Dissertations / Theses on the topic 'Dance costume'
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Ravelhofer, Barbara. "The Stuart masque : dance, costume and remembering." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311066.
Full textBurrington, David J. "Dancing Around Costuming: A Symbiotic Relationship of Disciplines, Costume Design for Dance 2011: Parallel and Intersect." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334347548.
Full textTaube, Rhonda Beth. "Dancing in the Altiplano K'iche' Maya culture in motion in contemporary highland Guatemala /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3378902.
Full textTitle from first page of PDF file (viewed November 17, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 238-253).
Waxstein, Christine Michele. "Digital Illustration: The Costume Designer’s Process For East Tennessee State University’s Spring Dance Concert 2012." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1504.
Full textViémont, Gaëlle. "Les costumiers, ces orfèvres d'un art dramaturgique sans nom : assises, enjeux et perspectives d'un secteur professionnel méconnu." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC016.
Full textThis work aims at analyzing the historical, social, cultural and gender factors responsible for the current undermining of the costume designers and makers profession. The first part consists in a historical research onthe theoretical origins of the Art of Costume starting with the appearance of the professional vocable - Costumier - invented by Pierre-Nicolas Sarrazin, as well as a study of the means this latter used to promote his field of work during the 18th century and how he came to fail. The second part is an interview-collection (2013 to 2016) - based reflection on the order nature of the work, the gender characterization of the workers and « care » as a creative motivation. It demonstrates how these specifics are potential ways to oppress the costume designers and makers and to deny them the appreciation and salary they deserve. The third part is an a esthetic critique of Costume Designer Dominique Fabrègue’s career, and the « Cut in one piece » Artwork she specialized in. This section argues that the discipline of designing costumes is an Art in full, and as it may come second in the process of putting on a play, is not for all that secondary and shouldn’t be considered assuch
Denney, Karson B. "Real Men Can Dance, But Not in That Costume: Latter-day Saints' Perception of Gender Roles Portrayed on Dancing with the Stars." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2615.
Full textCoulon, Anne. "Du maniaque à l'insouciance, la stratégie du costume chez les chorégraphes contemporains." Paris 1, 2000. http://www.theses.fr/2000PA010585.
Full textXimenes, Maria Alice. "A saia motriz : um percurso nos misterios da vestimenta e da representatividade espanhola." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284669.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente pesquisa tem como objetivo fazer uma homenagem à forma. A forma que forma e deforma, que reforma e transforma, que transcende e que tem vida. Que faz e desfaz, que nasce e morre. A forma que desenha o espaço, o corpo e o movimento. A forma pesquisada é a forma da saia na dança flamenca e seu movimento helicoidal. Movimento semelhante ao das galáxias, ao da cadeia de DNA, semelhante também à anatomia humana, o desenho dos ossos e músculos. Na capacidade de ser efêmera e jamais apreendida é que reside seu encanto. Também há uma forte razão em pesquisar a saia e a Espanha, terra dos meus precedentes, cultura em que cresci, além da paixão pelo vestuário, especialmente os de Andaluzia. O percurso nos mistérios e representatividade da vestimenta espanhola permitiu-me mergulhar nas mais incríveis histórias, desde as reais até as mitificadas no tempo. Conhecer a construção do país e entender como ele se formou permitiram-me desdobramentos de possíveis intersecções no resultado dos trajes. O mosaico de culturas trouxe descobertas incríveis na representação da mulher espanhola principalmente através de registros dos pintores dos séculos XVIII e XIX. Há uma natureza histórica na busca de identificar a formação da composição da roupa feminina espanhola, que, desde publicações vindas da Espanha, bibliografias de história da dança e do traje, até a profunda observação do corpo em movimento esculpindo formas delirantes que parecem um ciclone a desenhar os desenhos da dança. Palavras-chave: Corpo Feminino, História da Arte, História da Moda, Dança, Artes Plásticas, Espanha
Abstract: The present research aims to pay tribute to the shape. The shape that forms and becomes deformed, that reforms and transforms, that transcends and which has life. That does and undoes, that is born and dies. The shape that draws the space, the body and the movement. The shape of the present study is the shape of the skirt in the flamenco dance and its helicoidal movement. This movement is similar of those of the galaxies, the DNA chains, also similar to the human anatomy, the design of bones and muscles. It's in the capacity of being ephemeral and never understood that lies its charm. There's also a strong reason to research the skirt and Spain, home of my ancestors, culture in which I grew up, as well as the passion for the costume, especially from Andaluzia. The route in the mysteries and representativity of the Spanish costume, allowed me to immerse in the most incredible histories, from the real to the mythical ones of time. Knowing the construction of the country and understand how it was formed, enabled me to see the developments of possible intersections in the result of the costumes. The mosaic of cultures brought amazing discoveries in the Spanish woman's representation mainly through the records of the painters in the 18th and 19th centuries. There's a historical nature in the search of identifying the formation of composition of the Spanish woman's clothes, that from publications came from Spain, bibliographies of the history of dance and of the costume, to the profound observation of the body in movement sculpting delirious shapes that look like a cyclone drawing the designs of dance. Key Words - Female body; History of Art ; History of Costume ; Dance ; Fine art ; Spain
Doutorado
Artes
Doutor em Artes
Sileet, Hanadi. "L'orientalisme et le costume de scène en France (deuxième moitié du XIX siècle-début du XXe siècle)." Paris 3, 2005. http://www.theses.fr/2005PA030075.
Full textSince the turqueries of the Bourgeois gentilhomme until the adventures of Marôuf, le savetier du Caire, the reference to the Orient appears consistently throughout the scenic art. The interest of the Occident, that is to say France, to the Orient during the 19th century and the beginning of the 20th century, is explained by a sequence of political, literary and artistic events. The voyagers, painters and writers explored this interest throughout the nineteenth century and the exotic theatres echoed it in the heart of the French capital. In addition, the Russian Ballet revealed the magnificence of the Orient during the years that preceded the war of 1914. The study we are proposing, analyses this attraction to the Orient through the stage costume. This decisive element, disposed to the scenic expression, is based on an important iconographic research: lithography, painting, photography or costume drawings. The research emphasizes the iconic power of oriental costume, its elements and it's characteristics. This oriental attire as perceived by the Occidentals, is reproduced on stage thanks to the works of painters and dress designers like Paul Lormier, Alfred Albert, Eugène Lacoste, Charles Bianchini, Léon Bakst or Paul Poiret. Their creations allow the actors, both men and women, to metamorphose into sultan, caïd or eunuch, odalisque, almée, " Péri ", Salomé, Cleopatra or Salammbô. An infinity of moving images takes place on stage, transporting the performer and the audience into other places and other times
Albert, Laure. "Recherches sur l'iconographie des fêtes de cour en France (1515-1589)." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3131.
Full textDealing with the iconography of fetes in the Renaissance means investigating into humanism and the neo Platonist currents of thought which influenced the artists of the time and led to the syncretism of arts in court celebrations.In the ephemeral art of revels -entries, masquerades, balls and ballets- the costumes of mythical figures from the Bible or the Antiquity were then brought back to the fashion of the sixteenth century with a playful twist and updated through the new themes inspired by the Great Explorations, such as the contrast between the exoticism of the New World and the traditions of the Old World. Along with those codes, the establishment of a new decorum allowed the evolution of the notion of performance and of the places best suited for theatricals. Social and political issues of a time fraught with religious wars, alliances and peace, also contributed in paving the way for such changes.Celebrations thus proved the quintessential instrument of the assertion of royal power, which turned them into vectors of communication, not to say communion. Both sumptuous and innovative, they foreshadowed the magnificent fetes of the following centuries
Hadjieftychiou, Constantina. "Les danses traditionnelles de Chypre : une étude ethnographique et socioculturelle des danses traditionnelles chypriotes - analyse et interprétation de l'élément théâtral, des traditions, des moeurs et coutumes." Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0096/document.
Full textThis study is the first complete research of the Cypriote traditional dances. It collects, describes, analyzes and interprets the traditional dances of this country and proposes choreographies for some of them. To conduct this research, it was necessary to examine all the literature on the subject, conduct interviews with knowledgeable individuals and elderly persons who had personal experience to share. It has also been studied in the archives of the centre of scientific research of Cyprus, information on the tradition since the late 19th century to today, and hundreds CDs of the centre have been listened. Also they have been analyzed and studied various video archives of the National Cypriot television (R.I.K.). Finally, it was necessary to examine, analyze and study all the related elements to the subject.Initially we conduct a brief diachronic study of the history of Cyprus. Then, we study and analyze the reasons why Cypriots dance, the relations between men and women in the society of the island on the 19th century, morals and customs and their influence on the dances. It presents all the Cypriot traditional dances for men, women and mixed (combination), their background, origin, subject and their history. Their symbolism, interpretation and a detailed analysis of their steps. In some cases, a proposed choreography is included so that the reader can understand better how to use the different steps and how to perform the dance. The choreographies serve for the investigation, the research and also for the preservation of the authenticity of the Cypriot dances.The interest of this study is to present all the Cypriot traditional dances with their steps, their variants, their symbolism and the morals and customs associated with them. Our research and analysis is limited to the traditional dances of Cyprus. We will not provide any comparative study with the dances of Greece or other countries of the surrounding geographical area. This research will serve as a comprehensive and comparative case study in the near future
Lopes, Mariana Conde Rhormens 1989. "Um olhar sobre as máscaras de Mapiko : apropriação técnica, simbólica e criativa da máscara." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284992.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O Mapiko é manifestação cultural do povo Maconde, originário da província de Cabo Delgado, norte de Moçambique. Mapiko é o nome dado à manifestação cultural tradicional e à máscara utilizada por ela. Tal manifestação mistura música, dança e cena. Rodeado de mistérios e segredos; ao som de batuques e cantos tradicionais, o mascarado realiza sua dança. A manifestação, tendo como base o imaginário do povo Maconde, apropria-se do mundo espiritual e cria a convicção da existência de ligação lógica entre o dançarino mascarado e as suas crenças. O Mapiko possibilita, através da arte, a representação dos diferentes modos de estar na vida espiritual, usando a força da sua história e do seu cotidiano, transmitindo em cada dança as suas convicções. Este trabalho aborda aspectos do Mapiko tais como sua origem, tradição, cantos, batuques, máscaras e especificidades da dança realizada pelo mascarado. A pesquisa também reflete sobre questões acerca dos segredos, mistérios e limites da pesquisa acadêmica sobre tal tradição. A tese inicia-se com a descrição do trabalho de campo realizado em Moçambique em 2014 e explora as descobertas e dificuldades encontradas. O trabalho propõe, portanto, ao leitor, um mergulho no universo do Mapiko, passeando entre mistérios, cores, aromas, imagens e sabores do povo Maconde. A tese é acompanhada por um DVD que contém um documentário sobre o Mapiko e o processo de aprendizagem vivenciado pela atriz-pesquisadora em Moçambique
Abstract: Mapiko is a cultural expression of Maconde¿s people original from Cabo Delgado¿s province on the north of Mozambique. Mapiko is the traditional cultural expression and the mask used on it. This expression brings together music, dance and scene. Surrounded by mystery and secrecy; to the sound of drums and traditional song, the masquerade holds his dance. The expression has its base on the imaginary of Maconde¿s people who appropriates the spiritual world, creating the belief of the existence of a logical link between the masquerade dancer and his beliefs. Trough art, Mapiko makes possible the representation of different ways of being in the spiritual life. It uses the power of its stories and its everyday aspects conveying in each dance its beliefs. The present work addresses the aspects of Mapiko such as its origins, tradition, songs, drumming, masks and particularities in the dance performed by the masquerade. The research also reflects on issues about the secrets, mystery and limits of the academic research about the theme. The dissertation begins with the description of the fieldwork in 2014 in Mozambique and explores its discoveries and difficulties. The work propose the reader to dive into Mapiko¿s universe, along with its mysteries, colours, aromas, images and flavours of Maconde¿s people. A DVD accompanies the dissertation which contains a documentary about Mapiko and the learning process experienced by the actress-researcher in Mozambique
Mestrado
Teatro, Dança e Performance
Mestra em Artes Visuais
Pichette, Julie. "BALBUTIEMENT... de fil en aiguille." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/28068/28068.pdf.
Full textAraújo, Liana Matos. "Juventudes e quadrilha junina : estilos de vida e sociabilidades no cenário do consumo cultural em Sergipe." Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/3199.
Full textO presente trabalho é um estudo sobre as juventudes e as quadrilhas juninas de Aracaju/SE e tem por objetivo compreender como ocorre a construção social da ideia de juventude no seio da manifestação cultural quadrilha junina a partir da análise dos processos identitários, dos estilos de vida, das sociabilidades existentes entre os quadrilheiros incluídos em um contexto de consumo cultural. Dentro deste contexto, torna-se necessário analisar, a partir de entrevistas, questionário e observação direta, quais são os processos de identificação aí presentes, como eles consomem e produzem a cultura local, como dão sentido às suas expressividades e sociabilidades. Pretende-se ainda verificar se a questão geracional tem importância nessa construção social e identificar como são tratadas as questões sobre o gênero e sua relação com a noção de juventude e com a própria geração. E, desta forma, conhecer o universo do quadrilheiro e quais as motivações que mobilizam os participantes a se organizarem e se articularem dentro do processo de competições das quadrilhas juninas em Aracaju/SE.
CHEN, NAN, and 陳楠. "The Imagery Construction of Costume in Folk Dance Learning." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/yqgex9.
Full text國立臺灣體育運動大學
舞蹈學系碩士班
106
This thesis focuses on the importance of costume in folk dance learning. A case study was conducted integrating qualitative and quantitative methods,, interview, observation and questionnaire were employed, and folk dance classes of two universities in Taiwan and in Shanghai were selected for analyses. The purpose of this study is to explore how classroom dressing of the ethnic costume on the students’ learning process and outcomes. In literature reviews, it discusses the relationship between the cultural character of national costume and the characteristic of folk dance movement. Through the classroom observation, It compares and analyzes the students’ movements qualities and styles before and after dressing. Using the Dance Imagery Questionnaire in Folk Dance Dressing that the researcher transformed and designed, this study analyzes dressing and students’ constructions of dance imageries in folk dance learning. It also explores the change of the students’ inner emotions and the interpretation of expressions. This study finds that the classroom dressing in the folk dance learning can enhance the students’ dance movements of the pose, posture of cognition, improve the quality of movements. Dressing also helps students to construct their dance imageries and enhances their interpretations in cultural contexts, perception, role, movement and emotion. Also, dressing can promote the establishment of attitude towards learning emotions and the emotional interpretation of dance. In conclusion, this study argues that classroom dressing is very important for folk dance learning. Teachers should well integrate dressing into folk dance learning and training. In doing so, the students could quickly find the "taste" of folk dance that embodies the special uniqueness of the folk dance training.
Embree, Jennie. "Belly dance : an example of cultural authentication?" Thesis, 1998. http://hdl.handle.net/1957/34167.
Full textGraduation date: 1999
Izu, Benjamin Obeghare. "Music and associated ceremonies displayed during Ugie (festival) in the Royal Court of Benin Kingdom, Nigeria." Diss., 2012. http://hdl.handle.net/10500/6721.
Full textArt History, Visual Arts & Musicology
M.Mus.
Refkalefsky, Margaret Moura. "Le carnaval de Rio : les mises en scène du corps." Thèse, 2008. http://www.archipel.uqam.ca/1024/1/D1675.pdf.
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