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Dissertations / Theses on the topic 'Humanities -> performing arts -> dance'

Author: Grafiati

Published: 25 July 2024

Last updated: 28 July 2025

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1

Caudill, Matthew A. "Learning to dance while becoming a dancer identity construction as a performing art /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001024.

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2

Lyons, Reneé Critcher. "The Revival of Banned Dances: A Worldwide Study." Digital Commons @ East Tennessee State University, 2012. http://amzn.com/0786465948.

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Rekindling the flame: the revival of the sadir katcheri (bharata natyam) -- "It is a strict law that bids us dance": the Kwakiutl Hamatsa dance -- Poetry in motion: the hula -- We are all on this earth together: the Plains Indians sun dance -- The churning of the oceans: the survival of the Khmer classical dance ofCambodia -- Of two worlds: the whirling dervishes of Kenya -- A better way of life: the ghost dance of the Plains Indians -- "The only people can shout is right here": the unbroken chain of the ring-shout dance -- Visca sardana!: the astronomical dance of Catalonia -- Capoeiristas: r

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Abrahamsson, Christian. "Camp Vamp - Att ljussätta en dansföreställning med skiftande förutsättningar." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22633.

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I work on a lighting design for a dance performance to be on tour. A lighting design adapted forthree different conditions was made:- One comprehensive where I allow myself a great deal of creative freedom, adapted for thestages with major technical conditions.- One smaller version for stages with less equipment and with less time for preparation onsite.- One design for very simple conditions.I also examine the specific differences between typical theatrical lighting design and typical dancelighting design, and the best way to prepare for the hands-on stage design phase.

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Sjöholm, Sigrid. "practical, efficient, necessary." Thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-915.

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This essay is one part of my Bachelor's degree project, the other part being a dance performance with the title practical, efficient, necessary that was premiered in January of 2021. The essay discusses the main problem of the project (which was necessary movements and the lack thereof in dance) as for thoughts and methods that was used in the project in working with the theme of necessity. The essay begins by looking into movements of necessity from the perspective of a necessary movement being a practical movement that is in relation to survival and sprung out of urgency. It further explores

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5

Rowe, Katherine. "Childhood Development: How the Fine and Performing Arts Enhance Neurological, Social, and Academic Traits." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/464.

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Abstract Childhood development has always been a major topic when studying psychology and biology. This makes sense because the brain develops from the time a child is conceived to the time that child has reached around the age of twenty-seven. Doctors, psychologists, and sociologists look at numerous things when studying childhood development. However, how common is it for researchers to study how the fine and performing arts affect childhood development? Sociologists tend to be extremely open and mindful of all aspects of things such as culture, sexuality, religion, and even age. By taking a

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6

Lawton, Marc. "A la recherche du geste unique : pratique et théorie chez Alwin Nikolaïs." Phd thesis, Université Charles de Gaulle - Lille III, 2012. http://tel.archives-ouvertes.fr/tel-00881517.

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Nikolaïs a prolongé la pensée de Laban et l'a enrichie en l'expérimentant sur les corps-mêmes des danseurs de sa compagnie. son approche s'est développée dans un va-et-vient constant entre les 'principles' et l'expérience sensible du corps dansant. les éléments de langage chorégraphique (qualités de 'motion', 'shape'...) et les outils pédagogiques de nikolaïs (décentrement, 'gestalt' ou totalité reconnaissable, triade technique-improvisation-composition...) se sont élaborés sans être soumis à un savoir théorique extérieur. Cet enseignement consiste à munir le corps et l'esprit d'un savoir et d

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Klein, Kelly Perl. "Dancing into the Chthulucene: Sensuous Ecological Activism in the 21st Century." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1545597606977576.

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8

Alexandre, Jane Morgan. "Toward a Theoretical View of Dance Leadership." Antioch University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1313069408.

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9

Cummins, Alexandra Brooke. "Educating Our Dance School Educators| A Proposal of Certification for Dance School Teachers." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557463.

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<p> Educating our Dance School Educators examines the relevance of certification for private dance school teachers. I offer a personal history as evidence for the need of certification in dance schools. I also provide a desired outline of the certification, which encompasses the mission statement and requirements for the candidates. The question of what it means to be certified is addressed by using the National Dance Education Organization as defining support. To argue for certification I draw support from dance editors and professors as well as the National Dance Education Standards. I use

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10

Shouse, Sarah Elizabeth. "Pina bausch| the journey of the object." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557502.

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<p> German choreographer Pina Bausch is recognized as one of the original creators of 20th century Dance Theater through her seamless synthesis of stage design elements and movement. Through her choreographic methodology she is able to combine the everyday gesture of the body with the functionality of objects to create an emotionality that is authentic and transcendent on stage. The objects/props on stage illuminate the object world where objects are animated by our desires, fears, and the need to express the human condition. I will look at the procedure that Bausch employs through the lens o

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Dellecave, Jessica Spring. "The Againness of Vietnam in Contemporary United States Antiwar Choreography." Thesis, University of California, Riverside, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3731833.

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<p> <i>The Againness of Vietnam in Contemporary United States Antiwar Choreography</i> examines eight twentieth- and twenty-first century postmodern antiwar choreographies in order to uncover the reverberations of Vietnam antiwar protests in these dances. The choreographies I examine in this study are Yvonne Rainer’s 1970 <i>M-Walk</i> and 1970 (and 1999) <i>Trio A with Flags</i>, Wendy Rogers’ 1970 <i> Black Maypole</i>, Ann Carlson’s 1990 <i>Flag</i> and 2006 <i>Too Beautiful A Day</i>, Miguel Gutierrez’s 2001, 2008, and 2009 <i>Freedom of Information</i> (<i>FOI</i>)

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Davidson, Julia Rose. "Listening to the Dancing Body| Understanding the Dancing Body as Performative Agent within the Choreographic Process." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096902.

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<p> The performativity of dance relies on the the power that different dance practices and choreographies have to shape culture, “making and unmaking” identities by “molding” the moving body (Franko, 2012). While theorists have connected dance technique and instruction to the perpetuation of larger cultural and historical ideologies, few methods yet have attempted a critical study of how performative impact is connected to a dancer’s own embodied experience. </p><p> Working from an understanding of embodied experience as central to the performative impact of da

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Daunic, Nicole Lorriane. "The Politics of the Dancer| Voice, Labor and Immanent Critique." Thesis, New York University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10842659.

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<p> Discursive frameworks of dance grounded in Western patriarchal modernist aesthetics and phallocentric theoretical lineages have consistently privileged the role of choreographers such that the labor, knowledge production, and perspectives of dancers have received little attention in dance scholarship. This dissertation considers the modes of being, thought, and critique that become articulable when the labor of dancers is acknowledged. Chapter One examines connections between the feminization of the role of the dancer and the devaluation of her labor and knowledge production and considers

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Talley, Megan. "Exploring the Collaborative Process of Performance Art for Resistance and Transformation Regarding the Industrial Food." Thesis, Alaska Pacific University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10681288.

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<p> This paper analyzes the process of the developing collaborative creation in dance to adress issues in the modern food system. It begins with the examination of this history of Modern dance and collective theater and frames that history within the context of food system inequities.</p><p>

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Moroney, Kathleen. "Stillness in motion : an interdisciplinary study of movement in time and space through ceramics and dance." Thesis, University of Sunderland, 2017. http://sure.sunderland.ac.uk/8476/.

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The research investigates stillness as movement in time and space explored and exploited through an interdisciplinary study of ceramics and dance. Exercises consistent with Butoh, a Japanese dance form, are employed as an exploratory tool to facilitate a broader interpretation of stillness as motion through a corporeal processing of concepts such as time and space. Laban's 'principles of movement' are observed, explored and employed as a method used in choreography to analytically study movement as still components of a flux within space to inform dance composition. This study maps a path to p

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Cvejic, Bojana. "Choreographing problems : expressive concepts in European dance." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25084/.

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This dissertation explores how a recent set of practices III contemporary choreography in Europe (1998-2007) give rise to distinctive concepts of its own, concepts that account for processes of making, performing, and attending choreographic perfonnances. The concepts express problems that distinguish the creation of seven works examined here (Self unfinished and Untitled by Xavier Le Roy, Weak Dance Strong Questions by Jonathan Burrows and Jan Ritsema, heatre-elevision by Boris Charmatz, Nvsbl by Eszter Salamon, 50/50 by Mette Ingvartsen, and It's In The Air by Ingvartsen and Jefta van Dinthe

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Thobani, Sitara. "Dancing diaspora, performing nation : Indian classical dance in multicultural London." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c189d163-b113-408f-9f3b-181c6fd5fbce.

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This thesis examines the performance of Indian classical dance in the contemporary 'diaspora space' (Brah 1996) represented by the city of London. My aim is to analyse whether and how performances of "national" art, assumed to represent an equally "national" culture, change when performed in transnational contexts. Drawing upon theories of postcolonialism, multiculturalism and diaspora, I begin my study with an historical analysis of the reconstructed origins of the dance in the intertwined discourses of British colonialism and Indian nationalism. Using this analysis to ground my ethnography o

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Bell, Melissa Hudson. "Audience Engagement in San Francisco's Contemporary Dance Scene| Forging Connections Through Food." Thesis, University of California, Riverside, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3630649.

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<p> This dissertation looks at critical interventions made by select San Francisco bay area choreographers and dance programmers interested in altering spectatorial norms for contemporary dance. Those selected have strategically employed food themes and materials in and as performance, simultaneously tapping into existing foodie ideology and redressing concerns about dwindling audiences for live dance performance in the twenty-first century. I argue that such efforts 1) bring to light subsumed race, class, and gender politics embedded in the trend towards "audience engagement," espoused by art

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Heidelberger, Aurore. "De la mesure à la démesure vers le dionysiaque : une étude de l'excès dans l'oeuvre du chorégraphe et cinéaste flamand Wim Vandekeybus : sous l'angle de l'intermédialité et de l'importance grandissante de la visualité." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00922987.

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Wim Vandekeybus est l'un des chorégraphes majeurs de la nouvelle danse belge. Nous proposons à travers cette étude d'analyser son Œuvre sous l'angle de la démesure. Nous nous sommes attachés à un corpus limité d'œuvres appartenant à son travail chorégraphique et cinématographique. La fougue chorégraphique de ses débuts transparaît-elle toujours dans ses pièces les plus récentes comme Blush ou Sonic Boom, où la place de la narration est réévaluée ? Tout d'abord, nous nous sommes focalisés sur la violence du propos chorégraphique. Une temporalité de l'urgence ordonne les actions des interprètes.

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Stubblefield, Shannon. "The nude female performer." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1562505.

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<p>A live nude female performer can occupy a powerful identity equal to a man because she willingly places herself in front of an audience. She commits to this state of profound vulnerability as a means of gaining ownership of her body that men by virtue of their power in society take for granted. The female body occupies physical space, unlike how a body image seen on a television or in a magazine does. The actuality of the live female nude creates a transformation from the purely sexualized body to an authentic female nude body. This authentic female nude body, via her control of her physica

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21

Radwan, Dana Mireille. "Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'Allegro, il Penseroso ed il Moderato." Thesis, The University of Wisconsin - Milwaukee, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10285872.

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<p> This thesis analyzes Mark Morris' choreography for pedagogical purposes. It explores Morris' technique and style by investigating one of his most acclaimed works: <i>L'Allegro, il Penseroso ed il Moderato</i>. Because this evening length piece offers a large selection of sections, a total of thirty-two, it provides many possibilities to investigate Morris' musicality, creative process, and style. The musical aspect of Morris' work is examined by focusing on how he often molds the dance to the musical score involving specific rhythms, canons and counterpoints. Analysis of his creative proce

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Sultanian, Maral Pushian. "Martha Graham engages the body and its dances as a path into the unconscious." Thesis, Pacifica Graduate Institute, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3610765.

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<p> How does Martha Graham conceptualize and then give expression to information delivered by Psyche through her body and the choreographic process? This is a study of the relationship of Psyche and Soma considered through examination of Graham's choreographies as expression of their union. This study seeks to participate in discourse on the process of melding the Unconscious and the body through the art of choreography. Three choreographies of Graham as text in the symbolic form--offered through the aesthetic movement phraseology presented by the choreographer--are introduced and interpret

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Curtis, Jess Alan. "Knowing Bodies / Bodies of Knowledge| Eight Experimental Practitioners of Contemporary Dance." Thesis, University of California, Davis, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10036148.

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<p> This dissertation addresses the concept of the <i> experimental</i> in contemporary dance and performance. In it I argue that, although the word is used in very different ways in traditional artistic and scientific practices, a number of contemporary dance artists utilize experimental practices in their work that produce useful knowledge that is recognizable and transmittable beyond the walls of the theater or gallery. I have written about artists whose embodied work has been described as experimental, whose innovations and explorations have produced paradigmatic shifts in dance practice a

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Macagnano, Marco. "A centre for the performing arts catalyst for urban regeneration /." Pretoria : [s.n.], 2000. http://upetd.up.ac.za/thesis/available/etd-11282005-124553.

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Schrock, Madeline Rose. "Visual Media, Dance, and Academia: Comparing Video Production with the Choreographic Process and Dance Improvisation." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1306695898.

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Macagnano, Marco. "A Centre for the Performing Arts: catalyst for urban regeneration." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/29892.

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Salvokop, the site chosen for this project, is due for some major changes in the next few years. Current development on Freedom Park, the future Gautrain initiative as well as a new drive by the local municipality to integrate the area into the CBD of Pretoria through a major 'Cultural Spine' throught the city make Salvokop a future destination of major interest. The Centre for the Performing Arts seeks to appeal to all facets of South African culture through a medium of expression that all appreciate: the medium of performance art. Specifically speaking, perfromance art applies to music, danc

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Hamilton, Mark James. "Martial Dance Theatre: A Comparative Study of Torotoro Urban Māori Dance Crew (New Zealand) & Samudra Performing Arts (India)." Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5092.

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This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Toroto

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Alegre, Tamara. "Defining circumstances/spaces/activities for dance: : within my MA in Choreography 2016-2018 at Doch, Stockholm." Thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-370.

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Within the frame of an MA, we know from the start that there will be a specific ending; we call it final project, degree project or final presentation and this essay is meant to accompany the journey of the degree project. In my case, I want to mention and reflect upon that for me the MA has been a framework for developing and experiencing different types of projects. So not only the project of presenting work at the end of the final semester but long term projects with a broader sense of choreography. Projects that includes social relations and are community based like P0$$€ dance and reading

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DeGrasse-Johnson, Nicholeen Theresa. "Towards the Construction of a National Dance Education Policy in Jamaica:Public Education Curriculum and Ownership." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/260618.

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Dance<br>Ph.D.<br>I hear and I forget I see and I remember I do and I understand --Confucius (551 - 479 BC) Fundamentally about "doing," Dance is a strong element of Jamaican social and cultural expression. This dissertation is based on the premise that in order to fully educate Jamaica's children and to accomplish "National Outcome 2: World Class Education and Training" of the Jamaican National Development Plan for 2030 (Planning Institute of Jamaica [PIOJ], 2009, p. xvi), Dance should be an integral part of Jamaica's educational curriculum. This study draws on multiple perspectives and sourc

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Del, Valle Marian. "Accompagner les processus créatifs de Monica Klingler, Barbara Manzetti et Marian del Valle (janvier 2009 - décembre 2012)." Phd thesis, Université Nice Sophia Antipolis, 2013. http://tel.archives-ouvertes.fr/tel-00966697.

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Ce projet de recherche en danse est né du désir et du besoin de questionner ma propre pratique artistique en danse contemporaine, en la mettant en perspective et en conversation avec celle de deux autres artistes chorégraphes, Monica Klingler et Barbara Manzetti. L'étude de ces (nos) pratiques, que j'ai qualifiées de "mineures" (au sens deleuzien) a été réalisée en les approchant par le "milieu", dans leur devenir, en les "accompagnant" pendant une période délimitée, celle de la durée de la thèse. Les questions qui dynamisent la recherche concernent les notions de présent et de vivant, contenu

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Freed, Calyn. "Autism and the Performing Arts: Using BST to Teach Dance to Children with ASD." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7025.

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Behavioral skills training (BST) has been proven effective in helping children with autism spectrum disorder (ASD) acquire new skills. Little research had been done to evaluate the effect of BST on the acquisition of sport skills within this population, and no research exists in regards to using BST to teach dance skills to individuals with ASD. The purpose of this study was to evaluate the effectiveness of BST for teaching dance steps to children diagnosed with ASD. This study used a multiple baseline across behaviors design. The dance movements that were targeted consiste

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Amegago, Modesto Mawulolo Kwaku. "An holistic approach to African performing arts, music and dance curriculum development and implementation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0028/NQ51835.pdf.

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Skelton, Gerald P. ""Unpack my heart with words" : a proposal for an integrated rehearsal methodology for Shakespeare (and others) combining active analysis and viewpoints." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/38119/.

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The performance of Shakespeare represents a distinct challenge for actors versed in the naturalistic approach to acting as influenced by Stanislavsky. As John Barton suggests, this tradition is not readily compatible with the language-based tradition of Elizabethan players. He states that playing Shakespeare constitutes a collision of 'the Two Traditions' (1984, p. 3). The current training-based literature provides many guidelines on analysing and speaking dramatic verse by Shakespeare and others, but few texts include practical ways for contemporary performers to embrace both traditions speci

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Olson, Grant. "Rediscovering 'invisible communication' : a re-evaluation of Stanislavski's Communion via 'radiation'." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32199/.

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This thesis investigates Stanislavski’s unnamed invisible form of communication described within the chapter ‘Communion’ in An actor prepares (1936). The description Stanislavski includes in the chapter is especially difficult to access leading to much neglect in critical studies of Stanislavski’s approach. This thesis explores the concept as it permeated across Stanislavski’s writings and practical work. It then establishes a comprehensive, concise and contained description of the experience Stanislavski sought to achieve through his proposed ‘invisible communication’. Most current literature

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Miller, Louise May Whilhemina. "Classical mythology and the contemporary playwright." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29879/.

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This practice-based thesis explores, through the creation of three new full-length plays, the ways in which a contemporary playwright might engage with classic mythology, specifically ancient Greek mythology in the development of new work. The plays form a triptych, each inspired by a single, yet interconnected Greek myth: their mythic inspirations are as follows, Sodium (2010-11) Theseus and the Minotaur, Sulphur (2011-12) Ariadne at Naxos, and Silver (2010) Icarus and Daedalus. Non-dramatically extant ancient Greek myths were selected in order to seek to explore dramatic possibilities beyond

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Weinberg, David. "American influence on the alternative theatre movement in Britain 1956-1980." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/32208/.

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This thesis argues that American experimental theatre practice was one key factor in the development of an important phase in the history of the alternative theatre movement in Britain during the period 1956-1980. The data for this thesis has been collected through interviews, archival work and a review of existing literature on post-war British theatre including the alternative theatre movement. The theoretical superstructure and modes of analysis build upon key concepts and theories in the work of Elizabeth Burns (1972) and Baz Kershaw (1992, 1999). The main historical developments or phenom

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Conner, William. "Less Lost: No Touchdown Dance." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5919.

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Less Lost is a feature-length film by William Chase Conner, made as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida.<br>M.F.A.<br>Masters<br>Visual Arts and Design<br>Arts and Humanities<br>Film; Entrepreneurial Digital Cinema

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Berkowitz, Adam Eric. "Finding a Place for "Cacega Ayuwipi" within the Structure of American Indian Music and Dance Traditions." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096024.

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<p> American Indian music and dance traditions unilaterally contain the following three elements: singing, dancing, and percussion instruments. Singing and dancing are of the utmost importance in American Indian dance traditions, while the expression of percussion instruments is superfluous. Louis W. Ballard has composed a piece of music for percussion ensemble which was inspired by the music and dance traditions of American Indian tribes from across North America. The controversy that this presents is relative to the fact that there is no American Indian tradition for a group comprised exclus

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Singleton, Joe. "Ascension: A Fine and Performing Art Scholar Thesis." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/17.

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Pauza, Louis Anthony. "A study of historical dance forms and their relation to musical theatre choreography." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1126.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Theatre

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Culley, Sheena. "Comfort : bodies and their boundaries." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/29964/.

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The original contribution of this work is its engagement with the conceptualisation of modern bodies and the impact of the bounded body on our understanding of the idea of comfort. The way in which modern bodies are constituted as bounded, immune entities, differentiated from their surroundings, is of paramount importance in defining comfort as protective, compensatory and passive - a zero grade feeling or avoidance of stimuli. Taking a definition of comfort from John Crowley's influential work on the topic as 'a self-conscious satisfaction between one's body and its immediate physical environ

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Urista, Dawn. "Giselle's Mad Scene: A Demonstration and Comparison of 21st Century and 19th Century Paris Opéra Stagings." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11502.

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ix, 47 p. : ill. A DVD of the April 2, 2011 performance is archived in the Department of Dance at the University of Oregon. Please call 541-346-3386 for information.<br>This project entailed restaging Act 1's Mad Scene from the ballet <italic>Giselle</italic> to compare, contrast and analyze the character of Giselle within Henri Justamant's 1860's choreographic notation for the Paris Opéra Ballet and Sorella Englund's version at the Royal Danish Ballet Summer 2010 workshop. Using my journal from the workshop with Ms. Englund, I coached the cast using similar prompts and exercises she h

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Quinn, Mallory Joanne. "Utilizing TAGteach to Enhance Proficiency in Dance Movements." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4751.

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The purpose of this study was to evaluate TAGteach as a training procedure to increase the fluency of three dance movements in a multiple baseline across behaviors design with 4 students of dance. Target behaviors included a pirouette/turn, kick, and a leap/jump, respective of the level of the class. A dance instructor was trained to implement the TAGteach procedure by the primary researcher. The targeted dance movements remained at a stable level during baseline and improved sequentially for each participant following the introduction of the TAGteach training. Implications for future rese

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Labelle, Morgan. "Wave: A Dance Composition and Performance." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/508.

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Wave: A Dance Composition and Performance is a choreographic work and performance that tells a personal narrative in comparison to a wave. I performed the modern/lyrical dance with two other dancers, Rachel Crabtree and Kate Trabalka, on the evening of November 16th, 2018 in room 205 of the ETSU Campus Center building. My previous technical dance training, and training as a dance minor at East Tennessee State University from 2015-2018 prepared me to proudly present a piece that was entirely choreographed by me. The following research of modern and lyrical dance shaped my choreography, as wel

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Ness, Sally Ann. "The Sinulog dancing of Cebu City, Philippines : a semeiotic analysis /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/6536.

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Descoteaux, Jillian M. "Substance Use Patterns of Performing Artists: A Preliminary Study." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408643234.

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Clement, Jennifer. "Reforming Dance Pedagogy: A Feminist Perspective on the Art of Performance and Dance Education." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002197.

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Bugge, Christian Stewart. "The end of youth subculture? : dance culture and youth marketing 1988-2000." Thesis, Kingston University, 2002. http://eprints.kingston.ac.uk/20694/.

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This thesis focuses on the concept of youth Subculture, used in both academic and popular discourse to describe a distinct form of youth culture. The thesis focuses on Dance Culture, the dominant youth culture in Britain during the period 1988-1990, but also a unique form of youth culture that challenges previous theories of youth culture, and questions whether youth cultures are organically formed or commercially created. The thesis establishes how the marketing industry has become increasingly adept at understanding and responding to the cultural aspect of young peoples' lives since the yout

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Domene, Pablo A. "Efficacy of Latin dance as a health-enhancing leisure activity for adults." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/34532/.

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Despite acceptance that physical activity serves as a protective agent against the burden of non-communicable disease, half of all adults in the developed world remain insufficiently physically active. The promotion of physical activity is therefore of paramount importance to public health researchers and practitioners. Dance, as a leisure or social activity, can play a role in the engagement of adults in physically active pursuits that are not necessarily thought of as traditional exercise per se. This is especially important for those individuals not currently meeting physical activity guide

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Correro, Augustine III. "Performing Tennessee Williams." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.

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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the

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