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Botha, Aniel. "Digter as Danser/ Danser as Digter." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/7762.
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This dissertation provides an investigation into the similarities between poetry and ballet in relation to historical development, generating forces behind the artistic process, technical aspects, subject and theme, as well as the role of the mentor and the mentee in the creative effort. Works of Cleanth Brooks en Robert Penn Warren (Understanding poetry), Ruth Padel (The poem and the journey), Camille Paglia (Break, blow, burn), Jay Parini (Why poetry matters), Ottone M. Riccio (The intimate art of writing poetry) and other writers provide a theoretical basis upon which parallels between poetry and ballet are constructed. Practical examples from the collection Pirouette (Botha 2009), the works of several other poets and the ballet world serve to illustrate that poetry can be regarded as ""a dance with words"", whilst ballet can be viewed as ""poetry in motion"".
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Taylor, Bruce D. "Creative collaboration: Defining the collaborative process between a conductor, composer, and choreographer in creating and staging an original work for modern dance." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280338.
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This document is a record of an observed creative experience, defining the collaborative process between conductor, composer, and choreographer in creating and staging an original work for modern dance. There are three areas of focus. First, an introduction to and rationale for the project is coupled with an historical examination of the collaboration between a composer and choreographer (Igor Stravinsky and George Balanchine), and a review of the documentation on the conductors' traditional role in dance as established by the ballet conductors Robert Irving and George Crum. Second, suggested methods will be proposed for the skill level, and technique that a conductor should acquire to use as a method for gathering the talents of collaborating artists (choreographers and composers). These methods are comprised of vision, knowledge and expertise, respect and mediation. Third, a collaborative framework comprised of three sections was created, based upon an objective review of the data collected from the project so that the collaborative process between members could be effectively and efficiently studied. The three sections of this framework are (1) the artistic desires of the creative team , (2) the role of each team member, and (3) the working methodology of the creative team members. It is against this framework that the collaborative process between conductor, composer, and choreographer is defined as it relates to creating and staging a work for modern dance. In addition to highlighting the non-traditional role of the conductor as an intermediary and facilitator in directing artists in collaboration. The framework developed is demonstrated by specific examples from this project that indemnify the findings, offering a clear and concise strategy that future conductors might use as a reference and guide.
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Polynone, Devon, and Devon Polynone. "An American Belly Dancer." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12387.
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The purpose of this research was to investigate the creative process of six professional American Belly Dancers: Shannon Conklin, Elena Villa, Lila McDaniel, TC Skinner, Manny Garcia, and Cera Byer. I took a class with each dancer, witnessed each dancer creating movement, and witnessed each dancer perform. After each experience I held discussions with each dancer. I learned that, for some of the dancers, music is everything, but for others, Belly Dance can be performed to any sound. For some of the dancers, Belly Dance is highly codified, and for others it is experimental. For some of the dancers, Belly Dance is a solo endeavor, but for others, dancing with a troupe is essential. Following these findings, I created six movement explorations - one based on each professional Belly Dancer in my study. Supplemental video footage of these explorations can be viewed as a companion to this written document.
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Morrison, Faith. "Creating and Conveying a Kinesthetic Experience of Place." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19277.
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This research uses dance and film to investigate the creation and conveyance of a kinesthetic experience of place. The choreographer, dancers, and videographer participating in the study aimed to create a kinesthetic experience of place by engaging the senses in a sensory experience of place and exploring the different feeling states of place. The study utilized choreographic methodologies of site-specific dance and screendance to facilitate a creative process rehearsed, performed, and filmed in the Oregon Dunes National Recreation area at Eel Creek. The footage from this choreographic process was edited into a screendance intended to convey a kinesthetic experience of place to viewers. The pilot study, At Eel Creek, and the final screendance, ensō, can be viewed through supplemental files included with this document. The evaluation of the study has resulted in key discoveries into the components necessary for the creation and conveyance of a kinesthetic experience of place.
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Jolivet, Adèle. "Danse improvisée et processus de création : étude des dynamiques de personnalisation chez des danseurs." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20087.
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Ce travail analyse les processus de personnalisation dans les trajectoires de 23 danseurs improvisateurs, dans une approche psychologique. La danse improvisée est associée à un partage intersubjectif (Bigé, 2015) et à un état d’écoute (Guisgand, 2006) : le développement de cette écoute est ici étudié. Ses dimensions d’incertitude (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) et de recherche de liberté (Kintzler, 2006) associent l’improvisation à une pratique personnalisante, en référence aux théorisations de ce processus (Malrieu, 1979 ; 1994 ; 1995 ; Baubion-Broye, Dupuy & Prêteur, 2013). Des entretiens semi-directifs sont menés ainsi que des analyses thématique et par catégories conceptualisantes (Paillé & Mucchielli, 2012). Nous avons mis en exergue des tensions, des activités de signification et des réorganisations psychologiques et physiques dans les parcours de ces improvisateurs. Leur réflexivité vis-à-vis de leur pratique pousse ces danseurs à des prises de conscience et des analyses critiques : certains ne veulent plus répéter des mouvements ni improviser sans objectif. L’improvisation leur permet alors, par sa dimension de création, de se singulariser. Certains d’entre eux rencontrent des doutes sur leur capacité ou celle des autres à communiquer, à se connecter aux autres. Ils donnent alors à leur pratique de la danse des sens nouveaux : se lier aux autres, aider et coopérer. Créer dans l’instant les centre sur leur corps au moment présent et coopérer favorise l’écoute : ceci consolide la conscience de soi. Le fait de créer leurs propres mouvements et de dépasser ce qu’ils ont appris nourrit leurs besoins de dépassement et de liberté. Improviser permet donc à ces danseurs de se singulariser et de prendre conscience d’eux-mêmes : c’est une pratique personnalisante qui participe à la construction de soiThe present study aims to analyse personalization processes in the trajectories of 23 improvisational dancers. Improvised dance refers to intersubjective sharing (Bigé, 2015) and listening state (Guisgand, 2006): the development of this listening is studied here. Through its dimensions of uncertainty (Azaïs, Bachir-Loopuyt & Saint-Germier, 2010) and quest for freedom (Kintzler, 2006), improvisation combines with a personalization practice in reference to the theorizations of this process (Malrieu, 1979, 1994, 1995; Baubion-Broye, Dupuy & Prêteur, 2013). Semi-structured interviews were conducted. Two types of results analysis were used: thematic and through conceptualizing categories (Paillé & Mucchielli, 2012). These results highlight tensions, meaning activities and psychological reorganizations. Becoming aware of formatting, these dancers critically analyse their practises, in order not to repeat learned movements neither improvise without precise goal. The rejection of standard movements leads them to stand out through a personalizing process of creation. Some of them doubt about their ability or the ability of others to communicate, to interconnect. Those of them who are concerned with the lack of communication are trying to bring closer to others through danced improvisation : they cooperate. Cooperation makes them improve their listening and create spontaneously makes them centered on their bodies, which tends to consolidate their self-awareness. Creating their own movements and going beyond what they have learned feeds their need for overtaking and freedom.Through these processes of self-awareness and singularization, they personalize and build themselves
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Peters, Clinton Crockett. "Assisted migrations: on the salvation and danger in moving the world's species." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2608.
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Assisted migration is a term for when people take species and move them out of their historic ranges because they are threatened by climate change.
No minor hobby, invasiveness is a a risk that keeps many scientists up at night. Just ask any ecologist from the South. Kudzu vine covers some 120,000 new acres annually, its control thought "non financially feasible anymore" by the USDA. In the Chicago Shipping Channel, Asian silver carp, also known as "jumping fish" for their habits of leaping into the faces of boaters, threaten to swim into the Great Lakes, decimating $7 billion of fishing industries.
The list of invasive species is extensive, but the consequences of not moving species are equally severe. Up to fifty-two percent of all life is slated for extinction as soon as 2100 because of climate change. And if global warming is overhauling the planet anyway, it makes little sense to draw fences around wildlands anymore and expect them to stay just as they were.
Although my book is aimed in part at nature/science readers and will be well-researched, my prose ultimately uses a whimsical, probing stance that wider audiences will find appealing. Particularly the jargon-free tales of Florida panthers, rabbits in Australia, Texas snow monkeys, kudzu, Iowan prairies and the ancient, rare and dying (memorably named) stinking cedar, and the people who are assisting their migrations, should prove entertaining and instructive to readers who are interested in questioning what it means to be human in the 21st century. The guiding questions for this book are how can we tweak what we barely understand (ecosystems and nature) but then how can we not given the calamities that we face? And, perhaps more philosophically, what does it mean to be a human, a member of the living, in the age of human-induced climate change? These are two paradoxes that I hope to spend 60,000 words sorting out.
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Zimmermann, Daniel [Verfasser]. "Creating New Realities : The Role of Technology for the Customer Experience / Daniel Zimmermann." Berlin : epubli, 2020. http://d-nb.info/1209399385/34.
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Zimmermann, Daniel P. [Verfasser]. "Creating New Realities : The Role of Technology for the Customer Experience / Daniel Zimmermann." Berlin : epubli, 2020. http://d-nb.info/1209399385/34.
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Seals, Wesley S. "Collaborating Outside the Lines: Creating a Movement Vocabulary for the Stage." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5339.
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What is the role of a movement director in the American Theatre? Why is it vital for a movement vocabulary to be considered when creating theatre? This thesis analyzes the process of collaboration in educational and professional theatre settings. It attempts to show that through collaboration with a director of a piece of theatre, a movement director can help guide a theatrical event to a fully embodied performance that serves the text and fully forms a director’s aesthetic.
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Maxwell, Adeline. "Danse indépendante au Chili : Nouvelles pratiques de résistance vingt ans après la fin de la dictature." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2022.
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Le 11 septembre 1973, à Santiago du Chili, le général Pinochet, prit le pouvoir de ce pays, en yinstaurant une dictature qui allait durer 17 ans. Après le coup d’état militaire les activités artistiquesdisparurent précipitamment sous la politique de l’« apagón -Panne- culturelle ». C’est dans cescirconstances que naquit une forme de danse indépendante de l’État et résistante, qui se pratiquaitdiscrètement faisant passer un message contestataire et renforçant une communauté rebelle. Cettedanse puisait ses bases de ce qu’il restait de la danse « moderne » chilienne, des techniques de danseapportée d’Europe et des explorations artistiques de ses chorégraphes. Environs vingt ans plus tard,la danse indépendante chilienne a suivi son chemin, elle traversa les périodes de la post-Dictature etescorta les changements sociaux et culturels. Le contexte pour la création en danse changea, celle-Cise développa suivant le contexte historique, politique et économique du pays. Cependant, depuisapproximativement trois ou quatre ans, un nouveau courant de la danse indépendante commence àgermer au Chili. Il s’agit d’un mouvement qui remet radicalement en question les formes, lesmessages et les manières de faire de la danse scénique, mettant l’accent sur l’expérimentation, larupture de codes et la suppression de limites disciplinaires : une nouvelle résistance en danse naît auChili. Le but de cette thèse est, après un travail de champ de trois ans au Chili, de déchiffrer la nature résistante, à travers une analyse comparative, et les mutations de ce de la danse indépendante actuelleau ChiliSeptember 11, 1973 in Santiago, Chile, General Augusto Pinochet took power in this country,bringing a bloody dictatorship that lasted 17 years. After the military coup artistic activities hurriedlydisappeared under the policy of the "cultural apagón-Blackout-." It is in these circumstances that aform of independent dance- both economically and ideologically- and resistant eraised, practiceddiscreetly passing a protest message and strengthening a rebel community. This dance drew its rootsof what remained of the Chilean "modern" dance, the dance techniques brought from Europe andthe artistic explorations of his choreographers. Near twenty years later, the Chilean independentdance followed its path, it crossed the periods of transition and post-Dictatorship and escorted thesocial and cultural changes. The context for creating dance changed and it developed following thehistorical, political and economic context of the country. However, since approximately three or fouryears, a new wave of independent dance begins to sprout in Chile. It is a movement that radicallycalls into question the forms, messages and ways to make the scenic dance made so far in Chile,focusing on the experimentation, the breaking of codes and the removal of disciplinary boundaries: anew resistance dance is born in Chile. The aim of this thesis is, after a field work of three years inChile, to decipher the resistant nature, through a comparative analysis, and the mutations in thecurrent independent dance in Chile
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Pereira, Daniele Fumagalli. "O processo de criação sob a perspectiva da Psicologia Analítica = Danças Circulares Sagradas coligadas ao processo de criação em dança." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283936.
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Orientador: Elisabeth Bauch ZimmermannDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho trata do processo de criação artística, especialmente no campo da Dança, sob a perspectiva da Psicologia Analítica de C.G. Jung. De acordo com ele, o anseio criativo do ser humano deriva do inconsciente, especificamente do Inconsciente Coletivo, e se configura através de imagens simbólicas. O processo criativo depende do acesso às imagens do inconsciente, os Arquétipos. O objetivo principal deste trabalho é verificar a possibilidade de contribuição das Danças Circulares Sagradas no processo de criação em Dança. Parte-se do princípio de que as Danças Circulares são práticas que favorecem o estado meditativo, o que pode permitir o acesso aos arquétipos; além disso, as Danças Circulares Sagradas podem favorecer a colaboração e a troca entre os membros participantes do grupo. Para isso, foram realizados laboratórios com bailarinos, alunos do curso de Dança da Unicamp, utilizando, como incentivo inicial, as Danças Circulares Sagradas, em exercícios meditativos e proporcionado um espaço para a improvisação do bailarino. Através do uso de questionários, aplicados antes e depois da realização dos laboratórios, pode-se concluir que o exercício com as Danças Circulares - como preparação física e mental para o bailarino criador - foi eficiente para criar um estado favorável para a criação. Os participantes afirmaram sentir-se mais concentrados, disponíveis e receptivos às imagens do inconsciente. Também afirmaram ter percebido o grupo receptivo e harmônico, favorecendo a criação
Abstract: This work deals with the process of artistic creation, especially in the field of dance, from the perspective of Analytical Psychology of CG Jung. According to him, the creative urge of the human being derives from the unconscious, specifically the Collective Unconscious, and is configured through symbolic images. The creative process depends on access to images of the unconscious, the Archetypes. The main objective of this work is to verify the possibility of Sacred Circle Dances contribution in dance's creative process. It is assumed that Circle Dances favor the meditative state, which can allow access to the archetypes; in addition, Sacred Circle Dances may encourage collaboration and exchange among the participating members of the group. In order to do that we have performed laboratories with dancers and students from third year of dance at Unicamp, using as initial incentive Sacred Circle Dances in meditative exercises, providing a space for dancer's improvisation. Through the use of questionnaires before and after the completion of the labs, it can be concluded that the exercise with the Circular Dances as physical and mental preparation for the creating dancer was efficient to provide a favorable condition for creation. Participants said they felt more focused, affordable and responsive to the images of the unconscious. They also said they felt the group as harmonic and receptive, encouraging the creation
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Hagstedt, Julia. "Film as a reality creating force: And Then We Danced (2019) dir. Levan Akin." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21042.
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In this thesis, I have analyzed and problematized the discourse surrounding And Then We Danced (2019) dir. Levan Akin, by analyzing the film itself by using concepts from Pierre Bourdieu, and investigating what role the film has played in the call for action regarding LGBTQ+ rights in Georgia. I sought out to answer the research questions of how the film And Then We Danced (2019) portrays how one can adapt ones habitus and social field, how the film provoked the political discussion about LGBTQ+ rights in Georgia, and how the reception the film received reflected where Georgia, Sweden and the EU stands regarding the road to LGBTQ+ rights in Georgia. Using Bourdieu, I came to the conclusion that the film portrays how one can adapt ones habitus and social field through Merab’s character arc in the film, and the director used his cultural capital (embodied, institutionalized, and objectified) to not only produce the film itself, but giving a social subfield (Georgia’s LGBTQ+ community) acknowledgment and recognition by involving them in his film. Because of the reaction the film received, it amplified the need for social change in Georgia, reaching news across the globe, putting the rights of LGBTQ+ people in Georgia on the global political agenda. The way the reception the film received reflected where Georgia, Sweden and the EU stands regarding the road to LGBTQ+ rights in Georgia is quite accurate to where they stand politically regarding the issue. Georgia is divided on the issue as they both protested against the film while simultaneously selling out out all of their tickets to see the film, Sweden remained supportive and proud of the film throughout the entire process, and the EU much like Georgia is quite divided as they both funded the film, but does not have a united front on where they stand regarding the issue.
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Drammeh, Majula. "TO BE, BECOME AND BEHAVEOr : or my relationship with theory, creative process or taking refuge." Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-941.
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These pages include parts of the process diary, notes on process, reading, as well as photos from my research process. These are abstracts of my research and therefore curated in their own right to show not only my somewhat sprawling process but also my honest attempt to share how I document and research in my process. These “written expositions” mirrors how I gather material when I work as a performer and performance maker. This document is as much about me finding out what I did in the project as you are attempting to understand the project´s content, methods and results. It is me looking at the produced material from the outside, curating it to try out words on the method, content and material. I have written about the work reflectively at the same time as I invite you into this action. It´s speculative and intimate. During my master studies in Performing Arts, I have reflected on what it means to be a performer beyond the symbolic meaning of it- such, as being material or representation for someone else work. I have investigated what the performer spends time doing and reflecting on beyond what is seen “on stage”, and present that, whatever it is and looks like. I have then, in my final degree project, looked at how I can use my gained knowledge as a mainly interactive performer in relation to performance arts and black feminism theory to create my own artistic practice. My aim has been to do this by being, meaning to exist with, breathing with, becoming part of, attending to and situating myself in relation to performance arts and black feminism theory in a mindful manner.
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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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Melchert, Ana Carolina Lopes 1971. "A descoberta da cultura velada e dos gestos vitais = um aprofundamento no eixo Inventário no Corpo do Método BPI (Bailarino-Pesquisador)." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284979.
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Orientador: Graziela Estela Fonseca RodriguesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por finalidade aprofundar o eixo Inventário no Corpo do Método Bailarino- Pesquisador-Intérprete (BPI), através de sua aplicação a um grupo de alunos voluntários, com o intuito de verificar o grau de incidência e o modo de ocorrência dos seguintes itens: a rejeição à cultura brasileira (manifestações populares brasileiras), a descoberta da cultura velada e a descoberta dos gestos vitais. Os sujeitos desta pesquisa foram estudantes universitários dos seguintes institutos e faculdades da Universidade Estadual de Campinas: Instituto de Artes, Instituto de Filosofia e Ciências Humanas e Faculdade de Educação Física. Este projeto foi aprovado no Comitê de Ética em Pesquisa da Faculdade de Ciências Médicas da Unicamp (Parecer CEP No. 679/2008). No eixo do Inventário no Corpo tem-se um contato com as ferramentas do Método BPI e são desenvolvidas inúmeras atividades para a busca de dados sobre a história cultural e social. A pesquisa realizada começou a revelar aos sujeitos participantes dados das suas culturas veladas, que, ao serem assumidos, promoveram o enfrentar os sentimentos de rejeição à cultura brasileira. O desenvolvimento do processo fez com que os sujeitos tivessem maior contato consigo mesmos e começassem a descobrir os seus gestos vitais, que são a porta de entrada para uma produção artística de qualidade. O desenvolvimento do Inventário no Corpo trabalhou com uma visão fenomenológica do corpo e uma visão integrada da dança, onde os aspectos físicos, afetivos, culturais e sociais foram contemplados conjuntamente. Os instrumentos para coleta de dados foram os Questionários Aplicados, os Corpos na Argila, os Relatos dos Dojos e as Sínteses Práticas. Utilizamos a Estrutura do Fenômeno Situado para analisar os Questionários aplicados. Para os trabalhos corporais e para os Corpos na Argila utilizamos a Análise de Conteúdo, dialogando com uma Análise de Expressão, a partir da Estrutura Física e da Técnica dos Sentidos do Método BPI. O desenvolvimento do eixo Inventário no Corpo do Método BPI promoveu, aos sujeitos desta pesquisa, o estabelecimento de um processo corporal, que os possibilitou: assumir suas origens, se redescobrir como brasileiro, ampliar os referenciais socioculturais, liberar a expressão do corpo, abrir um processo criativo, assumir a identidade do corpo e gerar uma dança integrada e original
Abstract: This research aimed to deepen the axis Inventory in the Body Method Dancer-Researcher-Performer (DRP), through its application to a group of student volunteers, in order to ascertain the degree of incidence and mode of occurrence of the following items: the rejection of Brazilian culture, the Discovery of culture veiled and the discovery of vital gestures. The subjects were college students from the following institutes and faculties of the University of Campinas, Institute of Arts, Institute of Philosophy and Humanities and Faculty of Physical Education. This project was approved by the Ethics Committee of the School of Medical Sciences (CEP Opinion No. 679/2008). In the axis Inventory in the Body one has a contact with the tools of the DRP Method and are developed numerous activities to search for data on social and cultural history. The research began to reveal to the subjects participating data veiled from their cultures, which are assumed to have promoted the deal with feelings of rejection to the Brazilian culture. The development process has brought to the subjects a greater contact with themselves and the begin of discovering of their vital gestures, which is the entrance door to an artistic production quality. The development of the Inventory in the Body worked with a phenomenological view of the body and an integrated vision of dance, where the physical, aff ective, cultural and social rights were dealt with together. The instruments for data collection were the Questionnaires, the Clay Bodies, the Dojos Reports and the Summaries Practices. We use the Structure Situated Phenomenon to analyze the Questionnaires applied. To work for the body and Bodies in Clay used the Content Analysis, talking with an Expression Analysis, through the DRP Physical Structure and Technical Senses. The development of the body axis Inventory in the Body Method DRP promoted to the subjects of this research, the establishment of a body process, which enabled them, to take their roots, to rediscover herself as a Brazilian, broadening the socio-cultural references, to release the body expression open for a creative process to assume the body identity and generate an integrated and original dance
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Lyons, Reneé C. "Creating Cross-Curricular Resources: A Book Talk for The Revival of Banned Dances: A Worldwide Study." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2392.
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Chang, Chung-Shiuan. "A creative dance curriculum model for elementary children in Taiwan, the Republic of China /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11169345.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Nancy BrooksSchmitz. Dissertation Committee: Heidi Hayes Jacobs. Includes bibliographical references: (leaves 153-161).
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Aron-Michel, Anne-Marie. "La danse et la creation choregraphique : modes privilegies d'elaboration des representations de soi." Caen, 1992. http://www.theses.fr/1992CAEN1102.
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Au dela de sa dimension morphocinetique, la danse est un art qui doit gerer la dialectique expression impression, dans une eprspective de communication avec autrui, par la representation de creations choregraphiques. Elle inscrit le danseur choregraphe dans une demarche creative, qui sollicite toutes les dimensions de son identite, et revele les representations de soi mises en jeu, d'un point de vue diachronique et d'un point de vue synchronique. Dans les rapports entre la danse et le sujet qui danse, trois dimensions fondamentales se dessinent : les dimensions sexuee, sociale et personnelle. La dimension sexuee est mesuree au travers des relations entre l'identite de genre et les representations de la danse qui, par la mise en jeu du corps, expose au regard d'autrui, la feminite et la masculinite. La dimension sociale se concentre dans la confrontation entre l'image personnelle de soi et les images sociales, presumees chez autrui. La dimension personnelle apparait dans l'exploration du sentiment de soi tel qu'il est vecu dans l'action d'inventer et de danser sa danse. La danse se revele etre un mode privilegie de representations de soi, dans toutes les dimensions, personnelles et publiques, et exemplaire, car elle reactualise sans cesse le rapport au corps, active l'imaginaire et sollicite l'activite creatrice, privilegiant ainsi l'originalite, la divergenceDance is a lot of morphicinecis skilles. But furthemore, it is an art dealing with impressive expressive dimension and communication between spectators and the dancers. So the dancer is viewed like a creator and dance is considered as revealing all parts of the dancers' individual and self representation. Between dance and dancers, we can emphasize three critical focuses : relations between dance and gender's dancer, relations between dancers and social environment, relations between dancer and himself herself. Gender dimension deals with the relation between gender and dance representations (male vs female self identity). Social dimension dealms with the relation between the personal model of oneself and social models of others. Personal dimension appears in researching self confidence, in dance discovering and dancing. Dance may be one of the best means to acquire self representation in all personal and social dimensions. It makes constantly actual the body relation, stimulates imagery and creation, and licenses originality and divergent thinking
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Potgieter, Helia. "Creating a new urban citizenship : a mixed-use development in Newtown." Diss., Pretoria : [s.n.], 2003. http://hdl.handle.net/2263/29854.
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A mixed-use development focusing on dance activities with supporting educational and retail facilities. The creation of a new urban citizenship drives the process of urban regeneration in the inner city. The development is situated in the Newtown cultural precinct. The performance arts is used as a tool for urban regeneration. The process of regeneration begins at community citizen level. The city gives citizens hope for a better future. This dynamic force shapes the city.Dissertation (MArch (Prof))--University of Pretoria, 2005.
Architecture
unrestricted
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Silva, Natália Augusto. "Caminho de imagens singulares = passos de um eu que se transformam em dança." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284968.
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Orientador: Júlia Ziviani VitelloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa tem como tema a relação entre dança e memória no processo de criação. A proposta é procurar entender como a memória corporal pode contribuir no mecanismo de criar e interpretar dança. Esses estudos geraram uma criação coreográfica que, por sua vez, apresentou-se como eixo estrutural da dissertação. Partindo da premissa de que fatos, imagens, situações, sentimentos e pensamentos vivenciados ficam armazenados no corpo e se manifestam principalmente através do sistema muscular e sensório, investigamos como a memória interfere no mecanismo de criar e atuar na dança. Isto é, o reconhecimento destas marcas deixadas no corpo se torna caminho para singularidades e diferenças na interpretação e criação em dança. Os fios escolhidos para conduzir a criação são lembranças relacionadas a duas festas populares: a Festa Junina e a Festa da Pamonha, que ocorriam no sítio da minha avó materna no interior de São Paulo. Procuro transformar estas recordações em movimentos no meu corpo, despertando imagens e sensações que componho tecendo uma dança com estes fios. O processo de criação e o estudo coreográfico obtido são a própria dissertação, alicerçados em um estudo teórico.
Abstract: The present research has the relation between dance and memory in creative processes as principal issue. The intention is to understand how body memory can contribute to the mechanism of dance creation and interpretation. These studies resulted on a choreographic creation that, on its turn, presented itself as the structural axis of the dissertation. Considering the premise that facts, images, situations, feelings and thoughts once experienced stay laid up in the body and are manifested mainly through the nervous and muscular systems, we investigate how memory interferes on the mechanism of creating and acting on dance. It means that the recognition of those signs left on the body becomes a way to singularities and differences on dance interpretation and creation. The threads chosen to conduct creation are memories related to two Brazilian popular parties: Festa Junina and Festa da Pamonha, which used to happen in my grandmother's ranch on the countryside of São Paulo. My intent is to transform those memories into movements of my body, reviving images and sensations that I compose weaving a dance with those threads. The process of creation and the choreographic study obtained are the dissertation itself, based on a theorical study.
Mestrado
Artes Cenicas
Mestre em Artes
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López, Rodriguez Fernando. "Mutations du désir en danse : tablao et flamenco contemporain : genre, contextes de production et catégories esthétiques (Espagne 1808-2018)." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080037.
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Cette thèse s’interroge sur le surgissement de la danse flamenca contemporaine en Espagne dans les an-nées 1990-2000. Cette danse est ici analysée comme un phénomène artistique qui naît en réaction à la danse flamenca dite traditionnelle produite dans des tablaos à partir des années 1950. Les tablaos, qui offrent des spectacles de flamenco pour des touristes, sont analysés depuis le moment de sa création jusqu’à l’actualité ainsi qu’en rapport avec le café chantant, son ancêtre esthétique (1850-1920), ayant comme perspective principale d’analyse celle des études de genre.Dans un premier moment, j’analyse les continuités et les discontinuités entre le café chantant et le tablao. Après, le focus est mis sur l’apparition de la « danse flamenca contemporaine », en explicitant autant les facteurs contextuels qui ont favorisé sa naissance que les motivations personnelles des artistes et les enjeux esthétiques à l’œuvre. J’analyse aussi les conséquences esthétiques et communautaires qu’un tel phénomène a produites chez les différents acteurs du milieu flamenco. Enfin, je montre les effets que la crise économique de 2008 a eus dans le milieu du flamenco et comment les artistes ont dû développer une diversité de stratégies de survie qui se sont traduites par une complexification des posi-tionnements esthétiques à partir des éléments construits pendant la période antérieure des années 1990 et 2000. Le développement de cette recherche s’articule aussi à l’analyse de trois études de cas en relation directe avec mon travail artistique, et s’achève sur un épilogue qui décrit Pensaor, pièce chorégraphique créée en parallèle à la thèse écrite où je « performe ma recherche »This thesis examines the emergence of contemporary flamenco dance in Spain in the years 1990-2000. This dance is analyzed here as an artistic phenomenon that arises in reaction to the so-called traditional flamenco dance produced in tablaos from the 1950s. Tablaos, which offer flamenco shows for tourists, are analyzed from the moment of its creation until today as well as in relation to the café cantante, its esthetic ancestor (1850-1920), having as main perspective of analysis the one of gender studies. In a first moment, I analyze the continuities and the discontinuities between the café cantante and the tablao. After, the focus is on the emergence of « contemporary flamenco dance » , explaining as much the contextual factors that favored its birth as the personal motivations of the artists and the aes-thetic stakes at work. I also analyze the aesthetic and social consequences that such a phenomenon has produced among the various actors of the flamenco milieu. Finally, I show the effects that the economic crisis of 2008 had on the flamenco scene and how the artists had to develop a variety of survival strate-gies that resulted in a complexification of aesthetic positions based on the elements built during the pe-riod. previous years of the 1990s and 2000s. The development of this research is also based on the analysis of three case studies directly relat-ed to my artistic work, and ends with an epilogue that describes Pensaor, a choreographic piece created in parallel with the written thesis where I « perform my research »
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Zoller, Jessica. "Uncovering Flow: Choreographic Structures that Support Flow Characteristics in Dance Performance." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19267.
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This choreographic research identifies and examines triggers that can induce flow, as defined by Mihaly Csikszentmihalyi, through a creative process and performance, illuminating a type of experience that supports awareness of flow characteristics in a dance environment. The methodology documents qualitative phases of self-reflection, interviews with current performing artists, and discussions with dancers that assisted in identifying key flow triggers, informing movement explorations that culminated in a new dance piece and performance. Flow triggers identified through this process were imagery, environment, awareness of audience, and touch, which were explored with the aid of aerial hammocks to create a tactile experience for the dancers in the work. By exploring flow triggers within the creative process the performers experienced and reflected upon flow characteristics, often applying personal triggers to find deeper focus within the dance. This study may inform artists and educators interested in a flow experience in their creative process.
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Miškinytė, Kristina. "Kūrybinės veiklos ypatumai šokio ugdymo procese viduriniosios vaikystės amžiuje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100708_102019-68559.
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Šokio veiklos ypatumai. Kūrybinė veikla šokio ugdymo procese. Viduriniosios vaikystės šokio veiklos ypatumai.Qualitative data analysis of the research shown that in education process using creativity of dance activity in the groups are educated childrens psychophysiological (communication of „myself“ discovering) skills.
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Chabikwa, Rodney Tawanda Chabikwa. "Gestures from the Deathzone: Creative Practice, Embodied Ontologies, and Cosmocentric Approaches to Africana Identities." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543531419849315.
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Silva, Dora de Andrade 1980. "Projeto Distância : um estudo sobre processos colaborativos em dança a partir dos processos de elaboração dos vídeos dança Palaventório e Monolito Carnaval." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285258.
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Orientador: Antonieta Marília de Oswald de AndradeTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa traz o processo criativo desenvolvido no Projeto Distância como elemento de discussão e análise sobre práticas colaborativas em dança. Este projeto de residências artísticas se deu a partir de processos colaborativos in loco e à distância envolvendo artistas profissionais e jovens das comunidades do Morros do Palácio e Preventório e Ilha da Conceição, em Niterói/RJ para a criação de um produto artístico em formato de vídeo dança. Esta experiência impulsionou reflexões que cercam a criação colaborativa, seu modo de gestão, procedimentos e especificidades, e que culminaram nos questionamentos norteadores desta tese. A pesquisa se alicerça sobre dois temas para a construção e aprofundamento de sua investigação teórica, e que dialogam com a especificidade do formato dos processos artísticos desenvolvidos: as conceituações e princípios que cercam os processos colaborativos, discutindo o termo e sua natureza enquanto prática de criação, e a linguagem e a prática do vídeo dança a partir de questões pontuais que envolvem o trabalho nestes moldes e a criação colaborativa. Por fim, para a análise dos processos, traremos alguns princípios desenvolvidos por Salles (2011), que aponta que o ato criativo deve ser estudado como um processo contínuo, com a intenção de elucidar os mecanismos específicos de cada artista ao criar uma obra de arte. Finalmente, a partir da perspectiva do Projeto Distância, a tese tem como objetivo debater as questões, o avanços e desdobramentos envolvidos nestas propostas de colaboração, ressaltando princípios teóricos verificados nas práticas artísticas
Abstract: The research discusses and analyse the creative process developed in Projeto Distância focusing on collaborative practices in dance. This artist in residence project was developed through a lively and long distance collaborative processes with professional artists and youth from the communities Morros do Palácio, Preventório and Ilha da Conceição, in Niterói/RJ. The main purpose was to create a video dance. The experience has impelled reflections on collaborative creation, its modes of management, procedures and specificities. Those issues culminated on the key questions of this thesis. The research is based on two themes to propose a theoretical investigation considering the aspects of the creative process in question: the concepts and principles on collaborative processes, and the language and practice of video dance. Those themes led to discussions on the term collaborative process and its principles, and particular issues on the moulds of video dance and collaborative creation. As a mean to analyse those processes, the investigation presents proposals developed by Salles (2011) who points out that the creative act should be studied as a continuous process, intending to elucidate the particular mechanisms from each artist when creating a work of art. Finally, from the perspective of Projeto Distancia, the thesis aims to debate the issues, progress and unfoldings involved in these collaborative proposals, pointing out theoretical principles verified on the artistic practices
Doutorado
Artes da Cena
Doutora em Artes da Cena
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Cordeiro, Volmir. "Où le marginal danse : retours sur six pièces chorégraphiques." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080102.
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Cette thèse procède d’un travail réflexif en lien constant avec une création chorégraphique. Elle est la parole d’un artiste-chercheur qui ne pense pas sans œuvre ni sans les œuvres d’autres artistes. Toutes explorent la thématique des figures marginales dans le champ chorégraphique, et permettent de construire une poétique singulière adossée sur les esthétiques esquissées par certaines des œuvres des chorégraphes brésiliens Luiz de Abreu, Marcelo Evelin, Núcleo do Dirceu et Micheline Torres. En partant de Ciel, premier solo que je signe en tant que chorégraphe en 2012, et en m’orientant vers un réseau poétique des œuvres avec lesquelles une certaine proximité thématique me semble féconde, j’enquête sur ce qui fabrique la sensation de reconnaître un marginal qui danse. Les récits que j’en fais sont construits à partir de mes propres expériences de spectateur et consolidés par mon parcours d’artiste chorégraphique. La traversée critique, analytique, fictionnelle des œuvres constitue des trajectoires sensibles dont l’objectif est de faire la connaissance des modes d’être chorégraphiques des figures marginales. Cette étude analyse comment, au sein même de chaque œuvre, se construisent les regards et les récits participant à l’émergence des affects précaires mis en mouvement par des propos chorégraphiques. Elle examine ces propos à partir des rapports imaginés avec des altérités, et véhiculés par des éléments artistiques tels que le visage, l’adresse, la place accordée au spectateur, la construction du regard et ses modes de partage. Où le marginal danse est une tentative de réflexion pour envisager quand danser le marginal devient une manière de faire danser l’invisibilité du pouvoir en même temps que de rendre visible la puissance d’un décalageThis dissertation proceeds from a reflexive work in constant connection with a choreographic creation. It’s the speech of an artist-researcher who does not think without his own work or without the works of other artists. All of them explore the theme of marginal figures in the choreographic field, and allow to build a singular poetic based on the aesthetics sketched by some of the works of Brazilian choreographers Luiz de Abreu, Marcelo Evelin, Dirceu Nucleo and Micheline Torres. Starting from Ciel, the first solo choreographed under my signature in 2012, and moving towards a poetic network of pieces with which I feel there is a certain thematic proximity, I investigate what constitutes the sensation of recognizing a marginal who dances. The stories I create are based on my own experiences as a spectator and are consolidated by my career as a choreographic artist. The critical, analytical and fictional crossover of the works constitutes sensitive trajectories that help to comprehend the choreographic modes of being of the marginal figures. The works in question here draw innovative policies in the landscapes of the visible. This study analyzes how, within each work, the gazes and narratives are constructed, contributing to the emergence of precarious affections set in motion by choreographic remarks. These remarks are examined from reports imagined with otherness, and conveyed by artistic elements such as the face, the addressing, the place given to the spectator, the construction of the gaze and its modes of sharing. Where the marginal dances is a reflection that considers the fact that dancing the marginal implies in dancing the invisibility of a power and the strength of a change
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Lussier-Ley, Chantale. "Towards an Enhanced Understanding of Dance Education and the Creative Experience." Thesis, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30354.
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The purpose of this study was to understand the significance of emotions and the body in the lived creative experience in dance. Using a phenomenological approach, I was interested in gaining a deepened understanding of the creative experiences of members of Canada’s contemporary dance community. Currently, dance is taught in multiple contexts of education including K-12 arts education and physical education, recreational studios, university settings such as in faculties of education, kinesiology, and fine arts, and in conservatory-style pre-professional training programs. As a result, there appears to be little evidence of a holistic pedagogical approach. Coming from a predominantly ballet-oriented dance training background, I wanted to learn what it’s like to create dance; specifically how contemporary dancers use their bodies and emotions as part of their creative process.
I had the pleasure of being an invited guest, writer, speaker, and researcher at the 2008 Canada Dance Festival (CDF), a biennial dance festival that takes place in Ottawa, Ontario, Canada. Results shed light on rarely discussed facets of the creative experience in dance. This study explores the way dancers optimally want to feel, how they prepare to feel the way they want to feel, what obstacles they encounter, and what strategies allow them to revisit their optimal feel within their creative experience in dance. Doing so, the role of the body and the emotions in dance are better understood. A description of the 2008 Canada Dance Festival as a transactional space also surfaced. There, the CDF is understood as a place where the art of dance’s perceived meaning and values are discussed, and ultimately negotiated. Finally, results also contributed to an enriched understanding of artistic identity in dance as an ongoing process of becoming. With an enhanced pedagogical understanding of dance education, a final discussion unearths implications of this work and shines a spotlight on future research in dance scholarship.
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David, Fabrice. "Étude anthropologique de la création chorégraphique d'un spectacle de danse bretonne : Abenn Dimeurh de l'ensemble musique et danse Kevrenn Alré (Bretagne, France)." Thesis, Université Clermont Auvergne (2017-2020), 2018. http://www.theses.fr/2018CLFAL011.
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Cette thèse s'intéresse au processus de création chorégraphique d'un spectacle de danses traditionnelles en Bretagne. Elle a été menée à partir d’un terrain effectué au sein de la Kevrenn Alré, ensemble de musique et danse bretonnes basé à Auray dans le Morbihan, de novembre 2010 à novembre 2012. Comme la majorité des groupes bretons, cet ensemble crée son spectacle annuel pour le besoin d'un concours organisé par sa confédération. La recherche analyse les activités et les modes collectifs de production mis en œuvre lors de la fabrication du spectacle Abenn dimeurh sur le thème des préparatifs d'une noce en pays d'Auray vers 1900. La description ethnographique d'un moment de concours et l'analyse des dynamiques internes de la Kevrenn Alré permettent d'abord d'appréhender la relation du groupe à son environnement socio-culturel et d'interroger la façon dont le cadre compétitif façonne le processus de création d'un spectacle. La fabrication d'Abenn Dimeurh est ensuite observée en détaillant les différentes étapes organisées par les chorégraphes : émergence du thème, collectage, présentation du projet aux danseurs, écriture chorégraphique. Cette observation met en lumière la façon dont les responsables de la Kevrenn Alré, pour faire aboutir leur projet artistique, doivent articuler un processus de création nettement ordonnancé et une organisation collective des activités. Au fil du processus sont engagées différentes formes de coopération qui montrent que les acteurs envisagent la notion du collectif et le travail en groupe autour d'une vision commune du sens de l'effort et de la responsabilité partagée. Il se dégage de l’analyse que la définition du travail artistique comme une activité collective est opératoire dans le contexte de la danse bretonne de spectacle en tenant compte des spécificités de l'univers associatif. Dans cet univers, les membres de la Kevrenn Alré s'efforcent de concilier le plaisir du partage et la réussite au concours. De ce constat émerge que le processus de création marque la production de son empreinte en engendrant un spectacle qui exprime leur vision de la culture bretonneThis thesis focuses on the process of choreographic creation of a folk dance performance in Brittany. It is based on fieldwork conducted in Kevrenn Alré, a Breton music and dance ensemble based in Auray in Morbihan, from November 2010 to November 2012. Like most Breton groups, Kevrenn Alré create their show to compete in the annual contest organized by the folk dance organization to which they belong. The research analyses the collective activities and modes of production implemented during the creation of the performance Abenn dimeurh on the theme of the preparations for a wedding in the Auray region around 1900.The ethnographic description of a dance contest and the analysis of Kevrenn Alré's internal dynamics first allow us to understand the group's relationship to its socio-cultural environment and to examine how the competitive framework shapes the creative process of a show. The making of Abenn Dimeurh is then observed by investigating the various steps organized by the choreographers: finding the theme, collecting data, presenting the project to the dancers, making and staging the choreographic score. This observation highlights the way Kevrenn Alré's leaders, in order to carry out their artistic project, must articulate a clearly organized creative process and a collective organization of activities. Throughout the process, various forms of cooperation are initiated, showing that the actors consider the notion of being and working together around a common vision of joint endeavour and shared responsibilities. The analysis shows that the definition of artistic work as a collective activity is operative in the context of Breton folk dance performance, taking into account the specificities of voluntary associations. In this environment, the members of Kevrenn Alré struggle to bring together the pleasure of shared activities and success in the contest. From all this, it emerges that the creative process leaves its imprint on the production by generating a performance that expresses their vision of Breton culture
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Merrill, Cecily P. "Embodied communication : visually representing movement /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/232.pdf.
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Sjögren, Karin. "Dans i förskolan : en kvalitativ intervjustudie om pedagogersuppfattningar om och erfarenheter av dans i förskolan." Thesis, Södertörns högskola, Lärarutbildningen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33472.
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The aim of this study is to look into educators’ view on dance in preschools based on their interpretations of the curriculum for the preschool and their experiences of the field. The questions asked in this study were how does the educators interpret a specific goal of ambition in the curriculum for the preschool where dance is mentioned as one of many forms of expressions, how does the educators work with dance in the preschools and which are the educators opinions about dance in relation to learning and development. To collect material for this study qualitative interviews were performed with educators who work with dance in the preschool. The results were analysed with a socio-cultural perspective on learning and the theory of multiple intelligences.The results showed that the educators mean that dance is very useful in the preschool. Dance stimulate children’s need of movement and the joy of movement, but it’s also a way of expressing thoughts, feelings and experiences. According to the educators the focus in their work with dance in preschools is to use the body for exploration, create their own way of dancing and develop the sensation and perception of the movement rather than how it looks.The specific goal of ambition in the curriculum for the preschool where dance is being mentioned as one of many forms of expressions the educators interpret as that the preschool should give opportunities for children to explore many ways of expressions, where dance can be one of them. In the preschools dance occur as dance lessons as well as a part of gatherings or just spontaneously, indoors and outdoors.The educators declare that dance supports development in many ways. It can help in strengthening ones self-confidence and trust in ones abilities but also help the development in for example mathematics, language and natural science. The educators accents that dance also has an intrinsic value, that it generates joy and is an additional way of social interaction.
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Valle, Flavia Pilla do. "Contraconduta da criação : um estudo com alunos da graduação em dança." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/69919.
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Este trabalho discorre sobre os modos de formação no ensino superior de dança, debruçando-se sobre a dimensão da criação, na perspectiva da composição coreográfica e de seu estatuto nessa formação. Parte-se de uma prática pedagógica que desafia os alunos a criar a partir da contraconduta, que envolve conhecer seus modos de criar usuais e desafiar-se a fazer diferente. A criação, assim, não é entendida como um processo de autodescoberta, e sim como um processo de resistência a saberes que atravessam o sujeito da criação. Nisso, opera-se com a ideia de poder, conduta e governo de si. A partir da noção do cuidado de si dos gregos antigos, que Foucault estudou nos anos 1980, discutem-se quatro princípios para a prática pedagógica: contraconduta como crise; contraconduta como disponibilidade, contraconduta como inquietude; e contraconduta como relação ética. A pesquisa produziu material durante três semestres para análise. Esses registros consistem em escritos sobre o processo coreográfico de solos de dança dos alunos. Dito isso, a ideia da contraconduta expande-se para ser um conceito operatório de toda a tese, na qual se quer visualizar a trama por intermédio da qual os discursos sobre a dança assumem forma nos corpos em formação. A obra de Foucault serve como ferramenta para poder analisar os fios que constituem a teia de discursos na qual o jogo da contraconduta se forma e emerge por meio de enunciações que: demonstram territórios demarcados da dança; produzem entendimentos sobre a formação de base; repetem ideais de beleza; constituem filiação estética do professor de dança; entre outros. Portanto, o jogo dos enunciados em que os alunos se constituem e a multiplicidade de seus posicionamentos é relatado, tanto na sala de aula quanto nos próprios acontecimentos históricos da dança. Por fim, esta pesquisa defende a contraconduta da criação como um meio possível de constituir eticamente o sujeito da dança, além de defender o ensino superior como um espaço importante para esse tipo de trabalho.This study deals with the way dance is taught in institutes of higher learning, being attentive on the process of creation, understood here as choreographic composition, as well as its relevance in the curriculum. Its point of departure is a pedagogical practice that challenges the students to be creative, based on the concept of counterconduct, which includes the knowledge of their usual ways of creation and challenges them to create in a different way. Thus, the act of creation is not to be understood as a process of selfdiscovery but as a process of resistance to knowledge already embedded which permeate the subject of creation. In this way, it operates with the idea of power, conduct and self-government. Taking as a point of departure the notion of selfcare of the ancient Greeks, which Foucault studied during the 80s, the four principles of the pedagogical praxis are studied: 1. counterconduct as crisis; 2. counterconduct as availability; 3. countercondut as restlessness; 4. counterconduct as ethical relationships. Data collected during three semesters were used as material to be analyzed. These materials consisted of written records of the creative process during the choreography of solos by dance students. As a result, the concept of counterconduct expanded itself to be an operational concept for the whole thesis, in which one tries to make visible the threads through which the discourses on dance take shape on the bodies of would-be dancers. Foucault’s work serves as a tool to analyze the game of counterconduct which is formed and emerges through concepts which demonstrate territories assigned to the dance, generate the understanding of basic training, repeat ideals of beauty, and constitute esthetical affiliations of dance instructors, among many other aspects to be considered. Therefore, the interplay of statements in which each student is constituted and the multiplicity of their positioning is recorded, as much in the classroom as in the very historical events of dance. Finally, this research supports the counterconduct of creation as a possible means of ethically constituting the subject of dance, as well as defending higher learning as an important territory for this kind of work.
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Cholod, Kirsten L. (Kirsten Lynn). "Children's causal attributions for performance in creative dance and folk dance." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22574.
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This study investigated children's attributions for their performance in creative dance and folk dance. Eighty-six grade 5 and 6 children from a suburban elementary school participated in five creative dance and five folk dance lessons as part of their regular physical education program. After participation in each dance type, children completed a questionnaire which assessed their perceived success and attributions for their performance. After rating their perceived success in creative/folk dance, children gave an open-ended attributional statement for their performance, and then scored their statement along the four causal dimensions (personal control, locus of causality, stability, external control) (Weiss, McAuley, Ebbeck, & Wiese, 1990). Thirteen dance lessons were videotaped and the teacher's behavior was analysed. Results showed that children in both creative and folk dance tended to: (a) perceive their performance as successful, and (b) make functional attributions by attributing their performance to factors which they perceived as being personally controllable, internal, and not under the control of other people. Results indicated no significant effects of dance type or gender for perceived success and the four causal dimensions. However, two significant effects were found for grade, as the grade 5's perceived their performance to be more successful than the grade 6's, and also attributed their performance to factors that were less under the control of other people. Results from children's open-ended attributional statements and the observational recordings of the teacher's behavior supported the notion that creative dance and folk dance are two distinct forms of dance. The overall results appear to have positive implications with respect to the influence of creative dance and folk dance on the motivation of children. The findings therefore support the inclusion of dance in elementary physical education programs.
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Almeida, Karina Campos de 1984. "A composição como decomposição = um olhar sobre a criação em dança = Composition as decomposition : an insight regarding the dance creation." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284570.
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Orientadores: Eusébio Lobo da Silva, Sara Pereira LopesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T10:19:49Z (GMT). No. of bitstreams: 1 Almeida_KarinaCamposde1984-_M.pdf: 10292351 bytes, checksum: 6a57f0a27cc58dc2ee71a359988d935a (MD5) Previous issue date: 2012
Resumo: A presente pesquisa apresenta um estudo sobre composição como decomposição em dança, sob o ponto de vista da experiência de atuação do ator-dançarino. Para tal, realiza se uma investigação teórica sobre o processo de elaboração formal em dança e seus possíveis elementos de construção, a partir das referências apresentadas principalmente por Dantas (1999) e Smith-Artaud (2000). Com o objetivo de agregar outras vozes sobre composição como decomposição em dança, a pesquisa apresenta reflexões elaboradas a partir de entrevistas realizadas com três artistas da Tanztheater Wuppertal Pina Bausch: Helena Pikon, Julie Anne Stanzak e Morena Nascimento. A pesquisa compreende uma investigação prática, através da observação e participação ativa de três diferentes processos criativos: a criação do espetáculo "Era... Uma vez?", da companhia Terraço Teatro; "Impressões", da Seis + 1 Cia. de dança e o projeto "Narrativa e poética no processo de elaboração de dança para o vídeo", desenvolvido em um formato de residência artística na cidade de Londres, Reino Unido. A partir de uma articulação teórica-prática, pretende-se discutir como composição e decomposição se integram nos processos de criação das obras citadas nesta dissertação
Abstract: This research presents a study about composition as a decomposition process in dance, from the performance's actor-dancer experience point of view. We performed a theoretical investigation regarding the formal elaboration process in dance and its building elements suggested by the references, mainly Dantas (1999) and Smith-Artaud (2000). In order to incorporate other voices to the composition as decomposition in dance, the present research exposes reflections developed from interviews with three different artists from Tanztheater Wuppertal Pina Bausch: Helena Pikon, Julie Anne Stanzak and Morena Nascimento. Additionally, the research comprehends a practical investigation monitoring three distinct creative processes: the "Era... Uma vez?" piece creation, from Terraço Teatro; "Impressões", from Seis + 1 dance company and "Narrative and poetics in the process of devising dance for the screen", project developed during an artistic residence in London, United Kingdom. Linking theory and practice, it is intended discuss how composition and decomposition merge during the creation processes the works mentioned in the present dissertation
Mestrado
Artes da Cena
Mestra em Artes da Cena
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Wexler, Iris. "Trauma complexe, résilience et processus créateur chez les adolescents en danger : expériences de recherches cliniques en Haïti et en Israel." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20041.
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Ce travail a été entrepris dans deux pays vivant des catastrophes naturelles et humaines à long terme. Il porte sur les processus créateurs, les traumas complexes et les processus psychiques des adolescents : en Haïti, pour se rétablir à la suite du séisme de janvier 2010 qui a ravagé plusieurs villes du pays et tué environ 2,5% de la population ; en Israël, après la deuxième guerre du Liban en 2006 et les attentats terroristes ayant touché tout le pays. La présente recherche avait pour objectif d'étudier les processus créatifs exprimés après les conséquences traumatiques du séisme, de la guerre et des attentats, parmi les adolescents haïtiens et israéliens, ainsi que les stratégies mises en place pour y faire face et se rétablir. Elle était basée sur des approches multidisciplinaires et des méthodes qualitatives et narratives, tout en tenant compte des particularités culturelles du processus créateur. Nous avons examiné deux groupes, l'un composé de 60 adolescents israéliens âgés de 11-12 ans, l'autre composé de 45 adolescents haïtiens entre 10 et 18 ans, à l'aide d'outils d'analyse non verbaux, de la symbolisation d'événements marquants de la vie, de la manifestation traumatique et de la résilience. Nous avons ensuite recueilli des données grâce à des entretiens cliniques et des dispositifs groupaux de médiation malléable, auprès de 30 adolescents. Nous présentons dans ce travail 6 études de cas que nous avons sélectionnées pour leurs particularités. Les résultats indiquant que le soutien social constitue le meilleur facteur manifeste de la résilience ont pu être constatés au travers des survivants qui s'appuyaient sur un ensemble de tuteurs de résilience et sur leurs réseaux personnels. Ils montrent également que l'influence du risque, les facteurs de protection et la résilience coexistent dans le continuum de la vie de l'adolescent exposé à des situations traumatiques. L'ensemble des résultats souligne la nécessité d'établir des cadres de médiation thérapeutique et créative avec la culture comme levier thérapeutique, pour accompagner à long terme les adolescents en situation de danger et de détresseThis cross-cultural study has been researched in two countries exposed to natural and human disasters in the long-term. It focuses on the creative processes, complex traumas and mental processes of adolescents: in Haiti, following the January 2010 earthquake, which devastated several towns and killed about 2.5% of the Haitian population ; in Israel after the Second Lebanon War of 2006 and terrorist attacks that devastated the country and affected 4-5% of the Israeli population. This research aimed to study the creative process after the traumatic consequences of an earthquake, war and terrorists attacks among Haitian and Israeli adolescents and the strategies they implement for coping and recovering. It was based on multidisciplinary approaches, as well as, qualitative and narrative methods, taking into account the cultural aspects of the creative process of the adolescents in each country. We examined two groups. In first group there were 60 Israeli adolescents aged 11-12 years. In the second group, 45 Haitian adolescents aged 10-18 years. We collected data from clinical interviews and expressive art groups of 30 adolescents. We used nonverbal methods to analyze the adolescent significant life and traumatic events and resilient experiences. In this study we present six case studies that were selected because of their special features. The results indicate that social support is the highest factor of resilience in adolescents’ survivors of complex trauma situations. We found that the adolescents used resilient tutors and individual resources to survive. The results also show that the influences of risk, protective factors and resilience co-exist in the adolescent`s life continuum in the long-term coping with traumatic events.The overall results emphasize the need for on-going therapeutic and creative process groups to support youth living in dangers and distress situations
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Lefebvre, Sell Naomi. "dharmakaya : an investigation into the impact of mindful meditation on dancers' creative processes in a choreographic environment." Thesis, City University London, 2013. http://openaccess.city.ac.uk/2634/.
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This practice-based research project aims to weave together the data generated through a dance making process, with a reflective, critical analysis of the data, to argue that incorporating meditation in the creative process can have a profound impact on a creative practice. dharmakaya, the dance work I choreographed for the purpose of this investigation, was developed in collaboration with four dancers, who were at the time, students studying on a BA (Hons) Dance Theatre programme. The process of creating the work involved a deep engagement with the principles and practices of meditation in order to consider critically the impact this had on my own creative practice and on dancers’ creative endeavours in the choreographic environment. Integral to this research project is consideration of the implications of this process for practice-based research and practices within the art form. The written thesis provides the analysis of the creative process of making dharmakaya. It seeks to understand if a creative environment can be established which incorporates the principles and practices gained from meditation to support and enhance dancers’ creative processes as co-creators of dance work. I discuss how my approach results in changes in how movement material is generated by the dancers, in the direction of the rehearsal process and in my engagement with the dancers. Importantly, the thesis makes clear how a method of analysis can be established which allows the results of the practice-based research to be sympathetically transformed into written form. As a whole the study contributes to the current field of research through the development of a dance making methodology that incorporates mindful meditation and enables the dancers’ verbal and embodied engagement. This methodology incorporates data collection and analysis in order to facilitate a critical reflection on the efficacy of the process. The thesis argues that adapting principles from meditation teachings offers a choreographer a means to engage dancers in a process of ‘letting go’, to stimulate their creativity and their capacity to generate material in the process of dance making: it offers them a language – an embodied language – with which to articulate and contribute ideas in verbal form. This practice-based research contributes to the continuing debates about training methods for contemporary dancers and choreographers, the leading/direction of creative dance making processes, and the different ways in which dancers engage with the preparation and performance of choreographed work.
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Dayton, Emily Fern. "The Creative Use of Dance/Movement Therapy Processes to Transform Intrapersonal Conflicts Associated with Sexual Trauma in Women." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/386.
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Abstract This qualitative research explores creative movement processes such as dance/movement therapy (DMT), authentic movement (AM), and creative dance (CD) as possible tools for transforming sexual trauma for women. Eleven movement professionals were interviewed in a semi-structured research format. My direct experience and knowledge of sexual abuse, sexual trauma, and creative movement processes are interwoven with the research question: do creative dance/movement therapy processes contribute to the dynamic of healing for women transforming sexual trauma? These findings are inconclusive for the greater population of survivors of sexual abuse and sexual trauma. However, there are indications that DMT, AM, and CD may be potential tools for recovery. This research contributes to a dialogue about sexual abuse and recovery from sexual trauma.
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Soudy, Laura. "Littérature et danse contemporaine : modalités et enjeux d'un dialogue renoué." Thesis, Pau, 2015. http://www.theses.fr/2015PAUU1005/document.
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Si la danse a partie liée avec la littérature c’est parce que cet art du mouvement a longtemps eu besoin d’une narration pour exister. En ce sens, lorsqu’au XXe siècle la danse s’affranchit du texte, elle s’affirme comme un art à part entière pouvant exister pour lui-même et par lui-même. Dans ce cas, pourquoi des chorégraphes contemporains français se tournent-ils de nouveau vers la littérature pour créer certaines de leurs œuvres chorégraphiques ? Face à une démarche qui pourrait s’apparenter à un simple retour en arrière, l’étude menée s’efforce non seulement de comprendre les enjeux de différents processus de création chorégraphique à partir d’une matière littéraire, elle-même interrogée, mais aussi de mettre en évidence les modalités de traitement du texte de son ébauche à sa finalisation. De la sorte, il est possible de percevoir à la fois ce qui persiste et ce qui change dans la mise en œuvre de ce dialogue renoué où littérature et danse s’enrichissent mutuellementIf dance is linked to literature, it is because this art of movement has long been in need of a narration to exist. In this sense, when dance freed itself from texts during the 20th century, it became an art in its own right, ready to exist for itself and by itself. Why, then, do some French contemporary choreographers revert to literature in order to create their choreographic works? Faced with a phenomenon that could be interpreted as a simple regression, this study will not only endeavour to understand the stakes at play in processes of choreographic creation based on literary materials (which will also be examined), but it will also emphasise the processes of textual treatment from creation to completion. Thus, we will be able to discern both what persists and what changes in this renewed and mutually enriching dialogue between literature and dance
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Andersson, López Lisa. "SENSITIV – Mapping Design of Movement Data to Sound Parameters when Creating a Sonic Interaction Design Tool for Interactive Dance." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280699.
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Technology has during the last decades been adopted into the dance art form which has appeared as interactive dance. Many studies and performances have been conducted investigating this merging of dance and technology and the mapping of the motion data to other modalities. But none have previously explored how the introduction of technology affects the mutually interdependent relationship, the co-play, between a dancer and a live musician in a completely live setting. This thesis specifically explores this novel stting by investigating which sound parameters of a live drummer’s sound a dancer should be able to manipulate, through the usage of motion tracking sensors, to alter the dancer’s experience positively in comparison of without the usage of the tool. For this purpose, two studies have been conducted. First, a development study to create a prototype from the first person perspective of a professional dancer and choreographer. Second, an evaluative study was conducted to evaluate the applicability of the prototype and the experience of the manipulation of the sound parameters chosen, on a larger group of professional dancers. The studies showed that the sound parameters of delay and pitch altered a dance experience most positively. This thesis further shows that it is important for the user to get enough time to truly get to know the interactions allowed by the system, to actually be able to evaluate experience of the sound parameters.Teknik har under de senaste decennierna anammats in i danskonsten vilket har framträtt som interaktiv dans. Många studier och föreställningar har genomförts för att undersöka denna sammanslagning av dans och teknik, och mappningen av rörelsedata till andra modaliteter. Men ingen har tidigare undersökt hur introduktionen av teknik påverkar samspelet, den ömsesidigt beroende relationen, mellan en dansare och en live-musiker i en fullständigt live inramning. Den här avhandlingen utforskar specifikt denna nya inramning genom att undersöka vilka ljudparametrar av en live-trummis ljud en dansare ska kunna manipulera genom användning av rörelsesensorer, för att förändra en dansarens upplevelse positivt i jämförelse med utan användning av verktyget. För detta ändamål har två studier genomförts. Först en utvecklingsstudie för att skapa en prototyp från ett förstapersonsperspektiv av en professionell dansare och koreograf. Sedan genomfördes en utvärderingsstudie för att utvärdera användbarheten av prototypen och upplevelsen av att manipulera de valda ljudparametrarna, på en större grupp professionella dansare. Studierna visade att ljudparametrarna av fördröjning och tonhöjd förändrade en dansupplevelse mest positivt. Denna avhandling visar vidare att det är viktig för användaren att få tillräckligt med tid för att verkligen lära känna de interaktioner som systemet tillåter, för att faktiskt kunna utvärdera upplevelsen av själva ljudparametrarna.
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Gingras, Ginette. "The development of a motor creativity test using fluency and flexibility measures /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66004.
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Muñoz, Åhlén Anna-Maria. "Dansimprovisation och motivation : Hur olika metoder påverkar motivationen i en skapandeprocess av dans." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-35254.
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Syftet med det här utvecklingsarbetet har varit att pröva olika metoder att arbeta med dansimprovisation på gymnasieskolans estetiska program dansinriktningen. Jag har upplevt att detofta har varit svårt i början för eleverna att släppa hämningar och krav och att våga utforskaegna rörelser i tid, rum och kraft. I det här utvecklingsarbetet prövades som metod tre olikauttryck: rörliga bilder, en text eller ett musikstycke. Därför var jag nyfiken på hur elevernaupplevde de olika estetiska inspirationskällorna och om någon kunde öka elevens motivationatt arbeta med dansimprovisation. Samtidigt ville jag knyta ihop några moment ur kursernascentrala innehåll med förhoppning om att eleverna skulle få en ökad förståelse för denskapande processen i dans. För att få en uppfattning av hur eleverna upplevde det härupplägget utvärderades arbetet genom egna observationer och intervjuer av eleverna.Resultatet visade att eleverna upplevde en ökad motivation att improvisera till rörliga bilderoch musik. Eleverna uppfattade även att de hade fått en bredare förståelse avdansimprovisation verktyg för att skapa dans när några moment ur kursernas centrala innehållsamverkade som en helhet. Samtliga elever upplevde arbetet med de olika metoderna som enpositiv erfarenhet.The aim of this developing project has been to try different ways of inspiration when workingwith dance improvisation at the dance programme in upper secondary education. The sourcesI used in this project were moving pictures, a piece of music and a text. I was interested toexplore if the dance students experienced a greater inspiration from any particular source thatcould result in increased motivation to work with dance improvisation. I also wanted to linkrelevant parts of the purposes of each subjects from the curriculum of the dance programmehoping to bridge the gap between the practice of dance and dance theory and to see if thestudents gained a better understanding of the creative process in dance. The project was assessed through my observations and interviews of the students. The results showed that thestudents felt more motivated to improvise to moving pictures and to music. Students alsoperceived that they had received an increased understanding of dance improvisation as a toolfor creating dance when relevant contents of the different courses interacted as a whole. Allstudents experienced the work of the various methods as positive experience.
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López, Andrea Mariana Morera. "Instantes de encontro : o vínculo entre música e dança como processo de criação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170368.
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Este memorial aborda procedimentos de composição coreográfica a partir da análise musical. Propõe, em âmbitos teórico e prático, um ambiente de criação que utilize ferramentas de análise e composição musical como recursos para a organização de células de movimento corporal. Para tanto, toma-se por fonte de experimentações e reflexões uma composição coreográfica chamada Coisas Pelo Ar, para pianista e bailarina, construída com base na peça homônima para piano solo, de Bruno Angelo. O diálogo possível entre o discurso coreográfico e o discurso musical estrutura a metodologia de ensaio e de criação da peça, que consiste, em um primeiro momento, em realizar uma análise do ciclo original de cinco pequenas peças para piano. Em um segundo momento, é organizada a composição coreográfica em parceria com a bailarina Fernanda Boff, e pensada a encenação da peça de música e dança como um todo. Essa trajetória de pesquisa é complementada com a coleta de dados do processo de criação, que inclui: registro das análises sobre a partitura da música, vídeos dos ensaios e a construção de um diário de bordo onde são registradas e interpretadas a evolução dos ensaios de criação, os depoimentos espontâneos dos artistas envolvidos e as reflexões sobre cada um desses encontros. Os principais questionamentos que surgem a partir da reflexão sobre a prática abarcam os conceitos de composição, interpretação, análise musical e processo de criação.This memorial addresses choreographic composition procedures drawn from musical analysis. The author proposes, from theoretical and practical perspectives, a creative environment that conjugates musical analytical and compositional tools as resources for the organization of corporal movement cells. For this purpose, a choreographic composition called Coisas Pelo Ar, for pianist and dancer, based on homonymous piece for solo piano by Bruno Angelo, is used as source of experimentation and critical reflection. The possible dialogue between choreographic and musical discourse mark out the methodology for the piece’s rehearsal and creation, which consists, in a first moment, of an analysis of the original cycle of miniatures for piano. As a second moment, the choreographic composition is organized in partnership with the dancer Fernanda Boff, resulting in the staging of the piece of music and dance as a whole. This research trajectory is complemented by the data collection from creative process, which includes: inventory of analysis of the music score, recorded videos of rehearsals and live performances of the piece, and a field journal where the evolution of creative sessions, as well as spontaneous statements and reflections on each of this sessions, are recorded and interpreted. The main inquiries that arise from this reflection upon creative practice involve the concepts of composition, interpretation, musical analysis and creative process.
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Pierman, Eleanor L. "Dance-ability: A Mixed Methods Study of Dance and Development in PreschoolStudents with Disabilities and Adaptations for Sustainable Dance Programming." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1586543857308249.
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Jocić, Nikola [Verfasser], and Daniel [Akademischer Betreuer] Göler. "Creative Economy in a Postsocialist Transitional Context: Spatial Distribution of Creative Activities and their Interrelation with Urban Milieus in City Quarters of Belgrade / Nikola Jocić ; Betreuer: Daniel Göler." Bamberg : University of Bamberg Press, 2019. http://d-nb.info/1188612034/34.
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Melchert, Ana Carolina Lopes 1971. "O desate criativo : estruturação da personagem artir do metodo BPI (Bailarino-Pesquisardor-Interprete)." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285036.
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Orientador: Graziela Estela Fonseca RodriguesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho teve por objetivo realizar uma criação artística, tendo como foco o eixo Estruturação da Personagem do Método Bailarino-Pesquisador-Intérprete (BPI). Pretendeu-se, também, a realização de uma reflexão teórica do desenvolvimento deste processo criativo. O BPI é um Método de perspectiva sistêmica, que integra aspectos sociais, culturais, emocionais e físicos, cujo foco é a identidade do corpo. Este Método possui três eixos inter-relacionados e indissociáveis: O Inventário no Corpo, O Co-habitar com a Fonte e a Estruturação da Personagem. A personagem no BPI é trabalhada como uma possibilidade de desenvolvimento da Imagem Corporal e como um processo de nucleação, possibilitando o fechamento de uma gestalt. O Co-habitar com a Fonte foi realizado na região do Vale do Paraíba (SP), onde se efetivou pesquisas de campo sobre a manifestação popular brasileira do jongo. A partir do co-habitar, realizou-se um aprofundamento do Inventário no Corpo, o que possibilitou a abertura do processo criativo. A presente pesquisa descreve as várias etapas de como se estruturou a personagem, que são apresentadas e descritas através de agrupamentos por conteúdos e dinâmicas específicas de trabalho. As incorporações de objetos são descritas como necessidades de se conquistar a expressão do corpo. As individualizações das ações de campo e o aprofundamento do Inventário no Corpo conduziram à etapa da Incorporação da Personagem. A pesquisa de campo complementar, as referências literárias, a experimentação de objetos e as elaborações cênicas possibilitaram o desenvolvimento da Estruturação da Personagem. O nome da personagem é apresentado como uma perspectiva de possibilitar ao intérprete o desenvolvimento de seu processo. A Estruturação da Personagem foi realizada a partir da efetivação do Método do BPI, onde o corpo em desenvolvimento aprofundou o contato com suas origens, co-habitou com outros corpos e integrou os conteúdos vivenciados dando passagem a uma personagem, possibilitando a este realizar uma dança original, integrada e orgânica
Abstract: The purpose of this work was to produce an artistic creation focusing on the ¿Character Construction¿ by using the Dancer-Researcher-Performer (DRP) Method, (Bailarino-Pesquisador-Intérprete: BPI). In addition, I intend to produce a textual reflection showing a theoretical development of this creative process. The DRP is a method of systematic perspective that integrates social, cultural, emotional and physical aspects and whose focus is corporal identity. This Method possesses three centers, all interrelated and inseparable: The ¿Body¿s Inventory¿, the ¿Co-habituate with the Source¿ and the ¿Construction of the Character¿. The Character in DRP functions as a possibility of Corporal Image development and as a centering process, permitting a closure of a gestalt. The ¿Co-habituate with a Source¿ took place in the region of Vale do Paraíba (SP), where I underwent the field research that deals with the popular manifestation ¿the jongo¿. Using the Cohabituate as the starting point, the Inventory of the Body phase was subsequently achieved on a profound level, thus opening the terrain in support of a creative process. The current research describes the various stages of how one construct¿s the character, which subsequently are presented and described through content groupings and specific work dynamics. Incorporating objects are referred to as necessary to capture body expression. All specific actions derived from the field research as well as the in depths work in the Body Inventory stage were aptly followed through in the Character Incorporation stage. Complementary field research, literal references to specific experiments with objects as well as theatrical experimentation permitted the Construction of the Character. The name of the character is presented as a perspective in order for the performer to develop her process. Implementing the DRP method, where the emergent body deepened its contact with its origins, co-habiting with other bodies and incorporating its empirical contexts experienced during the character formation, gave aperture for the Construction of Character. This, in the end, permitted an original dance both integrated and organic
Mestrado
Mestre em Artes
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Silveira, Paola de Vasconcelos. "Sob os vestígios de um tango, a clave me convida a dançar : estudo de materialidades em movimento." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/122553.
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Este memorial crítico-reflexivo teve por objetivo refletir sobre os processos de elaboração do experimento artístico “Um tango em clave”, que foi desenvolvido a partir do encontro entre meu corpo e a clave (objeto de malabarismo), e apresentado em espaços de trânsito da cidade de Porto Alegre. Partindo da prática do tango, permeada pelo diálogo entre os pares, buscou-se uma relação na qual o objeto, a clave, torna-se materialidade pulsante que potencializa um diálogo a dois. Pretendia-se, assim, que a dança surgisse da relação entre esses dois corpos e não da manipulação de um corpo sobre o outro. Para tanto, o estudo encontra ressonância na possibilidade teórica de pensar em corpos não humanos como matérias vibrantes com potencial de provocar relações e movimentos. Dessa forma, esse encontro geraria a perda do eu, o qual seria construído através do movimento dançado. Ao longo dos ensaios e apresentações, realizaram-se registros escritos em caderno de notas, bem como registros fotográficas e videográficos. Eles tecem uma teia em conjunto com a escrita reflexiva e conceitual. Esse material possibilitou analisar a trajetória dessa proposta cênica. Essa pesquisa exploratória buscou contribuir para uma reflexão sobre as propostas de aprendizagem da dança, pois optou por um caminho de construção da relação dançada com o objeto, a partir das percepções cinestésicas do corpo em movimento. Tal procedimento sugere que outras metodologias de relação do corpo com o objeto possam ser desenvolvidas durante o processo de aprendizagem, e que elas podem ser tão eficientes quanto às práticas mais tradicionais de interação e manipulação do objeto.This critical-reflexive memorial has the objective to reflect the process of elaboration of an artistic experiment “A tango in club” who was developed in the encounter of my body and the club (juggling key object) and has been showed in some places of transit in the city of Porto Alegre. The starting point has emerged from the experience of the artist in the practice of Tango from a dialogue bias between the peers, sought a relationship in which the object, becomes a pulsating materiality, a lively piece that will enhance a one-to-one conversation. It is thus intended that the dance results from the relationship between these two bodies and not from the manipulation of one body over another. Therefore, the study finds resonance on the theoretical possibility of thinking in non-human bodies as vibrant matters with capability to generate relationships and movements. In that way, this meeting would lead to a loss of the self, being constructed through the danced movement. Over the rehearsals and performances, there were written records in notebook, as well as photographic and videographic records. This information wove a web in conjunction with the reflective and conceptual writing. This exploratory research contribute to a reflection on the dance learning proposals because chose a path of building the relationship danced with the object, from the kinesthetic perception of the body in motion. This procedure suggests that other body regarding methodologies with the object can be developed during the learning process, and they can be as efficient as the more traditional practices of interaction and manipulation of the object.
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Aires, Daniel Silva. "Criação em videodança : corpos em contaminação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/180508.
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Este estudo trata da criação em dança com mediação tecnológica observando os procedimentos de criação em videodança analisados pelas perspectivas do artista Gustavo Gelmini e do processo de criação da videodança “Alegoria do Veado Ferido” (2017) de minha proposição. Esta pesquisa de caráter qualitativo utiliza como estratégias metodológicas entrevistas semiestruturadas com o artista bem como o relato de experiência na criação da videodança supracitada. A discussão teórico-metodológica percorre algumas pistas do campo da dança e da comunicação para responder à principal questão que mobiliza esta investigação: como as estratégias de criação em dança com mediação tecnológica nos permitem apreender os modos de virtualização dos corpos engajados no fazer videodança? A pesquisa tem por objetivo refletir sobre a prática das danças criadas para o vídeo problematizando as questões do corpo enquanto presença, materialidade, virtualidade, bem como de suas relações com o meio. Justifica-se por buscar oferecer caminhos de compreensão para a dança na contemporaneidade, aproximando e entendendo como relacionais as incidências destes outros corpos bem como de suas virtualidades. Conclui-se na elaboração do princípio de contaminação entre corpo, dança e tecnologia como instrumento pertinente à criação em videodança.This study deals with the creation in dance with technological mediation observing the procedures of creation in videodance analyzed by the perspectives of the artist Gustavo Gelmini and the creation process of the videodance "Allegory of the Injured Deer" (2017), of my proposition. This research of qualitative character uses as methodological strategies semi-structured interviews with the artist, as well as the report of experience in the videodance creation mentioned above. The theoreticalmethodological discussion goes through some clues in the field of dance and communication to answer the main question that mobilizes this investigation: how do dance creation strategies with technological mediation allow us to apprehend the virtualization modes of bodies engaged in videodance? The research aims to reflect on the practice of dances created for the video, problematizing the body's questions as presence, materiality and virtuality, as well as its relations with the environment. It is justified by seeking to offer ways of understanding dance in contemporaneity, approaching and understanding as relational the incidences of these other bodies as well as their virtualities. It is concluded in the elaboration of the principle of contamination between body, dance and technology as a pertinent instrument to the creation in videodance.
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Sanches, Neto Antrifo Ribeiro. "Lá lá ele: devaneios, memórias e estados de corpo em três processos coreográficos." Escola de Teatro, 2006. http://repositorio.ufba.br/ri/handle/ri/27026.
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Este estudo analisa três processos de criação coreográfica a partir da perspectiva do dançarino-criador. A pesquisa, caracterizada como qualitativa, foi desenvolvida com base na abordagem compreensiva dos fenômenos estudados, que admite o pesquisador como principal ferramenta metodológica do estudo. Os processos das três cenas que compõem o espetáculo Ideias do Olho, intituladas O Corpo Íntimo do Olhar, O Olhar Contaminado e Uma Experiência na Retina, são analisados sob a luz da Crítica Genética e dos Estudos da Performance (Performance Studies). O estudo intenciona borrar as fronteiras entre prática e teoria artísticas ao realizar uma pesquisa em dança a partir da vivência do próprio pesquisador, que assume o papel de dançarino-criador nos processos criativos analisados. O objetivo é refletir o fazer cênico da dança numa perspectiva contemporânea na intenção de contribuir com o pensamento que produz novas teorias da arte e discute novas abordagens metodológicas em processos criativos. A pesquisa proporciona uma reflexão mais aprofundada acerca do corpo que cria e interpreta a cena da dança ao analisar suas ações como sujeito nos processos de criação artística.
ABSTRACT This study analyzes three creative processes in choreography from the perspective of the dancer/co-creator or performer/co-choreographer. Qualitative research was conducted and based upon a comprehensive approach of the phenomena under scrutiny, which ultimately values the researcher as the main methodological tool. The creative processes of the three scenes that compose the dance piece Ideas of the Eye (The Intimate Body of the Gaze, The Contaminated Gaze, A Retina Experiment) were analyzed in the light of the Genetic Critical Theory and Performance Studies. It intends to blur the boundaries between artistic theory and practice and to carry out dance research from the point of view of the lived experiences of the researcher who places himself in the role of dancer/co-creator in the creative processes that he then analyzes for this writing. It ultimately offers a meditation on the performative making of dances in a contemporary framing in order to contribute to the formation of new theories about art and the new methods involved in dance composition. It also aims at a profound meditation about the body that creates and performs dance by analyzing the body’s actions and agency in the creative processes in choreography.
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Collins, Sarah K. "Creative Measures: Access to Arts Education in Oregon Public Schools." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11493.
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x, 83 p. : col. ill.A growing body of research documents the benefits of learning in and through the arts, from academic achievement to personal efficacy. Federal law recognizes the arts as a core subject area for K-12 public schools, and Oregon content standards articulate sequential expectations of what all students should know and be able to do in the disciplines of music, theater, dance, and visual arts. Despite these statutory commitments, little is known about the actual condition of arts education in Oregon public schools. This study mines existing data from the Oregon Department of Education to: 1) establish baseline measures of access to arts education during the 2009-2010 academic year; and 2) identify relationships between access and other school characteristics such as geographic location, school type, and Title I designation. This study's findings hold significant implications for state policy, and its unique methodology can inform the wider field of arts education policy research.
Committee in charge: Dr. Jean Stockard, Chair; Dr. Terri Ward, Member; Dr. Lori Hager, Member
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Silva, Camila Ferreira. "Processo de criação = improvisação como caminho para a composição coreográfica." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283945.
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Orientador: Antonieta Marília de Oswald de AndradeDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação observa, descreve e analisa o processo de criação do espetáculo Acasos e suas transformações no período entre os anos de 2004 e 2009. A estratégia para a criação deste trabalho foi a improvisação como exercício de articulação de idéias-movimento, quebra de padrões mecânicos, re-locação de idéias em outros contextos. Um recurso técnico, instigador e produtor de material cênico que a posteriori é organizado em Composição Coreográfica
Abstract: This research observes, describes and analyzes the process of creating the show "Acasos" and its transformations in the period between 2004 and 2009. The strategy for this work creation was the improvisation as a path of ideas-movement articulation, breakdown of mechanical patterns, release of ideas in other contexts. A technical resource, instigator and producer of theatrical material that is organized a posteriori in Choreography Composition
Mestrado
Artes Cenicas
Mestre em Artes
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Neville, Sarah Louise. "Choreographing newmedia dance through the creation of the dance project,Ada." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15820/.
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As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based choreographic processes led to the following areas of significance in the study, those being; enacting a narrative, physicalising interactivity, performing virtual dance, and choreographing through a digital perspective. Findings that enunciated the evolution of newmedia choreographic forms and structures arose from reflective practice, dialogue with participants and feedback from a live audience.