Relevant bibliographies by topics / Physical Theatre / Dissertations / Theses
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Dissertations / Theses on the topic 'Physical Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2025

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1

Alison, Brooke Turner. "Teaching and Performing Theatre for Youth Using Physical Storytelling." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3138.

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For children to enjoy theatre they must see a story played out physically. The same is true when children act. Young performers must be taught to act using a simplified version of the Stanislavski System that puts emphasis on playable action. This thesis evaluates current acting texts for youth based on whether or not the author is able to outline a method that is accessible for children, and highlights the importance of playable action in scene work. It also provides a guide to teaching theatre for youth based on a class of the author’s design where students developed curriculum, managed
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2

Heald, Lorie Elizabeth. "Bridging the gap between dance and theatre: A physical approach to teaching theatre at a secondary level." Thesis, The University of Arizona, 1999. http://hdl.handle.net/10150/278689.

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The body has within it an intelligent force, a cognitive power, which deserves recognition. This cognitive power is defined in this thesis as physical cognition, a way of knowing, learning, and responding that occurs within the body and comes from the body. There is currently an imbalance in the relationship between mental and physical cognition in secondary education. This imbalance has permeated Western thought since Descartes claimed that the thinking being is separate from the bodily being. With requirements for physical education and fine arts at the bare minimum, there is a need for phys
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3

Elswit, Katharine Miriam. "Framing bodies : physical dramaturgy in German dance theatre (1916-1933)." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611364.

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4

Richardson, Andrew. "Acting the Absurd: Physical Theatre for Text/Text for Devising." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3744.

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This paper considers two purposes for actor training—textual interpretation and devising original works—through the teaching of a class based on contemporary theatrical clown and physical theatre exercises which are then applied to Samuel Beckett’s Waiting for Godot. Devised work can be used to interpret a script, and a script can be used as a jumping-off point to devise new works. Beginning with an explanation of the teaching methods for the class, the paper then gives a background of clowns who performed in Beckett’s plays, and analyzes various productions' use of games to enliven text. Exer
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5

Ritchie, Louise Helena. "Digital notation : new approaches to physical theatre and its documents." Thesis, Aberystwyth University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.684378.

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6

Persinger, Megan. "PSYCHO BEACH PARTY: A VOCAL AND PHYSICAL EXPLORATION OF GENDER." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2125.

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On September 24, 2009, Theatre VCU opened its production of Psycho Beach Party, written by Charles Busch and directed by Steve Perigard. In our production, two male actors, Tommy Callan and Kyle Cornell, were cross-sex cast to play female characters, Chicklet and Marvel Ann respectively. In addition to serving as vocal coach for the production, I was to help Callan and Cornell vocally transform into female characters. I have documented our exploration of gender, specifically the vocal transformation from male to female, in Theatre VCU’s production of Psycho Beach Party. Neither actor had p
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7

Wion, Brenda. "Transforming Actor Training: Michael Chekhov's Psycho-Physical Technique." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1208278580.

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8

Crouch, Kristin Ann. "Shared experience theatre: exploring the boundaries of performance." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054738772.

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9

Moschochoriti, Rubini. "Physical theatre as an approach to contemporary stagings of classical Greek tragedy." Thesis, Brunel University, 2009. http://bura.brunel.ac.uk/handle/2438/3989.

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This PhD focuses on physical theatre techniques and practices in order to provide acting keys for directing ancient drama. More specifically, the work for stage put effort in the acting method, with which the chorus and the main characters can be approached. For that reason, the basic method adopted was that of J. Lecoq, and especially the ‘transference’ practice. Moreover, specific elements were selected from the methods of: the Laboratory theatre of J. Grotowski, the Odin Teatret of E. Barba, and from K. Stanislavski’s practice of physical actions. Elements were also incorporated from modern
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10

Gunoe, Andrea M. "The Physical Theatre of War: Language, Memory, and Gender in Black Watch and War Horse." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3725.

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The public's perception of war is influenced by every media story they see, every account they read, and every story they hear. News telecasts and newspapers tend to lean towards a focus of the grand narratives of war such as political involvement and overarching strategy. Media such as books and film can tell a more personal narrative of the events of war and attempt to display how war "really is" through the use of written and visual language that focuses more on how things happened as opposed to simply what happened. Theatre provides a unique perspective on war as the audience and performer
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11

Roberson, Aqueelah. "SWEAT: THE EXODUS FROM PHYSICAL AND MENTAL ENSLAVEMENT TO EMOTIONAL AND SPIRITUAL LIBERATION." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3563.

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The purpose of this thesis is to showcase the importance of God-inspired Theatre and to manifest the transformative effects of living in accordance to the Word of God. In order to share my vision for theatre such as this, I will examine the biblical elements in Zora Neale Hurston's short story Sweat (1926). I will write a stage adaptation of the story, while placing emphasis on the biblical lessons that can be used for God-inspired Theatre. When viewing the stage adaptation based on Sweat, the audience members will understand how God-inspired Theatre aims to help members of society utilize the
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12

Papenfus, Zelné. "Distinguishing between Intended and Perceived Emotions in a 'Dance-based' Physical Theatre Performance." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/75465.

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Dance-based physical theatre as a sub-strand of Physical Theatre, is positioned as a continuum of dance. Dance-based physical theatre performers are encouraged to embrace their personal uniqueness and previous dance training, when creating and expressing movement. The intended meaning embedded in dance-based physical theatre is often misunderstood or not grasped by audience members. This study incorporates emotion into a dance-based physical theatre performance to determine whether audience members are able to perceive the emotions as intended by the choreographer and portrayed by the performe
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13

Madlala, Ntokoza. "Kwasukasukela : a practical exploration of Nguni oral storytelling traditions on contemporary physical forms of storytelling for theatre." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/13898.

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Bibliography: leaves 34-35.<br>The present study is a written explication of the production Kwasukasukela created and staged by the author in September 2001. The production involved a practical exploration of the impact of the Nguni storytelling tradition on contemporary physical form of storytelling for theatre. In the introduction, the terms of the study: the Nguni storytelling tradition and contemporary physical forms of storytelling, are defined. The theoretical proposal is then laid out, followed by a performance historical context for the study focusing on the works of Herbert Dhlomo, Mb
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14

Hadley, Bree Jamila. "Habit in the theatre : Henri Bergson, Gilles Deleuze and performance, with particular reference to the physical theatre of Yumi Umiumare and David Pledger." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5287.

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15

Maera, Claudia. "Carnivalesque disruptions and political theatre : plays by Dario Fo, Franca Rame, and Caryl Churchill." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299610.

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16

Fleming, Cassandra. "A genealogy of the embodied theatre practices of Suzanne Bing and Michael Chekhov : the use of play in actor training." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9608.

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This project investigates the previously unrecognised significance of the ways in which the Embodied Theatre practices of Suzanne Bing (1885-1967) and Michael Chekhov (1891-1955) utilised forms of what I term Embodied Play as a constituent part of their actor training processes. A methodology is developed in the introduction which draws on Foucault's notion of genealogy and Feminist approaches to historiography in order to trace and review accounts of these often marginalised play practices in order to re-configure the contributions of Bing and Chekhov in historical terms. It also challenges n
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Ulvund, Marit. "Echo theatre : from experience to performance." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63809/1/MaritUlvund_Thesis.pdf.

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This research project investigates the characteristics of Echo Theatre, its potential to foster performative and narrative competencies in students, and the role of the teacher in this performative and educational practice. Echo Theatre is a method devised during my storytelling practice and this research confirms that there is no identical research or teaching practice which involves students staging personal narratives in the classroom in this way. The study has been informed by crossdisciplinary theory studies from the fields of phenomenology, cognitive sciences, and theatre practice. To
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18

Kim, Sang Kyung. "Physical dance performance : an investigation into the development of a performance technique based on the integration of certain Korean dance technique and contemporary Western styles of dance and physical theatre." Thesis, Brunel University, 2001. http://bura.brunel.ac.uk/handle/2438/4843.

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This development of a performer practice that integrates elements of traditional Korean dance technique and Western forms of physical theatre and contemporary dance is based on an approach to internal understanding and external execution. Central to the work is the concept of body energy, or Ki. This ancient Eastern term is translated into a contemporary practice that enables a performer to engage mental and physical training. Breath and the use of breath in performing are the principal means of achieving this level of engagement.
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19

Cho, Joon Hui. "Adapting and directing A princess' drum : a directional journey toward shamanistic ritual in non-verbal physical theatre /." Also available to VCU users online at:, 2006. http://hdl.handle.net/10156/1241.

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20

Joyner, Thomas Parnell. "And what rough beast: The political geography of physical impairment in twentieth-century Irish drama and theatre." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3256441.

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21

Reznek, Jennie. "Moving ideas about moving bodies : teaching physical theatre as a response to violence and the violated body." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11377.

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Includes bibliographical references.<br>Includes abstract.<br>In this thesis I explore my obsession with teaching the physical theatre body over the past twenty-five years.Two sets of questions are proposed: How does the teaching of physical theatre respond to violence and the violated body; and how does pedagogy change when it moves from one context to another? Firstly, I argue that the pedagogy developed by Jacques Lecoq in Paris responded like a pendulum to the extreme violence perpetrated on bodies during the Second World War. I argue that my own practice, influenced by my two years of stu
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22

Cho, Joon Hui. "Adapting and Directing a Princess' Drum: A Directorial Journey Toward Shamanistic Ritual in Non-Verbal Physical Theatre." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/116.

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This thesis is my directorial narrative of a production of A Princess' Drum performed the Newdick Theatre in Shafer Street Playhouse at Virginia Commonwealth University on May 5-7, 2006. This thesis is the exploration of physical non-verbal theatre through adapting and directing Korean playwright, In-Hun Choi's Doong-Doong-Nangrang-Doong. Chapter one of this .thesis examines shamanistic ritual in the pre-production. Chapter two explores movement and voice centered physical work in the production process. Chapter three covers reflections of the process after the performance.
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23

Wilmore, David. "The development of stage machinery in the nineteenth century British theatre : a study of physical and documentary evidence." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:3799.

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Thc devolopment of scene changing machinery in Great Britain is perhaps one of the few disciplines in the field of mechanical engineering which have virtually never relied upon new discoveries in technology for their advancement. Instead it has always lagged behind, perhaps modifying, certainly adapting, existing techniques. This study aims to examine the evolution of stage machinery during the nineteenth century, when many techniques had already been in existence and traditions firmly established since the previous century. The degree of development in the course of the nineteenth century was
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24

Lark, Christine. "The body finds a voice : an investigation into the dual identity of physical theatre in dance and drama." Thesis, University of Surrey, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298820.

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25

Nogarin, Lisa <1996&gt. "La disabilità in scena: danza, corpi, sguardi. I casi di Jérôme Bel, Alessandro Sciarroni e DV8 Physical Theatre." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17603.

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L’incontro tra disabilità e arti performative non è avvenuto in tempi recenti e il modo in cui i progetti artistici e la loro fruizione da parte del pubblico si sono trasformati non è privo di legami con i continui cambiamenti in atto a livello normativo e delle mentalità. Non è mutata solamente la percezione e la considerazione del concetto di disabilità, ma la sua presenza sulla scena continua a stimolare prospettive nuove da cui indagare i meccanismi della rappresentazione teatrale. Le pratiche artistiche e in particolare la danza e la performance, pertanto, costituiscono un osservatorio pr
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26

Oliver, Dustin M. "Music and Lyrics: Harmonizing Two Fundamental Paradigms of Action in the Theatre." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1447333431.

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27

Murray, Robert Ian. "Towards the performer-creator in contemporary mime, with specific reference to the physical theatre of Andrew Buckland, 1988-2000." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1007720.

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Part one of this thesis investigates the conceptualisation of the performer-creator and its relevance in late twentieth century physical performance by examining some of the theoretical, but mainly artistic, traditions that suggest a movement towards this. Chapter one tackles the question of definition, linking mime within a wider physical theatre phenomenon. Chapter two looks at the importance of mime training for contemporary performance. This requires a focus on selected theatre practitioners who have significantly advanced the development of mime training and performance during the twentie
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Burtt, Jon. "Mallakhamb: An investigation into the Indian physical practice of rope and pole Mallakhamb." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1870.

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Mallakhamb is the name given to a little known style of physical culture practiced in India. It is mix of wrestling strength training and yoga postures practiced in pole and rope forms. Mallakhamb originally developed in the state of Maharashtra in India and was practiced to develop strength, agility and flexibility. Mallakhamb has now developed into a sport with championships held annually at district state and national levels. This thesis has four main goals: 1) to present a detailed analysis of the training elements of mallakhamb - the apparati, the training methods, techniques and where it
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Bernard, Rebecca. "Working from the Outside: Discovering Truth Within a Mask." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1700.

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It is the purpose of this thesis to explore the different principles of mask performance in modern theatre and the unique relationship it allows the actor to develop with an audience. The author uses exercises from her training experience with different mask artists such as Teatro Punto, Familie Floz, Torbjorn Alstrom, and Marcello Bartoli. These exercises document a process of training the body in preparation for the mask, how to perform with mask, and how to connect with an audience. The mask is used as a tool to discover an engagement of work that activates both body and imagination of t
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Tuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.

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Shakespeare has been performed on Australian stages for over two hundred years, yet despite this fact, in Australia we still treat Shakespeare as a revered idol. It seems that, as a nation of second-class convicts, consciously or not, we regard Shakespeare as a product of our aristocratic founders. However deeply buried the belief may be, we still think that the British perform Shakespeare ‘the right way’. As a result, when staging his plays today, our productions suffer from a cultural cringe. This research sought to combat these inhibiting ideologies and endeavoured to find a way in which Au
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Inouye, Kevin. "Method in Motion: Grounding a Movement Pedagogy in the Lessons of Stanislavski." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2690.

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This thesis is an exploration of movement pedagogy as a continuation of basic acting lessons from Stanislavski. Using the example of an introductory semester of movement instruction, physical acting and movement concepts are explained in terms of their connection to and derivation from universally accepted acting terminology and ideas. This is put forth as a way to facilitate the synthesis of movement instruction with other acting curriculum, as well as providing a new way to view some familiar acting concepts. Several specific examples are explored in more depth as case studies in physical eq
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Haxton, Robert Peter. "Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015671.

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This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questi
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33

Ferreira, de Mendonça Guilherme Abel. "Acting theory as poetic of drama : a study of the emergence of the concept of 'motivated action' in playwriting theory." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7331.

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Playwriting theory has, from its beginning, been concerned with the search for the essential nature of dramatic writing. Early playwriting treatises (poetics) defined the essential aspects of drama as being the plot (creation of sequences of fictional events), the moral character of its heroes, the idea of enactment, or the rhetorical and lyrical qualities of the text. These categories were kept through later treatises with different emphasis being put on each category. An understanding of drama as a sequence of fictional events (plot) has been central in acting theory. Modern theories and tec
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Vidal, Christopher Drew. "Integrating Actor Training into Movement Design: An Analysis of the Fight Direction in Tamburlaine and Edward II." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/770.

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The following thesis draws from a recent production assignment at the Shakespeare Theatre Company in Washington, D.C., in which I acted as Associate Fight Director under Broadway Fight Director Rick Sordelet. We worked on three shows in all: William Shakespeare's Taming of the Shrew, and Christopher Marlowe's first play, Tamburlaine, and his last, Edward II. By analyzing and assessing the working methods utilized during this production process, I hope to elucidate the most effective elements, and finally synthesize the tenets of my own working method. Structurally, I will recount the experi
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Neideck, Jeremy. "The fabric of transcultural collaboration: Interweaving the traditional Korean vocal form of p'ansori and the contemporary Japanese dance form of butoh in a transculturally Australian context." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93720/1/Jeremy_Neideck_Thesis.pdf.

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This practice-led research investigated the negotiation processes informing effective models of transcultural collaboration. In a creative project interweaving the image-based physicality of the Japanese dance form of butoh with the traditional Korean vocal style of p'ansori, a series of creative development cycles were undertaken with a team of artists from Australia and Korea, culminating in Deluge, a work of physical theatre. The development of interventions at 'sites of transcultural potential' resulted in improvements to the negotiation of interpersonal relationships and assisted in the e
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Radvan, Mark. "Towards Bodydialogue : developing a process for enhancing the actor's physicalisation skills in rehearsal and performance." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16025/1/Mark_Radvan_Thesis.pdf.

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Bodydialogue is a coherent and simple system of exercises, rehearsal techniques, principles and aesthetic values which in application enhance the actor's ability to physicalise dramatic action and behaviour. It can be applied directly within a rehearsal process to heighten the physical life of a play or performance event, or it can be taught separately as a system for providing student actors with concrete skills in movement, stagecraft and physical characterisation. Unlike many other movement systems taught in drama schools, such as Mime, Dance, Acrobatics or Alexander, which are groun
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Radvan, Mark. "Towards Bodydialogue : developing a process for enhancing the actor's physicalisation skills in rehearsal and performance." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16025/.

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Bodydialogue is a coherent and simple system of exercises, rehearsal techniques, principles and aesthetic values which in application enhance the actor's ability to physicalise dramatic action and behaviour. It can be applied directly within a rehearsal process to heighten the physical life of a play or performance event, or it can be taught separately as a system for providing student actors with concrete skills in movement, stagecraft and physical characterisation. Unlike many other movement systems taught in drama schools, such as Mime, Dance, Acrobatics or Alexander, which are groun
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Oliveira, Alexandra Marques Espiridião de Oliveira. "Reconceptualização das Brincas de Évora: encenação em teatro-comunidade." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/20875.

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Este trabalho consiste no Relatório do projecto de Mestrado em Teatro, Arte do Actor- Encenador, da Escola de Artes da Universidade de Évora. Projecto este que foi implementado entre Janeiro e Março de 2011, no seio da PIMTAI associação cultural [Companhia Pim Teatro | Escola de Artes PIM]. Contem os pressupostos teóricos à intervenção do artista em projectos de teatro-comunidade. Estabelece um conjunto de boas práticas e desenha um perfil para a coordenação/mediação. Propõe um modelo de trabalho assente na expressão pessoal, na criação colectiva e no teatro físico, potenciador dos processos d
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Robins, Gavin. "Moving the actor : towards an holistic approach to training and devising for performance." Thesis, Queensland University of Technology, 2002.

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The purpose of this study is to understand holistic, practical methods of training and devising for physical performance. The research conducted in this thesis is designed to uncover insights into the training and devising mechanisms of my substantial experience with leading physical theatre company Legs on the Wall. In order to understand the training and devising mechanisms of Legs on the Wall I have presented a selected history of the company from their formation in 1983 to 2000. This historical overview traces major influences on the group as well as the type of training and devising the c
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Lane, Michelle I. ""Why do hurt people hurt people?" A SERIES OF CASE STUDIES EXPLORING ABUSIVE RELATIONSHIPS IN DRAMATIC TEXTS AND ONSTAGE WITH TONI KOCHENSPARGER'S MILKWHITE." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492704228702652.

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Bradley, Lynne M. "Found in translation: Transcultural performance practice in the 21st century." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/104124/1/Lynne_Bradley_Thesis.pdf.

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This practice-led PhD proposes Cultural Translation as a methodology for engaging with transcultural performance as innovative and ethical practice. The investigation draws upon the decade-long collaboration between Australian contemporary performance company Zen Zen Zo Physical Theatre and Japanese Butoh company Dairakudakan. The study addresses questions regarding the transposition of cultural product; the ethics of cultural exchange; and artistic innovation in transcultural performance praxis. The study's findings include a cultural translation of Maro Akaji's Butoh training and devising. T
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Prisco, Lauren. "Immersive Theater & The Physical Narrative." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4896.

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Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative.
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Almeida, Fabiana Chiaini de Oliveira. "O teatro científico como alternativa metodológica no ensino de física para a aprendizagem do conteúdo de oscilações e ondas." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/4602.

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Lin, Xiyu. "Confining Women| The Physical World of Machinal." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10752184.

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<p> In order to understand the world of <i>Machinal</i>, I researched the Snyder-Gray trial that inspired Sophie Treadwell to write the piece. This trial, in which a seemingly innocuous housewife was accused of conspiring with her lover to murder her husband, was a springboard to create the drama titled <i>Machinal</i>. The analysis of the Ruth Snyder case revealed a disguised misogyny that would be reflected in my scenic design, which depicts the world of Helen, grappling with her husband for freedom under the societal expectations of women. In the background, the ever-present typists sit on
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Vasilakou, Antonia. "Le mime tragique dans les mises en scène de Jean-Louis Barrault : quatre exemples : la Faim, Antoine et Cléopâtre, Baptiste et Les Suites d’une course." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100119.

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Le sujet traite de la notion du mime tragique de J.-L. Barrault dans quatre de ses mises en scènes relatives à l'art du geste et du mime.La première partie de la thèse trace les influences qui ont forgées artistiquement Barrault, dont J. Copeau, le Cartel et plus particulièrement Ch. Dullin. Une grande partie est consacrée à Étienne Decroux sur les niveaux théorique et pratique du mime corporel de Barrault. Barrault fut aussi sous le charme « magnétique » d'A. Artaud ce qui sera également évoqué à divers moments dans cette recherche. La partie est complétée par une section dédiée à l’empreinte
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Burtt, Jonathan. "Pedagogy in performance: An investigation into decision training as a cognitive approach to circus training." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1778.

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This research project represents the first formal research conducted into the potential application of Decision Training in an elite circus arts school environment. The research examines the effects of the introduction of Decision Training—a training model developed for sports applications—into the elite circus arts training program at the National Circus School (NCS), a key circus arts school in one of the world’s most vital circus domains, Montreal, Quebec, Canada. Decision Training, a cognitive-based training model, has been shown through extensive sports-based research to support the devel
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Ho, Ai-Cheng. "Application du Taiji quan au jeu de l’acteur : conception et mise en pratique d’un training créatif." Electronic Thesis or Diss., Bourgogne Franche-Comté, 2022. http://www.theses.fr/2022UBFCC033.

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Ma recherche théorico-pratique consiste en une étude portant sur l’application de la pratique et de la philosophie du Taiji quan dans la préparation de l’acteur et de la performance théâtrale.Ma thèse entend, d’abord, analyser comment la recherche d’une conscience supérieure par la pratique du Taiji quan répond au travail des metteurs en scène européens du XXe siècle jusqu’à aujourd’hui qui vise à stimuler la conscience créative de l’acteur. Puis je réfléchirai à la façon dont l’acteur parvient à substituer à sa conscience ordinaire une tout autre conscience durant le processus de son jeu, et
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Johnson, Anthony Lewis. "Training the Young Actor: A Physical Approach." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1258075804.

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Pinkham, Bryce Allen. "A Fool's Journey: An Exploration of Physical Comedy in Theory and Practice." Thesis, Boston College, 2005. http://hdl.handle.net/2345/576.

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Thesis advisor: Scott T. Cummings<br>My Senior Honors Thesis may be understood as a two-part investigation that addresses both theoretical and practical concerns of physical comedy and the language of gesture. I will first present some of my more general findings about comedy in order to more accurately zero in on the figure of 'the Fool.' I will thereafter investigate the function of the Fool in society and report on two of his most definitive iterations: Arlecchino, of the Italian Commedia dell'Arte and Bill Irwin of the contemporary stage. These theoretical components will eventually serve
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Carson, Jo. "Spider Speculations: A Physics and Biophysics of Storytelling." Digital Commons @ East Tennessee State University, 2008. http://amzn.com/1559362839.

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"Jo Carson lays bare her personal investigation into her own creative process after a spider bite on her back begins a series of life-altering events. Spider Speculations applies cutting edge mind-body science, quantum physics and ancient shamanistic techniques to describe how stories work in our bodies and our lives, and what happens when real stories are used in a public way. Carson, whose ability to capture the spoken word hallmarks her community-based work, sets down this story in her own distinctive voice, interspersing the journey with examples of her performance work. This truly origina
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