thesis underlines that cultural policymakers by disregarding dance artists' livelihood systems delivered unexpected outcomes which contradicted their expressed goals.
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Pratt, Angela. "ask dance theatre : Christian worldview and the creative process." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15881/1/Angela_Pratt_Thesis.pdf.
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Professional dance companies which reflect a Christian worldview are slowly emerging within the dance community, but this is territory which is generally uncharted academically, especially in Australia. Consequently, this paper is an ethnographic study of an Australian professional dance company of this kind. ask dance theatre is a professional dance company located in Sydney. Established in February 1999, it has three key personnel - Phillippa-Oakden Patch (artistic director/ choreographer/dancer), Hannah Horsley Cooper (choreographer/dancer) and Steve Cooper (composer/musician). Developing a philosophy based on a biblical worldview, one of the company's aims is to provide a "nurturing environment for artists of different disciplines to grow artistically and spiritually while creating dance theatre works". This has involved working collaboratively, incorporating dancers, singers, musicians, visual artists and actors, to create original works which have been performed at major contemporary dance and Christian arts events in New South Wales, Australia. Through the ethnographic methods of participant observation, interviewing and document analysis, details of this company's worldview as a group of "committed Christians" and their creative process was researched. This paper focuses on the description, analysis and interpretation of their creative process in the production of a new work during the first six months of 2001, identifying how their Christian worldview is reflected in their creative process.
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Pratt, Angela. "Ask Dance Theatre: Christian Worldview And The Creative Process." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15881/.
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Professional dance companies which reflect a Christian worldview are slowly emerging within the dance community, but this is territory which is generally uncharted academically, especially in Australia. Consequently, this paper is an ethnographic study of an Australian professional dance company of this kind. ask dance theatre is a professional dance company located in Sydney. Established in February 1999, it has three key personnel - Phillippa-Oakden Patch (artistic director/ choreographer/dancer), Hannah Horsley Cooper (choreographer/dancer) and Steve Cooper (composer/musician). Developing a philosophy based on a biblical worldview, one of the company's aims is to provide a "nurturing environment for artists of different disciplines to grow artistically and spiritually while creating dance theatre works". This has involved working collaboratively, incorporating dancers, singers, musicians, visual artists and actors, to create original works which have been performed at major contemporary dance and Christian arts events in New South Wales, Australia. Through the ethnographic methods of participant observation, interviewing and document analysis, details of this company's worldview as a group of "committed Christians" and their creative process was researched. This paper focuses on the description, analysis and interpretation of their creative process in the production of a new work during the first six months of 2001, identifying how their Christian worldview is reflected in their creative process.
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Dixon, Tennessee. "PROJECTION DESIGN FOR A CONTEMPORARY DANCE WORK BY IVÁN ANGELUS IN HUNGARY." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2536.
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The purpose of this thesis is to document and analyze my projection design for a new dance piece, "VŰ", directed by Angelus Iván and staged at Trafó in Budapest, Hungary. Included is an account of the design process, the concept and projection development described scene by scene, execution, performance and evaluation. The paper ends with reflections on the relatively new field of image projections, and my professional goals in scenic design.
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Kim, Sang Kyung. "Physical dance performance : an investigation into the development of a performance technique based on the integration of certain Korean dance technique and contemporary Western styles of dance and physical theatre." Thesis, Brunel University, 2001. http://bura.brunel.ac.uk/handle/2438/4843.
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This development of a performer practice that integrates elements of traditional Korean dance technique and Western forms of physical theatre and contemporary dance is based on an approach to internal understanding and external execution. Central to the work is the concept of body energy, or Ki. This ancient Eastern term is translated into a contemporary practice that enables a performer to engage mental and physical training. Breath and the use of breath in performing are the principal means of achieving this level of engagement.
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Dyson, Clare Marie. "Performing the unutterable : mapping the experiential in contemporary dance." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41750/1/Clare_Dyson_Thesis.pdf.
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This research project looks to engage audiences in a variety of experiential ways by reexamining and manipulating the traditional presentation paradigm for viewing Western contemporary dance. It considers how the audience may be situated in the creation and presentation of contemporary dance generally, and specifically in the work The Voyeur, which researched these issues in action. By situating the body of the audience member as a site of understanding and meaning making, this practice-based research considers the audience within the artists’ creative process from the inception of a creative work, rather than after the work has been created. The research questions how a ‘lived experience’ of contemporary dance could be deepened for the audience. It presents a series of ‘tools’ to create alternative frameworks of presentation that challenge the dominant modes of creation, presentation and meaning making in contemporary dance. The five tools established and applied in this research are: site, liminality, agency, proximity and performer authenticity. These tools are framed as a series of calibrated scales that allow choreographers to map decisions made in the studio in relation to potential audience engagement. These scales have the ability to house multiple presentation formats from the traditional to the avant garde and open up possibilities for broad analysis of a wide range of artistic dance works.
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Robinson, Raymond Stanley, of Western Sydney Nepean University, and of Social Community and Organisational Studies School. "Dreaming tracks : history of the Aboriginal Islander Skills Development Scheme, 1972-1979 : its place in the continuum." THESIS_XXX_SCOS_Robinson_R.xml, 2000. http://handle.uws.edu.au:8081/1959.7/76.
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Dreaming Tracks was chosen for the title of this history because of its reference to the journeys and routes taken by the ancestral founders of each of the extended family clans. As they travelled they recorded the events and situations they encountered along the way , which they left in story, painting, song lines and dances for the future survival of their people. The history of the Aboriginal/Islander Skills Development Scheme also pertains to a journey. This journey records the events that brought about the establishment of the longest surviving, urban Indigenous dance organization. It's a voyage that identifies the obstacles and accomplishments of its founding members, who dedicated themselves to the hard work to ensure the continuum of Aboriginal and Torres Strait Islander dance. It was their dream, to have an Australian Black Dance Company that would create a link between past and present, traditional and urban. The pathways they created equipped urban Indigenous Australians with a unique dance identity of their own, and established the path to continued contact with the traditional owners. Dreaming Tracks is contemporary Dreaming lore that begins with the contention for land rights in the early 1970's and follows the progress of the Aboriginal/Islander Skills Development Scheme to the end of the decade. It records the desires, dreams and conflicts that brought this organization into being. In parallel, the concerns of the founder, Carole Y. Johnson, sets the path for the journey, which by the end of the twentieth-century witnessed the establishment of an accredited dance course, two dance companies (The Aboriginal/Islander Dance Theatre and Bangarra Dance Theatre, Australia) and students who are key participants in the artistic design of the 2000 Olympics in Sydney AustraliaMaster of Arts (Hons) (Performance)
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Blogg, Martin Howard. "Efficacy and the Arts with Special Reference to Contemporary Dance Theatre: The Ethical, Aesthetic and Spiritual - A Performative Discourse a view from Within: a Reflective Practitioner’s Revisionary Point of View." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365923.
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In that every form of knowing represents a way of en-acting, relating and being-in-the- world, every form of knowing has an ethical dimension and concerns efficacy. Contemporary research points to significant gaps in relation to the way the arts are presently perceived and justified. In the minds of many the arts have failed to develop an adequate public conception of their true significance.
This thesis seeks to re-present, re-ground and re-vision the way we think about the arts; have the arts, and dance more specifically, re-cognized and re-legitimized in terms of their intrinsic and ethical nature, their own ‘form of life’.
Today we think of the performing arts primarily in terms of entertainment and recreation, with little significance other than providing ephemeral and escapist pleasure, a gloss upon the surface of life, a harmless indulgence – one driven in the main by economics and politics rather than the internal and ethical energies of the forms themselves. Along with such authors as Abbs (1996, p.29), I see the arts as ‘indispensable vehicles for the development of human consciousness; a primary quest for meaning and understanding, apprehending and exploring reality’; at their most profound and typical, formally heuristic rather than merely hedonistic; and, ‘far from escaping life [they] have a way of drawing us into life, allowing us to participate more immediately and deeply in the basic stuff and process of life’ (Westerhoff 1981a, pp.5–15), re-minding artists and arts audiences, arts legislators and educators that beyond the functional and material there exists, as has always existed, a close alliance between aesthetic knowing and spiritual knowing; ‘an alliance not dictated merely by historical accident or practical need but one rooted in the very essence of both’ (Pope John Paul II 1999).Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
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Neideck, Jeremy. "The fabric of transcultural collaboration: Interweaving the traditional Korean vocal form of p'ansori and the contemporary Japanese dance form of butoh in a transculturally Australian context." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93720/1/Jeremy_Neideck_Thesis.pdf.
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This practice-led research investigated the negotiation processes informing effective models of transcultural collaboration. In a creative project interweaving the image-based physicality of the Japanese dance form of butoh with the traditional Korean vocal style of p'ansori, a series of creative development cycles were undertaken with a team of artists from Australia and Korea, culminating in Deluge, a work of physical theatre. The development of interventions at 'sites of transcultural potential' resulted in improvements to the negotiation of interpersonal relationships and assisted in the emergence of a productive working environment in transculturally collaborative artistic practice.
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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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Kafetzi, Eleni. "Interdisciplinarité en représentation théâtrale. Éléments du Musical dans le spectacle interdisciplinaire contemporain." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA046.
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L’interdisciplinarité est une pratique largement employée dans le spectacle vivant contemporain. Que l'on aborde le concept de coopération ou celui d’intégration, il s’agit d’une procédure de fusion qui, dans le cas des arts du spectacle, se concrétise par la croisée des disciplines artistiques entre elles, avec d’autres sciences, ou d’autres arts. Dans la scène théâtrale l’interdisciplinarité se présente sous plusieurs formes. La présente étude se concentre sur les spectacles contemporains mariant théâtre, musique et danse et leur relation avec le genre interdisciplinaire par excellence que représente le Musical. Ce dernier est par nature un genre hybride, car il combine plusieurs arts en une seule entité. Ces arts doivent à la fois maintenir leurs intégrités propres et se combiner pour former une unicité organique. Malgré sa complexité, il réussit à être un genre à part entière qui a influencé d’autres genres, ainsi que plusieurs essais artistiques contemporains. En tant que genre autonome, il possède des lois de fonctionnement, des signes récurrents, des règles esthétiques. Nous avons choisi de traiter cinq spectacles interartistiques afin d’en dégager les caractéristiques du genre et parallèlement d’ordonner ces singularités. Notre recherche s’établie sur Out Loud de STOMP, Tubes du BLUE MAN GROUP, Perseus d’ithakArts, Elektra Fragments mise en scène par Michael HACKETT et 2, mise en scène par Dimitris PAPAIOANNOU. Ces spectacles qui échappent à toute catégorisation, présentent des similarités avec le Musical. Cette thèse se focalise ainsi sur la recherche des éléments du genre au sein de ces spectacles et propose un choix de conventions qui définissent le MusicalInterdisciplinarity is a widely employed practice in the contemporary arts scene. Whether the term refers to the collaboration or notion of integrating different disciplines, we can infer to a process of fusion, which in the field of the performing arts, takes numerous forms. This dissertation focuses on contemporary inter-artistic performances that combine theatre, music and dance, and their relation to the interdisciplinary genre of Musicals. Musical Theatre is by definition a hybrid entity, combining different artistic expressions. The latter, are at all times maintain their separated integrity, while they must be fused in such a way in order to form an organic unity. Despite its complexity, Musical Theatre manages to be a genre in itself, which in turn has influenced other genres, including many contemporary experimental performances. Thus, as an autonomous form of expression, it possesses laws of operation, technical characteristics and aesthetic rules that defines it. The purpose of this research is to identify elements and influences of Musical Theatre within five contemporary interdisciplinary shows, while tracing the theoretical aspects and conventions that determine this genre. The examined shows are Out Loud by STOMP, Tubes by the BLUE MAN GROUP, Perseus by ithakArts, Elektra Fragments directed by Michael HACKETT and 2, directed by Dimitris PAPAIOANNOU. These autonomous fusion works defy categorization; however, they share fundamental characteristics with Musicals
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Sears, Linda Roseanne. "Resistant corporealities contemporary British dance-theater /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
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Sears, Linda Roseanne. "Resistant corporalities : contemporary British dance-theater /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
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Wu, Pak-lai. "City Contemporary Dance Complex." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956358.
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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 conversation between the human and non-human, shaping the way one moves through and sees the world. I argue that ideas of landscape can be used as a tool for choreographic practice and propose that this process can be applied effectively to choreography across multiple or singular art forms. Dance, Quiet Riot explores themes of gendered visual materiality and how such ideas (quietly) underpin my way of seeing and moving in the world. These themes are discussed throughout the exegesis, however, they are considered secondary to the focus of the research itself, which is landscape as a tool for choreography. This research asks how might approaching choreography as a type of landscape (symbolic rather than literal) shape how choreography is made, watched and performed.
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Wu, Pak-lai, and 胡百禮. "City Contemporary Dance Complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984289.
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Rieu, Sophie. "la beauté limite ou le réveil du sublime sur les scènes contemporaines." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30042.
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Après une première phase de réflexion portant sur les traces d’un sacré bataillien chez Jan Fabre, tout en élargissant le corpus à d’autres artistes contemporains (Abattoir fermé, Romeo Castellucci, Pippo Delbono, Yves-Noël Genod, Alain Platel, Gisèle Vienne et quelques autres), cette thèse propose de mettre en lumière les manifestations, sur les scènes contemporaines, d’une beauté atypique, amorale, parfois obscène, que nous avons choisi de nommer « beauté-limite ».La première partie de la thèse tente de définir ce concept en parcourant les multiples définitions qu’a pu revêtir la beauté à travers les âges : divine, synonyme d’harmonie ou de vérité, bizarre (Baudelaire), disloquée (Expressionnisme), extraordinaire et intense (avant-gardes), etc. Aussi surprenant que cela puisse paraître, la beauté-limite n’est parfois pas étrangère à l’effroi ni au dégoût. Parce qu’elle est excessive, elle est arrachement. Et elle tisse avec le spectateur un lien émotionnel et sacré tel qu’elle s’apparente au sublime. Pourtant, cette question est absente de la recherche en arts du spectacle ; il nous a donc fallu nous appuyer sur les travaux existants en arts visuels, en esthétique et parfois en psychanalyse.Le merveilleux, le rêve et le conte, les motifs populaires du carnaval et du cirque font souvent partie des compositions scéniques actuelles. Par ailleurs une « terreur belle » - souvent imprégnée d’un romantisme monstrueux et proche du sublime - caractérise certains spectacles (ceux de Romeo Castellucci par exemple). L’apport de la poésie, de la danse, de la musique, l’intégration de techniques cinématographiques sont autant d’éléments dont la combinaison peut susciter le sentiment du sublime. Nous nous sommes également interrogée sur le corps ; particulièrement présent, parfois sursignifiant, ne serait-il pas, dans certaines circonstances, source de sublime ? Le corps, en effet, qu’il soit naturel, organique, informe, érotique, sacrifié, nous ouvre des mondes d’où surgit une beauté «terrible».Mais pour accéder au sublime, explique Baldine Saint Girons, il faut accepter de voir le réel sans les yeux de la raison et de la logique. Autrement dit, il ne suffit pas que le spectateur soit confronté à l’illimité ; encore faut-il qu’il consente à se laisser porter par l’incertitude (et parfois l’abstraction) qui caractérise certaines formes dites postdramatiques. Nous avons tenté d’analyser ce qu’il peut alors se produire dans le corps du spectateur. La« pensée iconique » - développée par Nicole Everaert-Desmedt à partir de la sémiotique peircienne – est particulièrement adaptée à l’analyse de spectacles déroutants, qui tirent le regard vers le mystérieux et l’invisible. Restent des points d’interrogation : quels sont les effets du sentiment sublime ? Peut-on, à l’instar de certains metteurs en scène, parler raisonnablement d’effet cathartique ? À quoi bon provoquer une « commotion émotionnelle » ? N’y a-t-il pas là un effet purement spectaculaire et gratuit ? … Ou, au contraire, n’est-il pas envisageable que, faisant l’expérience du sublime, le spectateur entrevoit la possibilité de se libérer d’une «vie à contrecoeur » ? (Breton)After a first phase examining the traces of a the Batallian Sacred in the work of Jan Fabre, while widening the corpus to other contemporary artists (Abattoir fermé, Romeo Castellucci, Pippo Delbono, Yves-Noël Genod, Alain Platel, Gisèle Vienne and a few others), this thesis aims to highlight the manifestations, on contemporary scenes, of an unusual, amoral, and sometimes obscene beauty that we have named 'borderline beauty '.The first part of the thesis attempts to define this concept. To this end, we have moved through the many definitions of beauty developed in the history of art : divine, synonymous with harmony or truth, bizarre (Baudelaire), dislocated (Expressionism), wonderful and intense (avant-gardes), etc. Whilst it may seem surprising, borderline beauty is also sometimes close to fear and horror, or even disgust. Because it is excessive, it is uprooting. Given borderline beauty connects the viewer with such strong feelings and establishes such a sacred link, it is also related to the sublime. However, this question is not researched within the field of performing arts and we therefore had to rely on material from visual arts, aesthetics and psychoanalysis.The marvelous, dreams and tales, the carnival and the circus are elements that often form part of contemporary performing arts. Moreover, a ‘beautiful terror’ – which is often influenced by monstrous romanticism and is close to the sublime – characterizes some shows (Romeo Castellucci’s ones for instance). The contributions of poetry, dance, music, and cinematographic techniques, when combined, contribute as well to the feeling of the sublime. Central to performing arts, the body is then at the core of this signifying process. As it is strongly present and sometimes over-signifying, is it a source of the sublime as well ? Be it shown as natural, organic, amorphous, erotic, or sacrificed, the body is actually the vessel for a ‘terrible’ beauty.Although, in order to reach the sublime, as Baldine Saint Girons explains, one must accept to see reality without the eyes of reason and logic. In other words, it is not enough for the spectator to be confronted with the unlimited; it is necessary to consent to let oneself being carried away by the insecurity (and sometimes the abstraction) that characterizes certain so-called postdramatic forms. In that context, we have analyzed what may happen to the body of the spectator. ‘Iconic thinking’ – a term coined by Nicole Everaert-Desmedt from the theory of signs developed by C.S. Peirce – is particularly adapted for the analysis of disturbing spectacles which are interested in the mysterious and the invisible. Some questions remain: what are the effects of the sublime? Some directors talk about cathartic effects: can it be considered as such ? What are the advantages of provoking an ‘emotional shock’? Aren’t such shocks purely based on spectacular and theatrical effects? Or, on the contrary, could we consider that when experiencing the sublime, the spectator catches a glimpse of freeing himself from what André Breton called a “life with reluctance”?
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Vatulíková, Andrea. "Performance art jako hraniční forma uměleckého projevu." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2018. http://www.nusl.cz/ntk/nusl-387735.
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While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis of physical trainings that work with the zero point in theater, dance and performance arts. Primary output of this work is then analysis of physicality as culturally encoded construct and the practical part of disseration is focused on the realisation of the point zero symposium.
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Karampagia, Valentina. "Écriture et danse contemporaines. Une lecture de Gherasim Luca et de Dimitris Dimitriadis à l'épreuve du performatif." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030065.
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Cette thèse propose une exploration de la poésie de Gherasim Luca et de l’écriture scénique de Dimitris Dimitriadis à partir des interrogations philosophiques et esthétiques que suscite la notion de performatif. Cette notion qui circule entre la philosophie du langage et de l’art est décisive pour comprendre la profonde complicité entre l’écriture des deux auteurs, le corps et l’acte de lecture. Dans cette exploration, la danse contemporaine est une référence centrale : elle est en effet intrinsèquement performative en ce que ses fabriques sont de l’ordre d’une monstration et en ce que ses temporalités vacillent entre l’actuel de l’improvisation et le répétable de la composition. La monstration est aussi ce par quoi le langage est performatif : les mots donnent des définitions aux choses, or, ce faisant, ils inscrivent celles-ci dans un devenir ; ainsi, le langage est une scène où recommence infiniment le spectacle de l’existence. Mais le performatif du langage se détermine encore par la vacillation entre l’actuel et le répétable : le sens est pris dans un mouvement de sapement du présent par un passé impossible à délimiter, si bien que toute communication a lieu sur le fond de quelque chose qui lui échappe ; plus que de cerner un objet, sa fonction est de le décliner à l’infini. La danse contemporaine est une île dans ce vaste espace de pensée qu’ouvre le performatif et fournit des outils précieux afin de naviguer dans les œuvres littéraires hybrides de Luca et de Dimitriadis. La danse répond ainsi à ces écritures qui déploient la plasticité du langage. Elle répond aussi à leur tendance à rendre poreux le passé de l’écriture et le présent de la lecture, ainsi que les frontières entre la poésie et le théâtreThis thesis proposes a path throughout the poetry of Gherasim Luca and the dramatic writing of Dimitris Dimitriadis based on the philosophical and the aesthetic questions of performativity. This notion circulating between the philosophy of language and of art is decisive so as to understand the great relation of both authors’ writing to the body and the act of reading. Contemporary dance is a basic reference into this path : it is, indeed, profoundly performative as it’s creations are similar to demonstration and it’s temporality vacillates between the moment of improvising and the composition’s repetition. Demonstration is, equally, a performative aspect of language : words define things, and thus, they inscribe them in an motion. Therefore, language is the scene where the performance of being restarts endlessly. Furthermore, performativity of language is determined by the vacillation between the present and repetition itself : meaning is grasped by a mouvement of undermining of the present by a past improbable to limitate and all communication takes place in the background of something that espaces from it. Instead of clarifying an object, language’s fuction is to broaden it infinitely. Contemporary danse is an island in this vast space of thought on performativity and offers precious tools so as to navigate in the hybrid literary work of Luca and Dimitriadis. Danse indeed converses with these texts, which unfold the plasticity of language. It finally gives answers in regard to the texts’ tendancy to render the past of writing and the present of reading, as well as the boundaries between poetry and theater, permeable
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Pereira, Sayonara Sousa. "Rastros do Tanztheater no processo criativo de ES-BOÇO : espetaculo cenico com alunos do Instituto de Artes da UNICAMP." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285046.
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Orientador: Inaicyra Falcão dos SantosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-09T15:06:14Z (GMT). No. of bitstreams: 1 Pereira_SayonaraSousa_D.pdf: 4308087 bytes, checksum: 6528476f4d8fbfa0027de0187d661a80 (MD5) Previous issue date: 2007
Resumo: O percurso desenvolvido nesta pesquisa teve como ponto de partida o Tanztheater2, movimento de dança que ocorreu na Alemanha a partir de 1932, e considerações sobre a obra de quatro de seus principais protagonistas, respectivamente: Kurt Jooss, Dore Hoyer, Pina Bausch e Susanne Linke. Em seu prosseguimento, a pesquisa foi articulada no desenvolvimento profissional da autora por meio das influências absorvidas ao longo dos trabalhos com Tanztheater, estudos na Folkwang Hochschule Essen e na Hochschule Für Musik Köln; e o incremento da carreira da autora como bailarina, coreógrafa e pedagoga nos anos que atuou na Alemanha (1985-2004). Para a sua realização efetiva, foi adotada, na pesquisa a combinação de vários métodos: revisão bibliográfica e videográfica relevantes, observação participante e entrevistas semi-estruturadas. Como resultado deste percurso, foi criado o espetáculo cênico ES-BOÇO, realizado com alunos do Instituto de Artes da Unicamp, onde se encontra refletida a influência do Tanztheater na caligrafia coreográfica desenvolvida pela pesquisadora
Abstract: The objective of this study is twofold: to research the German Tanztheater3 and the work of four of its leading influencers, and to develop a stage performance with the participation of students of the Arts Institute of the Universidade Estadual de Campinas (Unicamp). A combined approach of literature and videographic reviews, participant observation, and semi-structured interviews is adopted to carry out this study. The study characterizes Tanztheater and analyzes the work of Kurt Jooss, Dore Hoyer, Pina Bausch, and Susanne Linke, based on the experiences of the author while studying, performing, teaching, and choreographing in Germany from1985 to 2004. The stage performance ES-BOÇO, which reflects the influence of the Tanztheater in its choreographic style, was created by the author as a result of this research
Doutorado
Doutor em Artes
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Middlebrooks, Justin M. Mr. "The Intersection Between Politics, Culture, and Spirituality: An Interdisciplinary Investigation of Performance Art Activism and Contemporary Societal Problems." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1333397676.
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Kalyvi, Anna. "Médée "illimythée" : du mythe en scène ( théâtre-danse) aux XXe et XXIe siècles." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H315.
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Depuis ses origines, la mythologie grecque est une source illimitée d’inspiration et se situe au carrefour de nombreux domaines qu’elle fait se rencontrer. Que ce soit dans la danse, le théâtre, la peinture ou la poésie, la réappropriation du mythe antique par le langage du corps s’avère une aventure esthétique qui s’impose comme une nécessité, en prenant en compte ses nombreuses reprises artistiques durant les XXe et XXIe siècles. Au cœur de cette réflexion figure un des mythes les plus connus et les plus revisités, à savoir celui de Médée, cette redoutable magicienne qui a tué ses enfants pour se venger de son époux après sa trahison. Analyser Médée par le biais des arts performatifs et des arts plastiques constitue ainsi une observation de l’état actuel du mythe. Quant au personnage, comment pourrait-on l’interpréter aujourd’hui ? La comparaison sur le plan artistique entre les différentes Médée a pour objectif de déterminer leur écart philosophique et esthétique, autrement dit la distorsion du mythe, lorsque le code (le langage) change. De nombreuses questions surgissent au sujet du récit, du symbole et du processus de création. Si mythe et art sont entretenus par un lien organique qui les alimente réciproquement, une telle étude centrée sur le passage du texte à la scène permettra de mettre en évidence cette relation, d’observer où se situe le mythe dans le champ artistique actuel, et quel sens en découle. Repérer le mythe aujourd’hui exige alors un mouvement de recul, qui maintient le dialogue entre tradition et modernité, entre l’étude du passé et la projection dans l’avenir. C’est en effet l’histoire du mythe que nous envisageons de raconter ici, par le biais des corps performatifs grâce auxquels l’existence du mythe se concrétise dans notre existence actuelle. Il s’agit d’une position limite que le corps artistique occupe. Pour qu’une comparaison entre ces narrations hétérogènes soit possible, le schéma des limites interviendra comme moyen et comme support, pour traduire le mouvement et la parole en image et en sensation. Le déplacement du mythe dans le temps sera donc une danse qui vient de commencerGreek mythology has been an unlimited source of inspiration since it’s very beginning and stands at the junction of various artistic disciplines. The re-appropriation of the ancient myth through the body language proves to be an aesthetic adventure which establishes itself as a necessity, taking into account its many artistic versions via dance, theater, painting and poetry throughout the 20th and 21st centuries. In the core of this problematic stands one of the most famous and revisited myths, the myth of Medea, the formidable sorceress who killed her children in order to take revenge on her husband after his betrayal. Analyzing Medea by the means of performing and plastic arts constitutes an observation concerning the current condition of the myth; how could we interpret this character today? In this case, when the code changes, comparing different Medeas on an artistic level aims to determining their philosophical and artistic discrepansies; in other words, the myth’s distortion. Many questions arise regarding the narration, the symbolism and the creative process. If myth and art are sustained by a vital link that nourishes them mutually, such a study focusing on the transition of the text onto the stage, will allow us to highlight this relation: observing where the myth stands nowadays in the performing arts and which is its deriving meaning. So, locating the myth today demands stepping back somewhat, in other words, a backward movement which maintains the dialog between past and future, tradition and modernity. It is in fact the myth’s history that we’re trying to narrate here, by the means of performing bodies attesting to its existence nowadays. During this procedure, the artistic body becomes a limit in itself, whereas the schema of limits intervenes in order to compare two heterogeneous narrations: translating dancing movement and words into image and feeling. In fact, the myth’s journey in time and space is a dance that has only just begun
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Tuchowski, Fanny. "Dispositifs artistiques pour les personnes âgées fragiles." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20104.
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La présente recherche étudie les dispositifs artistiques proposés à des personnes dépistées fragiles par l’Hôpital de Jour des Fragilités et de la Prévention de la Dépendance de la Grave à Toulouse. L’hôpital de jour encourage les patients à s’engager dans des ateliers artistiques, animés par des artistes professionnels et des institutions culturelles reconnus tant au niveau local que national. Ces dispositifs artistiques, qui ne relèvent pas de l’art-thérapie et n’ont pas de visées thérapeutiques, s’inscrivent dans une nouvelle manière de penser ces interventions. Depuis plusieurs années, un certain nombre d’études mesure les effets thérapeutiques de l’art sur la santé, mais encore très peu de recherches s’intéressent à la singularité de ce type de dispositifs artistiques, notamment en France. Cette thèse – basée sur une récolte de données de terrain – porte son attention sur l’expérience vécue des participants, le positionnement pédagogique des artistes, mais aussi sur les dimensions qui contribuent à la réussite de ces dispositifs. Pour cela, nous avons établi un protocole de recherche organisé en plusieurs temps (observation, analyse, expérimentation, modélisation), réparti sur près de 4 années. Nous avons souhaité répondre aux questions suivantes : quels effets les ateliers artistiques peuvent avoir sur le public fragile ? Quels sens et quelles valeurs ces personnes accordent-elles aux ateliers ? Les dispositifs affectent-ils les représentations des participants (de soi-même, les autres, du vieillissement, etc.) ? Quelles sont les atouts et les limites de ces dispositifs ? Cette recherche, nourrie par la théorie des dispositifs de l’École de Toulouse, est au croisement de plusieurs disciplines. Elle vise à rendre compte des différents niveaux de réalités qui composent les dispositifs, notamment au travers d’études de cas. Résolument tournée vers une co-construction du savoir entre les acteurs des dispositifs et le chercheur, cette thèse s’inscrit dans une visée de compréhension des pratiques artistiques. Nous aspirons à démontrer l’intérêt des interventions d’artistes professionnels dans les domaines de la santé, mais aussi à témoigner du rôle que peut jouer l’art pour tous les individus d’une société, quel que soit leur profilThe present research studies the different artistic devices offered to older people who have been identified as vulnerable by “L’Hôpital de Jour des Fragilités et de la Prévention de la Dépendance de la Grave” in Toulouse (The Day Hospital of Frailty and the Prevention of Dependency of La Grave). The day hospital encourages patients to commit to joining some art workshops facilitated by professional artists and by cultural institutions recognized both locally and nationally. These artistic devices that do not fall under art therapy and do not have any therapeutic goals fit into a new way of thinking those interventions.For a number of years, a number of studies have measured the therapeutic effects of art on health, however very little research has been devoted to the particularities of the type of those artistic devices, especially in France. This thesis – based on field data collection – focuses on the experience of participants, on the educational positioning of the artists and also on the required dimensions that make those devices a success. To achieve this, we have established an organized research protocol consisted of several stages (observation, analysis, experimentation, modelling.), based on almost four years. We wanted to give an answer to these following questions: What effects these art workshops might have on a frailty old people ? What meanings and what values do people place on these workshops? Do the devices affect the representations of the participants (regarding themselves, the others, the aging effects…)? What are the assets and the limits of those devices? This research, driven by the theory of the devices from l’École de Toulouse, is at the intersection of several disciplines. It aims to capture the different levels of reality, particularly through case studies. This thesis, firmly focused on the co-construction of the knowledge between the actors of the devices and the researcher, participates in the understanding of the approach to artistic practices. We aspire to demonstrate the interest of professional artistic intervention in the field of health and also to reflect the role that art can play for every individual in a society, regardless of their profile
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Cornez, Élodie. "Les langues du théâtre italien contemporain." Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30003.
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Ce travail de recherche s’interroge sur l’usage des langues dialectales dans le théâtre italien contemporain. De fait, celles-ci restent une source d’inspiration importante dans les créations les plus innovantes des trente dernières années, malgré l’affirmation de l’italien sur tout le territoire national depuis l’Unité. Cette étude s’interroge sur les valeurs et les enjeux de ces langues dialectales dans un théâtre actuel qui est, pour une part importante, le fait d’acteurs-auteurs : ainsi, la relation qui s’établit entre l’artiste, à la fois créateur et interprète, et la langue théâtrale, s’appuie sur une approche de l’élément langagier qui est aussi fondamentalement pré-cognitive, voire corporelle.Après avoir élucidé dans un premier temps les dynamiques linguistiques à l’œuvre dans le théâtre italien depuis l’Unité, cette étude se resserre autour de la pratique de cinq acteurs-auteurs contemporains : Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) et Enzo Moscato. L’analyse du parcours de chacun de ces artistes, ainsi que d’une œuvre en particulier, se propose d’établir une cartographie du théâtre italien contemporain puisant dans les dialectes la matière de sa langue théâtrale. Il s’agit de mettre en évidence les lignes de fuite de créations qui interrogent trois notions clés au cœur de l’analyse : le temps, le territoire et l’identité, notions qu’une réflexion constante sur le concept de limite et de frontière affine et redéfinit progressivementThis doctoral dissertation deals with the use of dialectal languages in the contemporary Italian theater. Indeed, these languages remain an important source of inspiration in the most innovating creations of the last thirty years, in spite of the paramount place the Italian language has come to have in the whole national territory since the Italian Unification. This study deals with the values and with what is at stake in these dialectal languages in today's theater which is, most of the time, created by actors-authors: therefore, the relationship between the artist, who is both creator and performer, and dramatic language, relies on a way of tackling the linguistic element that is fundamentally precognitive and corporal as well.After having cleared up the linguistic dynamics in the Italian theater since the Unification ; the study focuses on the work of five contemporary actors-authors: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) and Enzo Moscato. Studying the work of these artists, as well as a specific play, intends to draw up a cartography of the contemporary Italian theater that is inspired by dialect languages to create its own dramatic language. The study aims to lay emphasis on the convergence lines of creations which deals with three key notions, at the core of the study: time, territory and identity. These three notions will be progressively redefined and precised by working on the idea of limit and boundary
Questo lavoro di ricerca si interroga sull’uso delle lingue dialettali nel teatro italiano contemporaneo. Infatti, esse restano un’importante fonte d’ispirazione nelle creazioni più innovative degli ultimi trent’anni, nonostante l’affermarsi dell’italiano sull’intero territorio nazionale a partire dall’Unità. Questo studio si interroga sui valori e sul peso di queste lingue dialettali nel teatro odierno che, in larga parte, viene realizzato da attori-autori: perciò, la relazione che si stabilisce tra l’artista, insieme creatore ed interprete, e la lingua teatrale è fondata su un approccio fondamentalmente pre-cognitivo, e perfino corporeo, dell’elemento linguistico.Dopo aver chiarito, in un primo momento, le dinamiche linguistiche in atto nel teatro italiano sin dall’Unità, questo studio si accentra intorno alla pratica di cinque attori-autori contemporanei: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) e Enzo Moscato. L’analisi del percorso di ognuno di questi artisti, nonché di una loro opera in particolare, mira a stabilire una cartografia del teatro italiano contemporaneo che attinge dai dialetti la materia della propria lingua teatrale. Si tratta di evidenziare le linee di fuga di creazioni che interrogano tre nozioni-chiave al cuore dell’analisi: il tempo, il territorio e l’identità, nozioni affinate e progressivamente ridefinite da una costante riflessione sul concetto di limite e di confine
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Walker, Christopher A. "Jamaican dance theatre folk origins and contemporary aesthetics /." 2004. http://www.oregonpdf.org.
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Thesis (M.F.A.)--State University of New York College at Brockport, 2004.Includes bibliographical references (leaves 155-157). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.
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Figueroa, Brianna Lynn. "Dancing Latina identity : a rendering of contemporary Latina self-representation in American concert dance." 2013. http://hdl.handle.net/2152/22463.
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When considering the Latina dancer in the United States it is easy to conjure images of a fruit crowned Carmen Miranda shimming in front of the camera, videos of Jennifer Lopez swinging her hips in dark and crowded clubs, sultry salsa dancers rocking and twisting on their bedazzled stilettos, or Jalisco girls who swirl the hemlines of their rainbow colored skirts as they parade down the street. These depictions of the Latina dancer are duly noted for creating a means of visibility for an otherwise invisible demographic. However, they also function to reinforce stereotypical ideas of the Latina moving body which limit Latina agency by positioning dancing Latinas within a set of prescribed representational practices. My study bridges Latina/o studies with dance studies in order to ask how Latina women are utilizing modern and contemporary dance styles to upset and redefine notions of the dancing Latina. I focus on the choreography of four women in particular; Michelle Manzanales, Maray Gutierrez, Annabelle Lopez Ochoa, and Nancy Turano who each presented work in association with Luna Negra Dance Theatre’s Latina Choreographers Project. Through my study I place the project’s mission into dialog with the corpus of choreography commissioned during its three-year lifespan (2006-2009). My close analysis serves to elucidate the stories that the choreographers chose to tell. For some, the deconstruction of icons provided the most compelling exercise in the process of excavating beneath quintessential Latino facades. For others, the strong recollections of home and the feeling of not being able to assert a defined location characterized their investigations of cultural identity. The Latina Choreographers Project, I contend, sets a historical precedent by pursuing and presenting the work of Latina choreographers in a field that has traditional excluded the Latina voice. I argue that by engaging four choreographers with extraordinarily diverse relationships to Latinidad and presenting them to an American audience, the Latina Choreographer Project presents an invaluable opportunity for intercultural and cross-cultural dialog that aims to relay the complexity and nuances of a contemporary Latina experience.text
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Lai, Mei-Ling, and 賴玫玲. "On the Development of Chinese Ethnic Dance in Contemporary Taiwan Society：A Case Study of Taipei Folk Dance Theatre." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/82115216554514725357.
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碩士台北巿立體育學院
舞蹈碩士班
98
In more than ten decades, the western social civilization has deeply influenced on the Taiwan society. Floating on the westernized turbulence, how the Chinese ethnic dance is developed in contemporary Taiwan society? The trend of globalization emphasizes on regional reunion, how the ethnic culture coexistences with multi-melting flood and assumes it unique? In Taiwan, what is the prospect of the development of Chinese ethnic dance? Through the case study of qualitative research, this paper aimed to analyze that how Taipei Folk Dance Theatre had reacted to the tendency of modernization on its development and choreography. On the research process, the researcher reviewed the company’s history, choreography, dancer, choreographer, and its interaction with Taiwan society. Base on the methodology of case study, data were collected from documents, archives, performing record, interviews, field researches and the researcher’s journal. The researcher examined data through multi-resources, triangulation, and the peer review, applied the mean of pattern-matching and time-series pattern to analyze the collected data, and adapted the chronological structure to present the text in style of thick description. Culture is an outlook appearance of inner value and thought. The case study revealed that Taipei Folk Dance Theatre had endeavored to preserve the traditional dance in Taiwan, and represented the tradition elements in modern aesthetical and theatrical view. The company’s leader had consistently dedicated her attention to harmonize the humanity thought from Zen of wisdom and compassion into her dance choreographies and dance plays. It took great courage to emphasize purification, clarity and simplicity to the trend of sophistication of modern society. Taipei Folk Dance Theatre had heavy burden in manage the difficulty of financial finding, the unsteady from the circulation of dancing professionals, and the intangible changing world. All the phenomena and issues the company encountered were not only a case, but also a universal challenge.
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Копосова, Л. В., and L. V. Koposova. "Сценография contemporary dance на материале постановок театра «Провинциальные танцы» : магистерская диссертация." Master's thesis, 2018. http://hdl.handle.net/10995/69959.
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Актуальность исследования обусловлена недостаточным вниманием к сценографии театра современного танца в России. Объектом данной работы являются особенности художественного решения пространства contemporary dance. Предметом – анализ элементов структурирования пространства постановки на примере Екатеринбургского театра Провинциальные танцы, одного из наиболее профессиональных и интересных коллективов в области современной хореографии в России. Неоднозначность трактовок сценографии различных форм dance-театра обусловлена изменением характеристик взаимодействия со зрителем, многовариантностью постановочных пространств, особенностями пластического языка танца, обращающегося к до-рациональному, до-вербальному началу человека. Изменение понимания телесности актера и объектно-субъектных связей постановки, а также сложность и нерасчленимость составляющих элементов постановок contemporary dance позволяют проследить линию соответствия скульптуры и пластического танца, а также особенности взаимодействия этого направления dance-театра с другими формами искусства, объекты которых часто являются неотъемлемой составляющей постановки.The research is relevant due to the lack of attention to the scenography of Russian contemporary dance. The subject matter of the study are specifics of the art and design of contemporary dance spaces. The scope of the study is an analysis of elements of space structuring in performances by the example of Provincial Dances Theatre (Ekaterinburg) as one of the most professional and interesting groups of contemporary choreography in Russia. Scenography of different forms of dance theatres is interpreted ambiguously due to change of characteristics of arrangement with viewers, multivariance of performance spaces, specific of dance language that appeals to prerational, preverbal human nature. Understanding of artist corporality changes, as well as relations between actors and objects in performance. The elements of contemporary dance performances are complex and indivisible. All of these allows tracing the interactions between sculpture and dance, also the interactions between contemporary dance and other art forms that are often integral to a performance.
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LAI, YI-HSHAN, and 賴怡瑄. "Contemporary Diabolo Performance in Taiwan: A Case Study of Ocean Celebration by Diabolo Dance Theatre." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/us7avh.
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碩士國立臺灣藝術大學
戲劇學系表演藝術碩士班
107
As an outcome of the change of modern society, vigorous development of economy, evolvement of science and technology, and the improvement of people's life and education standard, the Diabolo performance has gradually transformed its types from the traditional folk entertainment in the countryside into a new style performance on the stage and in the modern theater. However, how to use the theater elements to add color without losing its original special appearance and how to endow the traditional ancient acrobatics modern soul during the process of the performance? This are the problems and challenges that lots of folk art groups have to face. Diabolo Dance Theatre was formed in 1986, when it was called Diabolo Dance Youth and focused more on the technique and contest of Diabolo. Under the supervision of its artistic executive Le-Chun Liu, the Diabolo Dance Theatre is the first group in Taiwan who successfully combines diabolo performance with dance, music, new circus, media, lighting, visual effects and many other artistic materials. Nevertheless, even though the transformation and creation of the Diabolo Dance Theatre is successful and popular, the academic discussion and professional analysis is in fact quite limited. This study chose the Ocean Celebration, which was produced by Diabolo Dance Theatre in 2018, as a case study to explore the combination and the application of diabolo performance, and to examine their crossover modes during the working process and the performance. In addition, this study observes the meanings and artistic values of this new styles of the Diabolo performance, and discusses the difficulties faced by the folk performing arts teams and the possibility of its further development in the future.
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Castelyn, Sarahleigh. "A feminist postructuralist examination around the utilisation of the body as a contested site of struggle for meaning in contemporary theatre dance in South Africa." Thesis, 2000. http://hdl.handle.net/10413/5392.
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Using a framework of feminism and poststructuralism, this thesis aims to
interrogate the utilisation of the body as a contested site of struggle for
meaning in contemporary theatre dance in South Africa. "Both feminism, as a
politics, and dance, as a cultural practice, share a concern for the body"
(Brown, 1983: 198). A feminist analysis of dance can offer a tool to
interrogate the dominant discourses of gender and race that surround and
permeate both the female and male body in contemporary theatre dance. The
body is not a neutral site onto which cultural codes and conventions are
inscribed, as the dancer's body is always marked in the physical sense of
gender and race. This thesis aims to decode the body and examine how the
discourses of gender and race are embodied by the moving body on stage -
specifically in the South African (KwaZulu-Natal) context.
By a feminist appropriation of the poststructural endeavour, this research will
look at how the body, as discourse, can be interrogated to examine how the
interconnected discourses of gender and race surround and permeate the
moving body. The utilisation of a poststructural paradigm will aid in the
examination of how the dominant discourses of gender and race are
hegemonically imposed onto the body. Poststructuralism also offers an
understanding that there exist counter-discourses that have the ability to
resist the dominant discourses of gender and race. This notion becomes
important to the study of contemporary theatre dance as an art form. This
thesis will examine how South African (Durban-based) contemporary theatre
dance choreographers explore the body's potential to be subversive in
performance. The thesis will focus on the body's ability to interrogate the
discourses that operate in its surroundings and permeate its lived reality.Thesis (M.A.)-University of Natal, Durban, 2000.
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Subasinghe, Subasinghe Arachchige Anasuya. "When Kōlam Rebecomes: A Performative Exploration of Form, Philosophy and Contemporary Relevance of a Sinhalese Traditional Performance Practice." Thesis, 2018. https://vuir.vu.edu.au/39514/.
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This research aims to explore the performative potential of the Sinhalese Kōlam tradition beyond its ‘fixed’ repertoire, to have contemporary relevance in the present socio-political context. In recognising the ideologies of preservation that define the current Kōlam practice as traditional knowledge, which manifests in its rarity on the one hand, and its common usages in the urban economic context on the other, this exploration attempts to contextualise the performance genre from a different point of entry.
The perception that Kōlam is a comprehensive performance system, informed by the ontological and epistemological sensibilities of the performance maker, that in turn manifest in its aesthetic and narrative expression, is the key driver behind the research. This premodern practice, characterised by its parallel evolution to the changing social and political framework, is performed today as a ‘fixed’ repertoire with its fundamental purpose defined as preservation. Today, the presence of Kōlam in Sri Lanka is three-fold: that is, the traditional practice that continues along its ancestral ownership to traditional knowledge; the generic cultural ownership manifested in the work of scholars, theatre practitioners, the performing arts pedagogy and the presence of Kōlam in cultural commodification. However, there remains a gap in the interpretation of Kōlam as a ‘living’ evolving performance practice striving to be relevant in the contemporary socio-political and economic context.
This research looks for ways of addressing this gap and is presented in the form of dramatic text and performance titled My Sweet Rotten Heritance, and an exegetical component. The creative element comprises 60% of the thesis and the exegesis, 40%. As a way of critically evaluating the ethical responsibilities and limitations of exploring a traditional performance system, the researcher positions her performance in a para-traditional premise, both facilitating and problematising the performance process.
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LIN, HSIAO-CHIAN, and 林筱倩. "Theatre Semiotics and Practice of Postcolonial Writing-Back in the Contemporary Taiwanese Indigenous Theatre：the Analyses of《Pu’ing: Searching for the Atayal Route》 and 《Maataw: the Floating Island》by The Formosan Aboriginal Song and Dance Troupe." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/dxk259.
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碩士國立臺北藝術大學
戲劇學系碩(博)士班
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This study treats the phase of theatre semiotics and practice of postcolonial writing-back in the contemporary Taiwanese indigenous theatre. Two performances which are 《Pu’ing: Searching for the Atayal Route》 and 《Maataw: the Floating Island》 produced by Formosa Indigenous Dance Troupe in 2013 and 2016 are respectively taken for discussion. I want to illustrate three issues in this study: 1. How have the creators utilized indigenous body traits and their ethnic contexts, and weaved cultural semiotics in contemporary theatre? Furthermore, have the postcolonial consciousness represented in these two performances? 2. In these two performances, creators’ focus changes from indigenous ethnic self-identity to resist social violence. Do the creators utilize different practices of writing-back in these different performances? 3. Contemporary Taiwanese indigenous theatres have diversified. They thus change creators self-questioning and further affect their creative fields and creatives style. What kind of new concept and energy will this change, from inside to outside, bright to us? So far, most of the Taiwan indigenous theatre researches have focused on the progress from traditional rituals to theatrical performances, as well as modern dances which combine and transform from indigenous dances and the body traits. Different from these, this study considering theatre semiotics and practice of postcolonial writing-back tries to find out a perspective for future observation.
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"Revelatory Juxtaposition, Collage and Language in Contemporary Performance." Master's thesis, 2018. http://hdl.handle.net/2286/R.I.51616.
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abstract: “Mierda.” was an original 50-minute solo dance and theater performance by Jordan Klitzke along with guest artist Gina Jurek that premiered from September 6-8, 2018 at Arizona State University. The creative tools of sensation, presence, and fantasy were applied in the development of an individualized movement vocabulary focused on the artist’s embodiment of contrasting ideas. That research was then further cultivated into an immersive theatrical collage that stimulated relational thinking and heightened consciousness. “Mierda.” was an example of a contemporary creative process that utilized the languages of dance and theater. The performance was a unique continuation of artistic research undertaken by pioneers in the dance and theater fields such as Danielle Agami, Lloyd Newson, Hofesh Schechter, and Anne Bogart. It was documented and created over a nine-month period including the three final performances. The form and content of “Mierda.” was not predetermined, but emerged throughout the creative process and performance of the work. The resulting narrative demonstrated the revelatory potential of this style of theatrical inquiry. Precise energy, tension and questioning formed an immersive, intimate experience for the viewers and performers and invited the audience to “fill in the blanks” as they connected with the emerging narrative. The final work was a collage of surprising juxtapositions on both the micro-level of individual movements and the macro-level of theatrical structure. Analysis of the work resulted in a critical understanding of the creative tools used along with future proposals for continued research. Not only did the research enlighten and contextualize the practices of an emerging choreographer, it also argued for a new understanding of the value of Dance as a personal practice of reflection and growth.Dissertation/Thesis
Masters Thesis Dance 2018
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Chang, I.-Wen, and 張懿文. "Truth beyond Representation--Study on Pina Bausch’s Dance Theater and its Significance to the Contemporary Arts." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/578s43.
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Saindon, Marie-Claire. "Danse, film, théâtre : une exploration de la collaboration créative entre la musique et les arts de nature visuelle." Thèse, 2010. http://hdl.handle.net/1866/4725.
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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU).Le programme de composition de musiques de film et multimédia de la Faculté de musique à l'Université de Montréal encourage la création de trois musiques de nature différente: acoustique, électroacoustique et mixte. Ces dernières supportent chacune une oeuvre visuelle. Pour mieux explorer les possibilités, trois projets de nature visuelle différents, soit une chorégraphie, deux court-métrages cinématographiques et une oeuvre dramatique, ont été créées en collaboration avec d'autres artistes. Pour la chorégraphie, X/Y, une trame sonore a été créée pour être jouée sur place par un petit ensemble acoustique. La musique des films, Mi Feng et Motel Pluton, est un mélange d'échantillonneurs et d'instruments acoustiques et a été enregistrée en studio. Quand à l'oeuvre dramatique, L'Araignée, la trame sonore est de nature entièrement électronique, avec des échantillonneurs et de la manipulation électroacoustique.
Université de Montréal's Film and Multimedia Music Composition program encourages the creation of three compositions in differing styles: acoustic, electro-acoustic, and mixed. These compositions each support a visual project. A choreography, two short films and a theatrical piece were created in a collaborative effort to explore the range and diversity of visual media. An acoustic score played by a small ensemble was used for the choreography X/Y. Both acoustic and digital instruments were used in recording sessions for the score of the two short films Mi Feng and Motel Pluton. The score for L'Araignée, the theatrical piece, is electro-acoustic, using samples, audio files, and digital signal processing (DSP).