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Adair, Christy. "Dance, gender and ethnicity : a cultural history of Phoenix Dance Company, 1981-2001." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416838.
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Ballantyne, Tammy Marguerite. "Identity and transformation within the Playhouse Dance Company, 1993-1997." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002363.
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This thesis examines the principles and policies underlying the need for transformation within the Playhouse Dance Company (PDC) in Durban and the actualities of implementing these visions and procedures. It is proposed that artistic structures, ideals and processes cannot remain impervious to the climate of change. Alterations in the political arena demand radical permutations within arts councils and their concept of repertoire, educational programmes and training. Transformation is linked to the problem of identity and it is suggested that the company is in the midst of a journey towards "becoming" rather than "being". Chapter One comprises an overview of changing trends in the arts globally and the impact on South Mrican art forms and processes. There is also an examination of the past, the establishment of arts councils and the colonial heritage of the dance companies within these councils. The formative years of the NAP AC Dance Company and the strategies formulated by former artistic directors have, it is suggested, hampered the transformation process. Chapter Two focuses on the PDC's endeavours to transform between the years 1993 and 1997. Lack of funding, conservative public tastes and training processes are. all' issues confronting management, choreographers, educators and performers in attempting to provide a clear direction towards transformation. The company walk a tightrope as they struggle to balance the heritage of their artistic past while giving birth to a new heritage for the future. Chapter Three discusses two areas that reveal measurable attempts at transformation. Hawkins offers re-inventions of the classics which encourages innovation, and Siwela Sonke was conceived to draw on dance forms located in Kwazulu-Natal in the search for a South Mrican dance aesthetic. Chapter Four investigates whether transformative visions are becoming a reality and suggests how the company could extend the process further. This chapter concludes with .. ideas about the nature of culture and how this informs,the exercise of transformation. This thesis proposes that transformation within the PDC is occurring even though it has its shortcomings. The main thrust of the research is to investigate, identifY and document factors that are contributing to current dance trends in Durban.
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Riggs, Leyva Rachael. "Dance Literacy in the Studio: Partnering Movement Texts and Residual Texts." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420672347.
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Gortz, Ann-Christin. "Linguistic markers as evidence for cultural awareness : a critical examination of international critiques of a South African dance company." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6840.
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Thesis (MPhil (General Linguistics))--University of Stellenbosch, 2011.Bibliography
ENGLISH ABSTRACT: Viewing cross-cultural dance performances on international tours or as part of international dance festivals has become common practice all over the world. For critique writers, choreographers/ dancers and the audience the accessibility of such a diverse variety of dance has both advantages and disadvantages. Cross-cultural differences in these performances challenge strategies of viewing and perception which may lead to aesthetic enrichment but these performances also risk being misunderstood. In dance critique writing, such a misunderstanding may result in a negative critique projecting, in a worst scenario, negative prejudices on the respective cultures. This thesis investigates how attitudes towards, and perceptions of, cultural differences are reflected in cross-cultural dance critiques, through the use of particular linguistic and stylistic devices. Analysis strategies deriving from Critical Discourse Analysis and Text Analysis are used to uncover the critique’s strategies to communicate their evaluation including ways of persuasion and power. I analyse six critiques from three countries on the performance Beautiful Me performed on international tours by the Vuyani Dance Theatre from South Africa. My initial hypothesis is that cultural differences may lead to negative critiques due to intercultural misunderstanding. Since viewing Performance Art is not only influenced by the critique writer’s cultural background but also by their perception attitude towards the performance, the analysis takes perception modes such as a theatre semiotic approach and a phenomenological approach into consideration. Interestingly, different perception modes seem to have a greater impact on the outcome of a critique than cross-cultural differences. This means that most negative evaluations must have their origin in the applied strategy of viewing and perceiving dance. The critic seems to interpret and embed the perceived features of the dance performance into specific cultural or socio-political contexts forming an individual, often complex evaluation.
AFRIKAANSE OPSOMMING: Om te kyk na kruiskulturele dansuitvoerings deur dansgeselskappe op internasionale toere of as deel van internasionale dansfeeste, het wêreldwyd algemene praktyk geword. Vir kritici, choreograwe/dansers en die gehoor hou die toeganklikheid van so ’n diverse verskeidenheid dans sowel voordele as nadele in. Kruiskulturele verskille in hierdie vertonings daag kyk- en waarneem-strategieë uit, wat tot estetiese verryking mag lei. Daar is egter ook ’n moontlikheid dat hierdie vertonings verkeerd geïnterpreteer mag word. Só ’n waninterpretasie in dansresensies mag lei tot negatiewe kritiek wat, in uiterste gevalle, negatiewe vooroordele oor die betrokke kulture projekteer. Hierdie tesis doen ondersoek na die wyse waarop houdings teenoor en persepsies van kultuurverskille in kruiskulturele dansresensies deur middel van spesifieke talige en stilistiese middele gereflekteer word. Analitiese strategieë uit die velde Kritiese Diskoersanalise en Teksanalise word gebruik om kritici se strategieë wat ’n oordeel kommunikeer, bloot te lê. Ek analiseer ses resensies uit drie lande wat handel oor die vertoning Beautiful Me wat deur die Suid-Afrikaanse dansgeselskap Vuyani Dance Theatre tydens internasionale toere opgevoer is. My aanvanklike hipotese is dat kultuurverskille aanleiding mag gee tot negatiewe kritiek vanweë interkulturele misverstande. Aangesien die beoordeling van Uitvoerende Kunste nie slegs deur die kritikus se kulturele agtergrond beïnvloed word nie, maar ook deur hul waarnemingshouding teenoor die vertoning, neem die analise waarnemingsmodusse soos ’n teater-semiotiek-benadering en ’n fenomenologiese benadering in ag. Interessant genoeg, lyk dit asof verskillende waarnemingsmodusse ’n groter impak het op die uitkoms van kritiek as kruiskulturele verskille. Dít beteken dat die meeste negatiewe oordele hul oorsprong moet hê in die toegepaste strategie van dans kyk en waarneem. Dit blyk dat die kritikus die waargenome eienskappe van die dansuitvoering interpreteer en inbed in spesifieke kulturele of sosio-politiese kontekste wat aanleiding gee tot die verskillende, dikwels komplekse maniere van beoordeling.
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Tsintziloni, Steriani. "Modernising contemporary dance and Greece in the mid-1990s : three case studies from SineQuaNon, Oktana Dancetheatre and Edafos Company." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/modernising-contemporary-dance-and-greece-in-the-mid-1990s(f9ab30a8-4e35-499a-9762-9048f34e4283).html.
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The thesis constitutes an examination of contemporary dance in the 1990s in Greece as exemplified in the case of three dance companies - SineQuaNon, Oktana Dancetheatre and Edafos Company – major exponents of the bourgeoning dance scene of that time. The focus is on a particular historical moment, the year 1995, and on three choreographies – ProsOlotoixos [Tour de Force] by Apostolia Papadamaki (SineQuaNon), Daphnis and Chloe by Konstantinos Rigos (Oktana Dancetheatre) and Enos Leptou Sigy [One Moment of Silence] by Dimitris Papaioannou (Edafos Company) - as indications of the vitality of contemporary dance of the times which caused major changes in dance policy. The main hypothesis is that contemporary dance of the 1990s became a site where ideas of change and renewal, pertinent in social milieu became embodied, but at the same time, the companies proposed alternative notions of community, cosmopolitanism and gay identities. The three cases reveal the complex interplay between dance and its social, political and historical context, centering on processes of modernisation of the country and cultural discourses. The thesis explores the emergence of a new generation of artists who negotiated and captured aspects and tensions of the process of modernisation and connected their practices to new artistic identities in accordance with the changing context. The research has been influenced by recent efforts outside Greece to re-examine dance in its social, historical and economic context and to bring the body into historical and contemporary analyses of culture. This methodology highlights the web of power within which contemporary dance was involved, and following post-structuralist critique of history, examines dance history, not as a linear progressive development but through a re-negotiation of power balances between discourses, bodies and institutions.
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Büscher, Barbara. "Gegenseitige Durchdringung und Nicht-Behinderung: Über das Verhältnis zweier Performance-Systeme am Beispiel der Live Electronic Music in Produktionen der Merce Cunningham Dance Company." map - media archive performance ; 2012/3 (E-Journal, URL: http://www.perfomap.de), 2012. https://slub.qucosa.de/id/qucosa%3A4363.
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Die Zusammenarbeit von Merce Cunningham und John Cage beruhte auf dem grundlegenden Prinzip der getrennten Entwicklung und Erarbeitung von Klang/Musik und Tanz/Bewegung (Cunningham 1994). Für den getrennten Arbeitsprozess wurden nur Zeitklammern und die Dauer der Gesamtaufführung als gemeinsame Parameter festgelegt. Diese Trennung von Musik und Tanz bildet die notwendige Voraussetzung für die erweiterte Arbeit der Merce Cunningham Dance Company (MCDC) mit Cage und anderen Composer-Performern in den 1960er und 1970er Jahren, die die elektronischen Klänge live, in der Aufführung, generierten. Der Text untersucht das Verhältnis und die Schnittstellen der beiden Performance-Systeme.
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Martins, Giancarlo. "Uma nova geografia de ideias: diversidade de ações comunicativas para a dança." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4823.
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Previous issue date: 2006-09-25Conselho Nacional de Desenvolvimento Científico e Tecnológico
In the last ten years, actions developed in dance, live and in the media, left the focus in Rio-São Paulo. Spread through several places in the country had taken a new geography of ideas that understand dance as a communication process of the body, organized as a thought that questions power structures, artistic procedures and boundaries between languages. This masters essay selects, as investigation corpus, some of these experiences employed in the education, in the circuit (festivals, shows and meetings), and in the research and creation in dance that, as survival strategy, creates decentralized cultural polar regions. The intend is to demonstrate that these experiences have propose new communication actions to dance. They push punctual changes in the dance market and in the development of public politics of cultural motivation and reconfigure, not only the esthetic system in which they are in, but the whole cultural system, contributing, in this way, for the dance survival and your effective insertion in the social fabric. As methodology, it was used a data analysis in a systematic way, that being, understanding the articulations between the investigated elements, based in the evolution theories proposed by the evolutionist scientist Richard Dawkins (2000-2001), in the concept of body and media proposed by the researchers Helena Katz and Christine Greiner (2000, 2001, 2003 and 2005) and in the cultural and political studies such as the ones developed by Bauman (1999), Agamben (2002), Bhabha (1998) and Foucault (1979 and 1996). Both, the bibliographic research and the field investigation (interviews and case studies) show that the strategies have been developed to recommend new ways of understanding and event organization, information flow and company conception and educational projects in dance. Actions that exist in the relation body and environment, in a contaminator flow, co evolutional, and non-determinist.
Nos últimos dez anos, ações desenvolvidas no campo da dança, em contextos presenciais e na mídia, deixaram de se concentrar no eixo Rio-São Paulo. Espraiadas por diversas regiões do país, têm desenhado uma nova geografia de idéias que entende a dança como um processo comunicacional do corpo, organizado como um pensamento que questiona estruturas de poder, procedimentos artísticos e as fronteiras entre as linguagens. Esta Dissertação de Mestrado foca, como corpus de investigação algumas destas experiências empreendidas na área de educação, de circulação (festivais, mostras e encontros) e de pesquisa e criação em dança que, como estratégia de sobrevivência, criam pólos culturais descentralizados. O objetivo é demonstrar que essas experiências têm proposto novas ações comunicativas para a dança. Impulsionam transformações pontuais no mercado da dança e no desenvolvimento de políticas públicas de incentivo à cultura e reconfiguram não apenas o sistema estético em que estão inseridas, mas todo o sistema cultural contribuindo, dessa maneira, para a sobrevivência da dança e sua efetiva inserção no tecido social. Como metodologia, trabalhamos a análise dos dados de maneira sistêmica, ou seja, entendendo as articulações entre os elementos investigados, a partir das teorias evolutivas propostas pelo cientista evolucionista Richard Dawkins (2000, 2001), do conceito de corpomídia proposto pelas pesquisadoras Helena Katz e Christine Greiner (2000, 2001, 2003, 2005) e dos estudos culturais e políticos tais como os desenvolvidos por Bauman (1999), Agamben (2002), Bhabha (1998) e Foucault (1979, 1996). Tanto a pesquisa bibliográfica, quanto a investigação de campo (entrevistas e estudos de casos) evidenciaram que estratégias vêm sendo desenvolvida para propor novos modos de entendimento e organização de eventos, circulação de informação e concepção de companhias e projetos educativos em dança. Ações que se dão na relação corpo e ambiente, num fluxo contaminatório, coevolutivo e não determinista
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Tavares, Carlos Gonçalves. "Sobre a dança e outras mídias: um estudo sobre a intermidialidade nos trabalhos da Cia Ormeo (MG)." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/227.
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Os diálogos empreendidos pelas diversas formas de expressões artísticas caracterizam toda a história da humanidade. No século XX é evidente a influência dos meios de comunicação e aparatos técnicos nas pesquisas e criações artísticas. De diferentes modos e estilos, a dança, que também passou por mudanças significativas, tanto no âmbito artístico, quanto nos âmbitos pedagógicos e sociais, utiliza de toda a evolução das mídias em suas criações, desde aqueles que já pertenciam à dança, historicamente, como a iluminação e a música, até o uso mais recente de câmeras, projetores de imagens e outros meios tecnológicos. Desta forma esta dissertação buscou analisar as relações intermidiáticas entre a dança, a imagem, o teatro e a música nos espetáculos da Cia Ormeo, companhia de dança que residia em Cataguases (MG) e, que colocava em diálogo a dança contemporânea, o teatro, a música e os meios audiovisuais, por meio da projeção de imagens. A companhia foi dirigida por Daniela Guimarães e esteve em atividade entre 2003 e 2013, sendo um dos poucos grupos artísticos da cidade de Cataguases e região, que obteve uma trajetória artística através de recursos públicos de fomento à cultura. Foram escolhidos os trabalhos Barco (2006), Nha fala (2005) e Uma mulher vestida de sol (2007) para a análise, tendo como base teórica o conceito da intermidialidade, através de vários autores e principalmente de Irina Rajewsky. Os espetáculos da Cia Ormeo possuem características intermidiáticas, uma vez que diversos elementos artísticos se interconectam através da dança. Nota-se que a dança tem uma forte componente comunicativa que incorpora as características das outras artes e as recria cenicamente. Sendo assim, as coreografias e montagens da Cia Ormeo potencializam as características estéticas do teatro, por meio de suas representações; da música, por meio do tratamento diferenciado da voz e dos sons e do audiovisual, por meio do diálogo imagem-corpo.
The dialogues undertaken by the various forms of artistic expression characterize the entire history of humanity. In the twentieth century it is clear the influence of the media and technical devices in research and artistic creations. In different ways and styles, the dance, which has also undergone significant changes, both in the artistic context, and in the educational and social, uses the whole evolution of media in their creations, from those who already belonged to the dance, historically, as lighting and music, to the more recent use of cameras, image projectors and other technological means. Thus this dissertation investigates the intermedial relations between dance, image, theater and music in spectacles Cia Ormeo, dance company residing in Cataguases (MG) and that placed in the contemporary dance dialogue, theater, music and audiovisual media, by means of the image projection. The company was run by Daniela Guimarães and was active between 2003 and 2013, one of the few artistic groups from the city of Cataguases and region, which obtained an artistic trajectory through public resources to promote culture. The works analyzed were Barco (2006), Nha fala (2005) and Uma mulher vestida de sol (2007) for the analysis, the theoretical ground the concept of intermediality, by various authors and especially Irina Rajewsky. The Cia Ormeo’s gigs have intermedial characteristics, since many artistic elements are interconnected through dance. Note that the dance has a strong communicative component incorporating the features of the other arts and recreates scenically. Thus, the choreography and assemblies Cia Ormeo in enhancing the aesthetic characteristics of theater, through its representations; music, through the differential treatment of voice and sounds and audiovisual through the image-body dialogue.
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Büscher, Barbara. "Gegenseitige Durchdringung und Nicht-Behinderung." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-140675.
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Die Zusammenarbeit von Merce Cunningham und John Cage beruhte auf dem grundlegenden Prinzip der getrennten Entwicklung und Erarbeitung von Klang/Musik und Tanz/Bewegung (Cunningham 1994). Für den getrennten Arbeitsprozess wurden nur Zeitklammern und die Dauer der Gesamtaufführung als gemeinsame Parameter festgelegt. Diese Trennung von Musik und Tanz bildet die notwendige Voraussetzung für die erweiterte Arbeit der Merce Cunningham Dance Company (MCDC) mit Cage und anderen Composer-Performern in den 1960er und 1970er Jahren, die die elektronischen Klänge live, in der Aufführung, generierten. Der Text untersucht das Verhältnis und die Schnittstellen der beiden Performance-Systeme.
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Yang, Xiaokun. "Dance with your business partners : An empirical study about what factors influence the adoption of the ITapplications between the company and its global dealers from differentcountries, and among them which factor/factors are more importantthan others." Thesis, Mälardalen University, School of Sustainable Development of Society and Technology, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-9994.
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Date: June 2010Course: EIK 034 Master thesisAuthor: Xiaokun YangTutor: Ole LiljeforsTitle: Dance with your business partnersIntroduction: Through the web conference project of Volvo Construction Equipment(VolvoCE, www.volvoce.com), the author analyzed what factors influence theadoption of IT applications between the global company and its dealers in differentcountries, and among these factors which ones are more important than others.Research question: What factors influence the adoption of the IT applicationsbetween the company and its global dealers from different countries? Among themwhich factor/factors are more important than others?Methodology: The case study method was adopted in this master thesis, which wasbased on the web conference project of VolvoCE, thus much empirical data aboutthis project was collected and used. At the same time the author searched andsummarized some different literatures and articles and deduced the criticalliterature review part. At last, both the theoretical data and empirical data wereanalyzed to answer the research question.Conclusion: Based on the web conference project of VolvoCE, all those factors thatmentioned in the analysis part should be considered when implementing the ITapplications between company and its dealers or other business partners. Have agood understanding about all these factors can improve the success possibility of theIT projects between the global company and its business partners, and thus IT canworks as the dancing music for both the global company and its dealers in thebusiness world. At last among these factors the top business executives’ support andIT infrastructure are more critical than others.Key words: Web conference, Microsoft Live Meeting, dealer, VolvoCE, Wainhouse, ITsystem, Business partner, Inter organization, extended network, Internet ServiceProvicer (ISP).
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Silva, Michael. "“Por Instantes de Felicidade”: corpos em performances na Quasar Cia. de Dança de Goiânia." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7551.
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This research use the performance notion from studies of Department of Performance Studies at New York University, especially in the work of the playwright Richard Schechner, and pounces toward “Por Instantes de Felicidade” (“Moments of Happiness”), Quasar Dance Companycelebrating spetacle its twentieth anniversary. This work, therefore, questions itself about the historical journey of this company; about how its national and international projection occurs and about its characteristics as a dancer producer to thenceforth to do a poetic reading about this spectacle. In order to get that, this paper proposes a conceptual reflection that signals the epistemological view cast upon the documents of this show and about this company, and it makes a detailed description of the spectacle “Por Instantes de Felicidade” to perceive it formally and contextually. The reading of the show counts on the video images of its local premiere on April 18 and 20, 2008 at Teatro Goiânia, with the extras of such a DVD, an interview with the choreographer Henrique Rodovalho and a writing questionnaire with the interpreter Daniel Calvet. One of the conclusions reached in the research is that the show studied excels by a virtuous performance of dance and that its strong self-referential content ends up characterizing it as a spectacle fundamentally entertainment, especially for its theme to be commemorative. From the interviews conducted with the dancers João Paulo Gross, Marcos Buiati and Martha Cano, who danced it in later years, it is concluded, among other things, that this vigorous performative pattern of the company is physically very demanding for the bodies of the performers.
A pesquisa que aqui se segue usa a noção de performance dos estudos desenvolvidos na vertente de investigação do Departamento de Performance Studies da New York University, especialmente no trabalho do teatrólogo Richard Schechner, para se lançar em direção ao espetáculo “Por Instantes de Felicidade”, da Quasar Cia. de Dança, por meio de seus registros documentais. Este trabalho se questiona sobre o trajeto histórico da companhia; sobre como ocorreu a sua projeção e sobre suas características enquanto produtora de dança para, a partir desses elementos, lançar sua leitura poética da obra de dança acima citada. Para tanto, propõe uma reflexão conceitual que sinaliza o olhar teórico lançado sobre os documentos de tal espetáculo e sobre a companhia; bem como traz uma descrição pormenorizada do “Por Instantes de Felicidade”, para entendê-lo formal e contextualmente. A interpretação do espetáculo conta com as imagens em vídeo de sua estreia local dias 18 e 20 de abril de 2008 no Teatro Goiânia, com os extras de tal DVD, com uma entrevista realizada com o coreógrafo Henrique Rodovalho e com um questionário realizado com o intérprete Daniel Calvet. Uma das conclusões a que se chega na investigação é que o espetáculo estudado prima por uma performance virtuosa de dança e que o seu forte conteúdo autorreferencial acaba por caracterizá-lo enquanto um espetáculo fundamentalmente de entretenimento, especialmente por seu tema ser comemorativo. Das entrevistas realizadas com os bailarinos João Paulo Gross, Marcos Buiati e Martha Cano, que dançaram-no em anos posteriores, conclui-se, entre outras coisas, que esse padrão performático vigoroso da companhia é fisicamente muito exigente para com os corpos dos intérpretes.
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Goncalves, De Aranjo Passos Stéphanie. "Une guerre des étoiles: les tournées de ballet dans la diplomatie culturelle de la Guerre froide, 1945-1968 /cStéphanie Gonçalves de Aranjo-Passos." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209106.
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Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier est de tourner sur les scènes internationales, encadrés par des administrateurs et des gouvernements, qui n’ont pas les mêmes priorités et agendas les uns et les autres. Cette recherche met justement en avant les tensions, les difficultés et les dynamiques entre les différents acteurs. La thèse se construit autour de tournées représentatives du lien ténu entre danse et politique, des épisodes qui mettent en valeur les points chauds de cette Guerre froide, ayant comme point de départ ou d’arrivée Londres et Paris.
La description de la danse comme un langage, une pratique physique et un métier permet de comprendre en quoi la danse peut être un outil de communication politique et comment il a été utilisé comme tel dans la longue durée et en particulier pendant la guerre froide. Les différentes échelles – le passage régulier de la macro-histoire à la micro-histoire et inversement ainsi que les flux d’échanges culturels multiples à l’échelle internationale – ont permis de mettre en avant une multiplicité d'acteurs (artistiques, gouvernementaux, commerciaux). La constitution du mythe de la danseuse étoile, et ses représentations, résonne également avec d’autres figures mythiques construites dans la Guerre froide, comme celle de l’astronaute.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Wooding, Adriaan Willem. "A contemporary dance company and performance areas." Diss., 2009. http://hdl.handle.net/2263/30365.
Full textAbstract:
Contemporary art manifested as a reaction or addition to preceding arts. It either developed as a stark opposing contrast, or borrowed from the original in attempts to expand. This is equally true for all branches of art, including architecture and dance. This dissertation investigates dance and the role of the choreographer, as spatial informant for architecture. The author used selected dance performances as design generators. This process was largely based on the work of the architectural firm, UN Studio. It expands on the freedom of the architectural design process and defines a balance between ‘fantasy’ and ‘reality’. A contemporary dance company and adjoining performance areas was proposed within the urban environment of the Pretoria Central Business District (CBD). The site selection was supported by the proximity of an existing theatre. The proposed project responds to the guidelines as formulated by the student urban framework, entitled SchizoCity. SchizoCity suggests a new pedestrian layer and explores the ‘opening’ of existing arcane city blocks by adding alien programs or forms. CopyrightDissertation (MArch(Prof))--University of Pretoria, 2010.
Architecture
unrestricted
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Demelius, Yoko. "Steps of a dance production : the working lives of professionals at a dance company." Thesis, 2003. http://spectrum.library.concordia.ca/2324/1/MQ83834.pdf.
Full textAbstract:
This thesis is an ethnographic study of fine art dancers' identities, vocational life, and the dance culture. It explains the dancers' process of becoming and living as 'artistic beings,' and shows how dancers take on their journey of self-discovery, as well as how they are motivated through the feeling of empowerment and inspiration. The exploration starts with the analyses of the socio-cultural dynamics of a dance production team. Non-structured interviews are conducted with the director, ballet master, twelve dancers, two choreographers, and a few employees in the administration. In the process, the research objective develops into an investigation of the dancers' vocational life, their identities and philosophy, which keep them disciplined and focused. First, the structural characteristics of the dance community are explored, and characteristics such as mobility, 'connectedness,' and rich social networks become the focal point in analyzing the dance culture's structural frame. Second, the contextual characteristics of the culture are examined. Here, the dancers' identity construction, philosophy, objectives, reality, value/belief system are carefully analyzed. Finally, the empirical data are presented, incorporating the analyses of their notion of vocational life. The distinctiveness of their identities and reality will be highlighted, and the structural and contextual characteristics of the dance culture will fuse into each other.
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Wu, Chih-Chieh, and 伍致潔. "Preservation and Management of Taiwan’s Modern Dance Company Archives:Towards Establishing a National Dance Center." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/238re6.
Full textAbstract:
碩士國立臺北藝術大學
藝術行政與管理研究所碩士班
97
Dance, as a performing arts activity, has “time” as one important factor. Because of the uniqueness of each performance, the preservation of dance archives becomes extremely difficult. In Taiwan, there has been no library, archival center or research center established mainly for preserving dance archives; consequently, the job has been done by each dance company itself. In other words, the public could not access the first-hand data in any public library system, but could only imagine bits and pieces of each dance performance by reading reviews or reports on newspapers or magazines. While “immediateness” is the most attractive part of dance, it poses a formidable obstacle impeding people from understanding dances. Except aboriginal dance, other styles of dance in Taiwan (such as folk dance, ballet and modern dance) are imported from overseas. As time goes by, modern dance has greatly developed and become the mainstream of dancing performances. Therefore, this paper focuses on modern dance, studying how modern dance companies in Taiwan preserve and archive their files. To further study the management of dance archive systems, this paper draws upon the concepts of archive management, museum collections, preservation systems, and invisible cultural heritage archives. From the cases study of dance companies, this paper proposes the possibility of the establishment of a National Dance Archive Center and hope to provide constructive suggestions for our government and other related organizations.
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"Don't Hold Your Breath: The Creation and Performance of a Theatrical Memoir in Motion." Master's thesis, 2018. http://hdl.handle.net/2286/R.I.50497.
Full textAbstract:
abstract: Don't Hold Your Breath is an evening-length performance created and performed by Sarah "Saza" Kent and EPIK Dance Company that consisted of street and concert dance combined with hip hop theatre, spoken text and live singing. What began as a one-woman show about the choreographer's life, turned in to an ensemble piece that included the stories of many people, including ten community members who were interviewed on their views of life and death after being affected by a diagnosis. The show follows Kat, a young woman tiptoeing the line between her party girl past and the thought of finally growing up and settling down. Typically confident and self-assured, she is now grappling with the idea of life and death. Kat finds herself in an MRI machine that could ultimately determine her fate. As the machine examines her body, she begins to examine her life, causing her to confront some of life's most existential questions. Has she spent her time wisely? Would she do anything differently if given a second chance? When it comes down to it, and all distractions are stripped away, what is truly important? Her thoughts take her to memories of her past and visions for her future as she faces the reality that life is finite and tomorrow is not promised. This document is an account of the show's process and serves as a place of explanation, analysis, and reflection, while also questioning its significance on a personal level all the way to its place in the field.Dissertation/Thesis
Masters Thesis Dance 2018
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Wong, Chung-yu, and 黃頌茹. "Research of Marketing Planning of Modern Dance Organization in Hong Kong ──A Case Study of City Contemporary Dance Company." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/a6r7a3.
Full textAbstract:
碩士國立臺北藝術大學
藝術行政與管理研究所
101
City Contemporary Dance Company (CCDC) is one of the earliest full-time professional companies pioneering in contemporary dance in Asia which has been established for 33 years. Successful branding of CCDC is recognized generally and be bench-marked by new organizations. The researcher believes CCDC has been developed as a mature artistic organization. It is very important to look into its marketing strategy to create greater profit margin and upkeep its privilege in the industry. Nevertheless, the objective of CCDC is not only simply the vision of the founder but also the characteristics of the company, the core value of its branding and the origin of its sustainability. As times gone by, organizing long term strategies including build up next generation audience become an important mission as the audience of performing art started aging. In this study, the researcher conducted references research, field trip, observations and interviews to analyze the topics like CCDC current marketing plans in market, attract younger generation to be the targeted audience, its branding and sustainable development, etc. Consequently, the researcher provides 8 recommendations based on the findings and conclusions in Chapter 5. Nevertheless, the researcher provides SWOT Matrix for suggesting CCDC’s marketing strategies and sustainability in future. It is expected local art organizations and Hong Kong authorities can reference to this study.
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Walker, Christopher A. "Jamaican dance theatre folk origins and contemporary aesthetics /." 2004. http://www.oregonpdf.org.
Full textAbstract:
Thesis (M.F.A.)--State University of New York College at Brockport, 2004.Includes bibliographical references (leaves 155-157). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.
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Ko, Chia-ling, and 柯佳伶. "The Key Elements of the Transformation from Dance Studio to Professional Company in Tainan City." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/tnx83v.
Full textAbstract:
碩士國立中山大學
劇場藝術學系碩士班
102
The number of students in dance studio has significant reduced as the times changes. Under the impact of shortage of students, the dance studio have lost their past vitality and the situation that dance studio depend on teaching operation has gone; some art directors within the studio also have turned to dance companies. However, “transformation” is chosen by many traditional dance studio as the development goal and direction; therefore, it’s crucial for most transforming or transformed dance studio that why must they transform and how to transformation. This study aimed to explore the professional dance companies organizations transformed from dance studio that continue to operate, analyze the opinions and suggestions of former experts and scholars in Grant-in-Aid Scheme to discuss the problems mentioned above. Taking four professional dance companies in Tainan City, which used to won the Cradle Plan of performance teams in Ministry of Culture as research objects, in-depth interview method was adopted to compare the histories of objects and an emerging creative dance companies; then supplemented by experts and scholars’ opinions, this study further understood the true factors of dance’s ecology and their successful transformation. Data collection methods included document analysis and case study. The main research questions were “what are the key elements to be a professional dance companies?”, “is there any interdependency between dance studio and dance companies?”and”what are the advantages of transforming into dance studio?” According to the research results, the factors of transformation can be divided into two types, first, as a dance studio is not allowed to apply for subsidy when being invited by foreign performance according to policies and regulations, it has to transform into dance companies; second, the recruitment of new members in dance companies has changed their operation mode and creating styles. In addition, the interaction between dance studio and dance companies is that most dancers can gain extra subsidy as teaching in the studio. When applying for subsidy, some dance companies’ creating styles are least favored by program committee or confront poor sales, therefore they have to make breakthrough in work creation apart from the desire to be professional dance companies, or establish good reputation among spectators through presentation to market themselves which reflect in the sales. It can be seen that whether a dance companies can have a successful transformation depends on the working direction led by art directors.
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Samuel, Gerard Manley. "The emergence of intercultural dialogues : children, disability and dance in KwaZulu-Natal : case studies of three dance projects held at The Playhouse Company (1997-1999)." Thesis, 2001. http://hdl.handle.net/10413/5897.
Full textAbstract:
This thesis examines the emerging intercultural dialogues around disability,
performance dance and children in the multicultural context of KwaZulu-Natal.
It focuses on creative dance (or modem educational dance), as it has emerged in
KwaZulu-Natal schools post-1994. The intervention of the arts and a holistic
approach to education is examined by appropriating Rudolf Laban (1948), Smith-Autard
(1992) and other guiding principles for dance education. The thesis presents an
analysis of how creative dance has come to influence notions of contemporary
performance dance. This has provided a framework to argue in favour of dance
making by untrained (sic) dance teachers and children with and without disabilities.
The period under investigation post-1994 coincided with fundamental transformations
within the South African cultural landscape, including the following: restructuring of
performing arts council, the merging of former separate education departments and
the strengthening of disability consciousness within human rights culture. These
topics are briefly discussed.
The transformation of the arts at The Playhouse Company in KwaZulu-Natal
contributed to changes within dance development programmes. These dance
development works addressed previously marginalized communities, including the
disabled. The potential shifts to mainstream notions of performance dance by
children with disabilities have provided an opportunity to theorise the practice of
dance in special education and its relation to performance dance in the multicultural
KwaZulu-Natal setting.
Chapter one begins by firstly problematising disability, which it argues is an
occurrence constructed by medical, social, political, historical, cultural and gender
identities. Chapter one goes onto explore the changing concepts of dance for children
with disabilities by offering a critique of existing notions of performance dance for
children with disabilities. Distinctions between social dance. performance dance,
dance therapy and educational dance are clarified and the practice of children's dance
is contextualised.
Chapter two argues that 'disability' within a context of multiculturalism in South
Africa could be seen as a culture in and of itself. It does this by accessing the critical
writings of Schechner (1991), Pavis (1992), Brustein (1991) and others. Definitions of
'culture' are problematised and the debates: high art vs culture, fusion, multi-, intra-,
and inter-culturalism in the South African context are explored.
Chapter three looks at three specific dance projects, which emanated from The
Playhouse Company. The case studies explore how children between the ages of 8 -
18, who are defined as disabled, have engaged with dance and have had little or no
interaction with the performing arts particularly as performers. It critiques and
evaluates these projects in order to make conclusions around the following: the need
for training of dancers and choreographers with disabilities and to underscore the role
of the media in the disabled's plea for access to the performing arts. The idea of
integrated 'enablers'(children and adults) with disabled children in the same
performance dance work was innovative. Such inclusion and re-dress, as also
expressed by The White Paper 6 on Special Education are supported by this thesis.
Many children and their teachers have, through these creative movement and dance
projects, begun to challenge notions of disability and of performance dance within the
'mainstream' performing dance environment as they emerge as potential artists in
their own space.
The thesis concludes by offering suggestions for how dance by those defined as
'disabled' is understood, critiqued and reported by reviewers and researchers of
dance. It is hoped that these suggestions would strengthen the wider acceptance of
notions of dance that emerge from a range of previously marginalised groups.Thesis (M.A.)-University of Natal, Durban, 2001.
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Lo, Yen-fen, and 羅燕芬. "The Choreography from the Perspective of Political Environment –Based on Lin Huai-Ming''s Works in Cloud Gate Dance Company." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/88291010037502896821.
Full textAbstract:
碩士國立中山大學
藝術管理研究所
95
Politics, economics and social conditions often have great influences on the development of culture and Art. Moreover, politics can lead to economic growth and rapid change of society. In another word, the political environment has directly impact on the development of culture and Art. This study investigates whether the external factor-political environment affects the process of choreography which should be simply conveying artists’ personal images. Thus artists revise the original ideas and styles of choreography due to this factor. This exploration of the relationship between the change of Taiwan history and the development of Art has been done from the point of view of Art sociology. It uses Cloud Gate and its founder-Lin Huai-Ming as an example. Cloud Gate Dance Company is the first contemporary dance company in Taiwan with the largest scheme and the most well-rounded facilities. The creative ideas of Lin Huai-Ming have profound influences on the style of Cloud Gate Dace Company. Through probing into references and interviews, the author inquires the following facts.1.The influence of Lin Huai-Ming on Cloud Gate Dance Company.2.The relationship between Lin Huai-Ming’s choreography and the political environment.3.Discovering the process of the myth of Cloud Gate established in Taiwan society .
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Croft, Clare Holloway. "Funding footprints : U.S. State Department sponsorship of international dance tours, 1962-2009." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-768.
Full textAbstract:
Since the middle of the twentieth century, American dance artists have presented
complicated images of American identity to world audiences, as dance companies traveled
abroad under the auspices of the US State Department. This dissertation uses oral history
interviews, archival research, and performance analysis to investigate how dancers
navigated their status as official American ambassadors in the Cold War and the years
following the 2001 terrorist attacks in the US. Dance companies worked and performed in
international sites, enacting messages of American democratic superiority, while
individual dancers re-interpreted the contours of American identity through personal
encounters with local artists and arts practices. The dancers’ memories of government-sponsored
tours re-insert the American artist into American diplomatic history, prompting a reconsideration of dancers not just as diplomatic tools working to persuade
global audiences, but as creative thinkers re-imagining what it means to be American.
This dissertation begins in the late 1950s, as the State Department began
discussing appropriate dance companies to send to the Soviet Union, as part of the
performing arts initiatives that began in 1954 under the direction of President Dwight
Eisenhower. The dissertation concludes by examining more recent dance in diplomacy
programs initiated in 2003, coinciding with the US invasion of Iraq. My analysis
considers New York City Ballet’s 1962 tour of the Soviet Union, where the company
performed programs that included George Balanchine’s Serenade (1934), Agon (1957),
and Western Symphony (1954), and Jerome Robbins’ Interplay (1945) during the
heightened global anxieties of the Cuban Missile Crisis. My analysis of Ailey’s 1967 tour
of nine African countries focuses primarily on Revelations (1960), which closed every
program on the tour. Moving into the twenty-first century, I analyze A Slipping Glimpse
(2007), a collaboration between Margaret Jenkins Dance Company and Tansuree Shankar
Dance Company, which began as a US State Department-sponsored 2003 residency in
Kolkata. To explore each tour, I consider government goals documented in archived
minutes from artist selection panels; dancers’ memories of the tours, which I collected in
personal interviews conducted between 2007 and 2009; and performance analysis of the
pieces that traveled on each tour.text
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HU, YU-HSIN, and 胡予欣. "The Study of the Influences of the Performance Sites to the Productions: Using "Love Tale of An-Ping" and "Step in B.B.art" of Scarecrow Contemporary Dance Company as Examples." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/bug83r.
Full textAbstract:
碩士國立臺灣藝術大學
戲劇學系表演藝術碩士班
105
"Theater" for the performing arts works, is undoubtedly the final presentation of the important elements that include the theme, form and media. The scope of the theater is not limited to well-equipped cultural venues, in recent years, more and more creators began to pay attention to the work of the specific space in a variety of forms of performance. Contemporary creators are paying more and more attention to the completeness of the works, focusing on factors that are intertwined with the works, such as cross-border integration, or the use of original music, lighting and clothing, props, and the like. The relationship between people and things related to the performance changes, hoping to allow more viewers for the work of a more in-depth understanding and sharing of participation, and attention to the expression of the work and the feelings of the relationship between the audience and the performers. By reflecting the works of the implicit meaning of the space itself, it may change the audience's understanding of the work and cut into the viewing angle, break the existing border gap, out of the standard framework, so that works can pass a more complete message to the general public. When Wenjin Luo became the artistic director of Scarecrow Contemporary Dance Company, she is committed to creating dance with different elements, in different areas and spaces, and collaborates with other artists. By using "Autumn", performed by the "Scarecrow Modern Dance Company" in the Tainan Anping tree house, as an example, this study explains how the body was involved in a site-specific space. This study also uses another example, "foot in", to discuss the relationship between the dance and special space. Brecht's theory of alienation and analysis of how the external factors in a particular space shows how to change the process and relationship of the audience viewing works. This study then applied his theory to analyze and discuss the analysis and comparison between the general concept of spatial cognition, traditional black box theater, and proscenium stage theater performances.
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Beaulieu, Marie. "Panorama d'une compagnie de ballet (Les Grands Ballets Canadiens, 1957-1977) : la concrétisation d'une vision." Thèse, 2008. http://hdl.handle.net/1866/6474.
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Garcia, Carlota Gomes de Lemos Pignatelli. "Marketing em companhias de dança contemporânea portuguesas: estudos de caso: CiM Companhia de Dança, Companhia de Dança de Almada e Quorum Ballet." Master's thesis, 2018. http://hdl.handle.net/10071/18789.
Full textAbstract:
O presente trabalho visa estudar e compreender as diferentes estratégias de comunicação adotadas por três companhias de dança contemporânea portuguesas: A CiM - Companhia de Dança, a Companhia de Dança de Almada e o Quorum Ballet. Os objetivos passam por abordar temáticas inerentes e especificas do marketing cultural, tais como a gestão do marketing mix, o posicionamento e a segmentação pretendendo aferir de que forma são aplicados nestas organizações. Fundamentada na abordagem teórica e no modelo de marketing cultural que preveem, de acordo com François Colbert, (1994) que as organizações artístico-culturais sirvam quatro mercados - consumidores, intermediários, Estado e setor privado -, a investigação permite verificar as estratégias direcionadas especificamente a cada um deles e também cruzar os elementos comuns.This dissertation aims to study and understand the different communication strategies adopted by three portuguese contemporary dance companies.: CiM - Companhia de Dança, Companhia de Dança de Almada and Quorum Ballet. The purpose is also to aproach the inherent cultural marketing and specific themes, such as the marketing mix management, positioning and segmentation and to assess the way in which they are applied in these organizations. Substantiated by the theoretical approach and cultural marketing model which predict, according to François Colbert (1994), that artistic and cultural enterprises serve four markets – consumers, intermidiaries, state and private sector -, the investigation allows assessing the strategies directed specifically at each of them, and verifying common elements.
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Gomes, Sílvia Alexandra Raposo. "Estado de Insurgência : performance, política e resistência nas práticas artísticas contemporâneas." Master's thesis, 2017. http://hdl.handle.net/10362/26592.
Full textAbstract:
A presente dissertação visa, tendo como lente teórica uma antropologia da performance, analisar o modo como os agentes artísticos resgatam a performance do mundo social e mobilizam a «versão mediática» e a «teatrocracia» do poder no que alude ao «drama social» da Guerra Civil Síria. Analisa-se a performance artística enquanto espaço reflexivo que visa desconstruir as estruturas da experiência grupal a partir de uma política cénica ou coreográfica do chão. Para tal, atenta-se ao modo como as «matérias-fantasma» possibilitam uma compreensão do espaço cénico enquanto «lugar de memória» habitado pelas «assombrações» e os «desaparecidos» do conflito sírio. Analisa-se a performance da violência a partir dos corpos «sem órgãos» das Companhias Olga Roriz e Vidas de A a Z, evidenciando o modo como chão em que se dança/interpreta propõe uma arqueologia da violência sobre os corpos, transformando-os num microcosmo da guerra. A partir deste lugar procura-se por um entendimento dos performers enquanto agentes que reinterpretam a história e os discursos oficiais veiculados pelas estruturas de poder, fazendo da performance da violência o seu instrumento ideológico. Analisa-se o discurso performativo em torno da violência enquanto reconhecimento social do sofrimento, no qual a testemunha e a vítima dão suporte à construção de um «fazer-dizer» que procura expressar a violência no espaço social através do campo estético. O corpo é, assim, entendido enquanto «arquivo» do conflito sírio, recuperando as «versões fracas» e assumindo-se enquanto micro-resistência. Atende-se ainda ao processo de objectificação cénica que visa a mise-en-scène do drama social, permitindo que o objecto suba à cena enquanto agente social, tendo em vista a resistência político-cultural. Empreende-se também uma compreensão da performance enquanto espaço simbólico de contestação sócio-política, no qual também o próprio método de improviso se manifesta enquanto estratégia de resistência e descentralização do poder na dança-teatro. Posto isto, a dissertação tem como objectivo máximo procurar uma compreensão do «fazer-dizer» do corpo enquanto possibilidade de exercício de agência e resistência tanto face à estrutura artística, quanto a uma estrutura de dominação política.The aim of this dissertation is to analyze the way in which artistic agents rescue the performance of the social world and mobilize the "media version" and "theater of power” in relation to "social drama" of Syrian Civil War. Artistic Performance is analyzed as a reflective space that aims to deconstruct the structures of group experience from a scenic or choreographic politics of the ground (Lepecki, 2011). For this purpose, it examines how ghost matters enables an understanding of the scenic space as a place of memory inhabited by the 'haunts' and 'disappeared' of the Syrian conflict. The performance of violence is analyzed from the bodies "without organs" of the Companies Olga Roriz and Vidas de A to Z, evidencing the way in which the floor that is danced / interpreted proposes an archeology of the violence on the bodies, transforming them into a microcosm of war. From this place I search for an understanding of the performers as agents who reinterpret the history and the official discourses transmitted by the structures of power, making the performance of violence its ideological instrument. I analyze the performative discourse around violence as a social recognition of suffering, in which the witness and the victim support the construction of a "make-say" that seeks to express violence in the social space through the aesthetic field. The body is thus understood as a "archive" of the Syrian conflict, recovering the "weak memories" (Traverso, 2012) and assuming itself as micro-resistance. It also addresses the process of scenic objectification that aims to mise-en-scène the social drama, allowing the subject to rise to the scene as a social agent (Gell, 1998), in view of political-cultural resistance. I also undertake an understanding of performance as a symbolic space of socio-political contestation, in which the very method of improvisation is also manifested as a strategy of resistance and decentralization of power in dance-theater. The aim of this dissertation is therefore to look for an understanding of the body's "make-say" as a possibility for the exercise of agency and resistance both in relation to the artistic structure and a structure of political domination.
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Chen, Yi-Chun, and 陳宜君. "The Yellow Butterfly Flying to the South――Japanese Female Dancer-choreographer Hata-Kanoko,Her Works and the First Butoh Company in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/73shnw.
Full textAbstract:
碩士國立臺北藝術大學
舞蹈理論研究所
98
The Japanese Butoh originated in 1959, inheriting the German expressionism and the reflexive Dadaism. There emerged a reflexive dance that shocked the contemporary dance field around the globe. A Japanese Butoh dancer and choreographer, Hata-Kanoko paid a visit to Taiwan and then stayed in Taipei County. While in Taiwan, she presented many pieces of Butoh and in 2005 she established the first Butoh company in Taiwan――“The Yellow Butterfly Flying to the South Butoh Company” to deepen and strengthen her dialogue with the culture in Taiwan. Between the years 1998-2010, Hata-Kanoko presented the following dance pieces in Taiwan: The Princess Who Loves Worms (2000), The Pure Land of Collage (2002), King of Moments (2005), The Beauty of Nature (2006), Fleur du Mal (2009). This study aims at examing the triple marginalities embedded in these dances from a postcolonial perspective: (1) With the spirit of anti-modernity, the Japanese Butoh, especially in the high capitalist society, still maintains its leftwing marginal political potition to resist against the structural domination of the State apparatus on one’s body in its attempt to subvert the mainstream aesthetic value. More importantly, it expresses the beauty and dignity of one’s body inmarginality (2)Hata-Kanoko transplants Butoh from Japan to Taiwan in order to create dialogues with this former colony of the Japanese Empire. Using Taiwan as her base of creation, she establishes her aesthetics of “Asian-Baroque” in an attempt go beyond the Japanese imperialist viewpoint of the North-East Asia. (3) Butoh, though mainly performed and choreographed by male performers, is now created by a female body exposing a woman’s body experience and subjectivity. This is also an issue that this study would then discuss. Hence, this study mainly aims at explicating the deeper implication of Hata-Kanoko’s dance pieces through postcolonial and feminist perspectives. Moreover, it also attempts to elucidate the evolvement of Japanese Butoh from the post-war to the cold war periods and explore the possibility of the development of this avant-garde dance theatre in Taiwan.
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Meng-Fu, Han, and 韓孟甫. "Enriching the Plot with Songs and Dances─ Examining the relationships between characters, lyrics, and choreography in musical theatre performance. A case study of the Character "Han-Sen" in "The Angle Never Sleeps" produced by the Godot Theatre Company in Taiwan." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/70184085252982735792.
Full textAbstract:
碩士國立臺灣師範大學
表演藝術研究所
102
The genesis of theater can be traced back to ancient religious rituals and ceremonies. In ancient Greece, people prayed, sang, and danced as a mean of communicating to the unknown world. Masks or other forms of media were also employed to symbolize those from the unknown world. In those ceremonies, the presence of chorus was indispensable. Among those rituals, the worship of Dionysus, the god of wine and the god of plays, was the most important ceremony. Usually, the chorus, covering by masks, imitated the feats of gods and ancient heroes along with singing and dancing synchronously around the altar as part of the ceremony . This shows “music” and “dance” have been used as two vital elements since the early development of theater. In addition to Greek comedies and tragedies, these two elements can also be found in India’s Sanskrit drama, and Chinese traditional theatrical opera. Indian portrays stories with symbolic body movements accompany by music and vocals. As for Chinese traditional theatrical opera, it is the only theatrical form that still exists among three world’s ancient theatrical forms. (Greece, India, and China) Each character has its distinct features. The movements have specific set of postures that are designed for each character, while the musicality comes from the different singing of characters and the variation of songs. Therefore, it’s not hard to tell why Chinese great sinologist, Wang Guo-Wei (1877 - 1927), defined Chinese opera as "Enriching the Plot with Songs and Dances.”