Relevant bibliographies by topics / Theater artists / Dissertations / Theses
To see the other types of publications on this topic, follow the link: Theater artists.

Dissertations / Theses on the topic 'Theater artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'Theater artists.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

Prior, Robert A. "The imperative education of theater artists." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527577.

Full text
Abstract:

David Mamet's book of essays True and False: Heresy and Common Sense for the Actor boldly claims that formal training, particularly of the academic variety, is of no use to aspiring theater artists. This thesis argues for the importance and validity of such training. It is a defense of both formal training and ofStanislavski--the father of almost all contemporary training systems and a figure particularly irksome to Mamet. The thesis is supported by examples gleaned from my own formal education in theater and from insights gained directing student actors on my final project for my MFA, Kira Obelensky's play Lobster Alice.

APA, Harvard, Vancouver, ISO, and other styles
2

Koss, Juliet 1968. "Empathy abstracted : George Fuchs and the Munich Artists' Theater." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/8832.

Full text
Abstract:
Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.
Includes bibliographical references (v. 2, leaves 279-295).
Founded by the art critic Georg Fuchs and built by the architect Max Littmann in 1908, the Munich Artists' Theater is famous for its shallow "relief stage." Reworking the ideas of Friedrich Nietzsche and Richard Wagner in the service of the emerging mass audience, Fuchs advocated "the stage of the future," but created one embedded in its historical moment. Eliciting reactions from major figures in theater, architecture, and the visual arts, it provoked debate over the nature of spectatorship and crystallizes the complex relationship between empathy and abstraction, foundational concepts in modernist aesthetic discourse and artistic production. The relief stage embodied the modernist discourse of flatness; the performances it presented may be allied to the contemporaneous birth of abstraction in Munich. Evoking the newly popular film screen, it faced an amphitheatrical auditorium suitable for the emerging mass audience. The publication that year in Munich of Wilhelm Worringer's Abstraction and Empathy, which articulated the "urge to abstraction," a universal, visceral response to art, registered the spectator's changing status in aesthetic discourse. But Fuchs was inspired by the discussion of relief sculpture presented in 1893 by the sculptor and visual theorist Adolf von Hildebrand. Through Hildebrand, he absorbed the theory of empathy, developed in late nineteenth-century aesthetic philosophy, psychology, and visual theory to describe the spectator's experience as a form of active and embodied vision. Fuchs attempted both to create and serve the mass audience, but he relied on an outmoded aesthetic model while abstraction was brewing in Munich. Ignoring Worringer's displacement of theoretical allegiances from empathy to abstraction, he never linked the relief stage to the aesthetic theory being embraced by the Munich avant-garde. His political leanings were equally conservative; he valued theater's ability to mold a group of individual spectators into the unified audience that he considered necessary for the creation of a strong German state. The promotion and reception of the Artists' Theater in 1908 present a turning point between the solitary bourgeois viewer of the nineteenth century implied by empathy and the mass audience of the 1920s, often described in terms of abstraction, distraction, and estrangement.
by Juliet Koss.
Ph.D.
APA, Harvard, Vancouver, ISO, and other styles
3

Knight, Christina Anne. "Performing Passage: Contemporary Artists Stage the Slave Trade." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11178.

Full text
Abstract:
My dissertation examines the work of George C. Wolfe, August Wilson, Lorna Simpson and Glenn Ligon, theater and visual artists working in the 1980s and 1990s who feature representations of the Middle Passage in their work. Despite their different mediums--Wolfe and Wilson created plays for the proscenium stage and Simpson and Ligon crafted art installations--all four critiqued the racialized social retrenchment of their historical moment by linking it to the slave trade, and each did so through an engagement with black performance traditions.
African and African American Studies
APA, Harvard, Vancouver, ISO, and other styles
4

Deal, Claire Elizabeth. "Collaborative theater of testimony performance as critical performance pedagogy implications for theater artists, community members, audiences, and performance studies scholars /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3356.

Full text
Abstract:
Thesis (Ph.D.)--George Mason University, 2008.
Vita: p. 244. Thesis director: Lorraine A. Brown. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Studies. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 228-243). Also issued in print.
APA, Harvard, Vancouver, ISO, and other styles
5

Mohamed, Noorlinah. "At the nexus between theatre and education : a study of theatre artists' teaching practices." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57690/.

Full text
Abstract:
In Singapore, there is an increasing presence of theatre artists as educators across varied sectors of the educational institutions. However despite their active engagement with education, research on what and how they do their teaching is limited. This thesis sets out to investigate the theatre artists’ teaching practices in education settings. The literature reviewed as part of this inquiry point to an identifiable system of pedagogy in the theatre artists’ teaching practices. As such, one of the key strands of this research is to identify and name what is distinctive about theatre artists’ teaching practices. But more than just identifying characteristics, I am interested in understanding if there is an overarching philosophy that guides these practices. To that end, I conceptualised a framework, which examines the theatre artists’ teaching practices as inhabiting a nested nexus of two distinguishably separate fields: Theatre and Education. Each with its own variegated influences and systems of knowledge and values that govern practices. Working with an overarching Bourdieusean theoretical framework, in particular habitus and field, as well as invoking Lyotard’s notion of differend, the study relies on interdisciplinary theories to aid explication of key concepts related to the study. The study also employs a melding of ethnographic case study and reflective practitioner as its methodology. Additionally, it works with “critiquing across difference” (Lather 2008) as a means to challenge and destabilise the reflective practitioner lens. This is achieved by structuring the research into two phases. Phase I involves researching in England. Working with four theatre artists, I examine how each assumes their position as educators in various education settings both within and beyond the school environment. The opportunity gained from this experience informed Phase II research in Singapore, the main focus of this inquiry. The findings suggest that to understand theatre artists’ teaching practices require an examination of contexts influencing their teaching acts. This includes their layered histories of both artistic and teaching experiences as well as the relationship they have with the school culture and the objectives and needs of their teaching projects. Additionally, in examining their teaching moments, the study discovers a pattern of doing the same approaches or strategies, differently. Working from the data, an overarching world view guiding the construction of their teaching practices is eventually proposed.
APA, Harvard, Vancouver, ISO, and other styles
6

Wong, Hoi-yan. "Centre for HK Cantonese Opera Artist's Association." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946687.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Miller, Jeffrey S. "Enter Stage Right| A Study of Marginalization Related to Conservative Theatre Artists and the Journey to Finding Their Voice Within the Greater Theatre Community." Thesis, Regent University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784538.

Full text
Abstract:

The issue of marginalization has acquired a position of important scrutiny over the past fifty years among Communication scholars. Two theories in particular deal with this issue in a theoretical and practical way: Muted Group Theory and Standpoint Theory. Muted Group Theory, based on the work of Kramarae (Foss, Foss, & Griffin, 1999), Ardener, and Ardener (1973, 1975, 1980, 2005), purports that the linguistic nature of the world lends itself to power structures in which the language and word choice of one group is able to dominate the voice of another. Standpoint Theory, popularized by the work of Harding and Hill Collins, and brought to greater working prominence within the communication field through Wood and Houston, essentially deals with “how the circumstances of an individual’s life affect how that individual understands and constructs a social world” (Littlejohn & Foss, 2011, p. 110). While these two theories are typically applied to causes generally considered to be championed by liberal ideologists, they are not without their crossover value within the realm of conservative causes. The thrust of this study is to take one such cause—the voice of the conservative theatre practitioner within the greater theatre industry—and examine it through the lens of these two theories to the end that the issue of marginalization and its effects on these practitioners may be understood and that such marginalization may be mediated through the use of practical and theory-based strategies.

APA, Harvard, Vancouver, ISO, and other styles
9

Calvert, Dave. "Performance, learning disability and the priority of the object : a study of dialectics, dynamism and performativity in the work of learning disabled artists." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/95588/.

Full text
Abstract:
This submission draws together six publications and a covering document to set out an original contribution to knowledge in the field of learning disabled performance. Critical attention has been relatively scarce in this field, and the publications gathered here offer the only extended study of learning disability and performance that covers a range of artists across the artforms of theatre and music. Following an initial provocation which outlines the emergence of theatre and learning disability, the publications focus mostly on detailed studies of specific artists, exploring their aesthetic practice along with discursive and audience responses to their work. The article on Heavy Load considers how the integrated band, in its negotiation of punk’s anti-aesthetic, reappropriates the image of learning disability already inherent in the form. Two publications on Susan Boyle explore how her successful audition for Britain’s Got Talent contradicts medical and discursive attempts to contain learning disabled people, and also reveals the traditional place of learning disability in what Slavoj Žižek (following Jacques Lacan) calls the symbolic order. A chapter on Mind the Gap critically assesses the company’s various projects and explores the notion of the learning disabled actor. The final article on Back to Back theatre opens up post-Brechtian dialectics operating in key productions by the ensemble. The covering document sets out the core arguments that underpin my publications, forming a cohesive approach to reading learning disabled performance with significance for the social and aesthetic understanding of cognitive impairment. I contest a dominant approach that positions learning disabled people as non-performative and singularly non-dialectical. My original readings draw particularly on Theodor Adorno’s negative dialectics and I propose a specific dialectic of stasis and dynamism. In doing so, the combined research generates new possibilities for understanding such performance encounters beyond the historically sedimented constructions of learning disability.
APA, Harvard, Vancouver, ISO, and other styles
10

Erenrich, Susan J. "Rhythms of Rebellion: Artists Creating Dangerously for Social Change." Antioch University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1286560130.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

Herrmann, Laura Renee. "African Costume for Artists: The Woodcuts in Book X of Habiti antichi et moderni di tutto il mondo, 1598." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000573.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

Shelton, Rebecca S. "Paint manager for 2008-2009 academic year and paint charge for three sisters and twelfth night." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1241724077.

Full text
APA, Harvard, Vancouver, ISO, and other styles
13

Brito, Deise Santos de. "Um ator de fronteira: uma análise da trajetória do ator Grande Otelo no teatro de revista brasileiro entre as décadas de 20 e 40." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-14122011-231051/.

Full text
Abstract:
Essa pesquisa aborda o trabalho do ator Grande Otelo no teatro de revista brasileiro produzido entre as décadas de 20 e 40, analisando suas atuações em três momentos, a participação na Companhia Negra de Revistas, os trabalhos desenvolvidos na Companhia Jardel Jércolis e a fase do ator como artista fixo do Cassino da Urca.
This research approaches Grande Otelo´s work as an actor in the brazilian revue theater between 20s and 40s, analyzing his performances in three moments: the participation in the Black Company Revue, the work in the Jércolis Jardel Company and his phase as artist of the Urca Casino.
APA, Harvard, Vancouver, ISO, and other styles
14

Schneider, Justine Marie. "The Scenic Charge Artist as Leader: Research in Historical Models, Exploration in Practice, and Synthesis in Documentation." Marietta College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1366897186.

Full text
APA, Harvard, Vancouver, ISO, and other styles
15

Coon, Sarah M. "Artistic License or License to Kill? Reinterpretation as a Director's Tool." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1335821102.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

White, Sullivan Canaday. "Training the Theatre Artist." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/8.

Full text
Abstract:
While most undergraduate theatre programs value the concept that their students should be acquainted with all areas of theatre, (acting, directing, design, playwrighting), they implement it by asking students to take classes in each area of specialization, which can reinforce the natural division between the fields. This thesis aims to create four courses that would be a part of a larger undergraduate curriculum that focus upon training the theatre student in a holistic manner through developing knowledge and skill in all fields of the theatre simultaneously and within a single class. Significantly, this process begins with a course in collaboration that consciously draws attention to the components and abilities necessary for fruitful ensemble work. Students participate in non-hierarchical methods for creating theatre and then apply these same concepts to the elements (actor, text, light, sound, etc.) that contribute to creating theatrical moments. This type of training encourages students to view themselves not just as an actor or director or designer or playwright, but as theatre artists who have a sense of ownership of the knowledge of how these various fields work together within him or herself, but also within the theatre as a whole. My experience has been that after such courses students have an even greater sense of respect for what it means to make theatre with a group of people, and as theatre is never done in isolation, this is a step toward more empowered theatre artists.
APA, Harvard, Vancouver, ISO, and other styles
17

Odzimkowska, Mariola. "La réception du théâtre polonais en France de 1989 à nos jours." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040137.

Full text
Abstract:
Le sujet posé a pour but d’identifier le théâtre importé de Pologne et de déchiffrer le rôle qu’il joue dans la vie théâtrale française ainsi que dans le contexte culturel de la France. La présence du théâtre polonais de 1989 à nos jours en France est conditionnée par plusieurs facteurs : les relations historiques et culturelles entre les deux pays, l'activité des institutions et des personnes médiatrices, la vie théâtrale française et ses composantes. Jerzy Grotowski et Tadeusz Kantor continuent à garder leur importance pour le milieu théâtral français. Il se crée dans la conscience du spectateur/critique français une opinion que le théâtre polonais, comme celui de Kantor et de Grotowski, est un endroit laboratoire, où le temps du spectacle est sacré. Ce sont les théâtres d'art de Krystian Lupa et de Krzysztof Warlikowski qui s'avèrent de nouvelles révélations artistiques. Leurs œuvres démontrent la complexité de l'homme. Leur réception s'élargit sur les stages, les créations avec les artistes français et les mises en scène d'opéra pour Warlikowski. Cependant, ces metteurs en scène viennent en France très rarement avec les adaptations d’œuvres dramatiques polonaises. Les auteurs dramatiques polonais ont donc une certaine réception en France, surtout Witold Gombrowicz, Stanisław Witkiewicz, Sławomir Mrożek qui passe par le chemin des traductions et des mises en scène proposées par des artistes français. La lecture de l'autre à travers le théâtre est supposée rester une lecture partielle, le récepteur n'ayant pas le même vécu historique que l'objet perçu. Néanmoins, malgré sa partialité, elle jette une nouvelle lumière sur le théâtre polonais
This study represents an attempt to identify the Polish theater brought to France since 1989 and to analyse the role it currently plays in contemporary theatre in France as well as in the broader cultural context. Its very presence depends on several factors: historical and cultural relations between the two countries, related institutional and individual activity, as well as the French theatrical life itself and its components.Jerzy Grotowski and Tadeusz Kantor continue to maintain their iconic status in the French theater community. There is a well-rooted understanding of the Polish theater as an experimental space (by French theatergoers and critics alike and accomplished precisely through Kantor's and Grotowski's impact), where bearing witness to on-stage action is a sacred. Krystian Lupa's and Krzysztof Warlikowski's art theater appears to be the latest to date of artistic discoveries. Their works are seen as primarily dealing with complexities of human nature. What follows are internships, joint projects with collaborating French artists and opera productions (Warlikowski). Simultaneously these very same stage directors rarely bring their own adaptations of Polish drama repertoire to France.However, Polish playwrights in general do generate interest. This is particularly true for Witold Gombrowicz, Stanisław Witkiewicz, Sławomir Mrożek, but tends to happen another way through French translated and staged versions.Understanding the other through theater is often assumed to be an incomplete reading, as the reader does not have the same baggage of lived history as the object of his or her perception. Yet despite this obvious bias, this reading sheds a new light on the Polish theater
APA, Harvard, Vancouver, ISO, and other styles
18

Redd, Tina. "The struggle for administrative and artistic control of the Federal Theatre Negro units /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/10222.

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Falks, Heather N. "The Doubtful Hero: An Artist's Journey." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/3891.

Full text
Abstract:
THE DOUBTFUL HERO: AN ARTIST’S JOURNEY By Heather N. Falks, MFA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre at Virginia Commonwealth University Virginia Commonwealth University, 2015 Director: Noreen Barnes Graduate Studies Director, Department of Theatre This thesis documents my role as director of Time Tells, an ensemble based, multi-media, devised theatre piece. I address my specific responsibilities when leading an ensemble to create new work and produce it for the public. I identify the problems the ensemble faced and account how I mediated when dealing with conflict. Additionally, I include important professional influences such as, director and author, Anne Bogart and her nine Viewpoints; and the work of director and activist, Augusto Boal and the Theatre of the Oppressed. I explain how exercises from Viewpoints and Theatre of the Oppressed aided my approach to team building and helped the ensemble establish a common language for communication. A shared vocabulary and sense of community allowed the ensemble to freely explore character and relationships, which led to formation of the Time Tells story.
APA, Harvard, Vancouver, ISO, and other styles
20

Lang, Birgit. "Eine Fahrt ins Blaue : deutschsprachiges Theater und Kabarett im australischem Exil und Nach-Exil (1933-1988) /." Berlin : Weidler, 2006. http://catalogue.bnf.fr/ark:/12148/cb410371753.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Silva, Carolina Vieira. "Teatro e currÃculo em contracena: sentidos para a proposta pedagÃgica do curso de Teatro-licenciatura/ICA/UFC." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=12228.

Full text
Abstract:
nÃo hÃ
O objeto de estudo desta tese reporta-se a uma questão comum a diversos cursos de licenciatura em Teatro: a preocupação com os percursos formativos dos futuros professores de Teatro. O campo de análise é o currículo do Curso de Teatro-Licenciatura, Instituto de Cultura e Arte (ICA), Universidade Federal do Ceará (UFC). Inferiu-se que a identidade profissional dos discentes é construída a partir dos sentidos que através de suas experiências eles atribuem à proposta pedagógica do curso. Desta forma, a questão que se busca responder é como eles avaliam esta proposta pedagógica a partir da relação que estabelecem entre ela e o perfil do egresso, o artista-pesquisador-docente. O foco desta pesquisa é, portanto, o que se pode considerar como currículo com quem, ou seja, o perscrutar de um currículo através da compreensão de quem o afeta e é afetado por ele. O conceito e a análise do currículo são construídos em diálogo com os discentes por meio de entrevistas, questionários, cartas, projetos de cenas e relatórios por eles elaborados em diversas etapas de sua formação. Conclui-se que, no que diz respeito à relação entre o currículo e o perfil do egresso, a crítica do discente e o desafio dos agentes curriculares recaem sobre as disciplinas que necessitam estabelecer maior ligação entre si, a fim de prepararem, cada uma em sua especificidade mas de maneira integrada, um profissional plural. Neste caso, a interdisciplinaridade pode se apresentar como uma alternativa possível para suscitar experiências que sejam capazes de agregar a arte, a pesquisa e a docência.
The object of study of this thesis refers to a common issue to many undergraduate courses in Theater: a concern with education courses for prospective teachers of Theater. The field of analysis is the curriculum of the Theater Teacher Education Course, Institute of Culture and Art ( ICA ), Federal University of Ceará (UFC). It was inferred that the professional identity of the students is built from the senses they attribute through their experiences to the course proposal. Thus, the question that seeks to answer is how they evaluate this pedagogical proposal from the relationship established between it and the egress profile, the artist- researcher- teacher. The focus of this research is what may be regarded as a curriculum with whom, ie, the analysis of a curriculum through the understanding of who affects it and is affected by it. The concept and analysis of the curriculum are constructed in dialogue with the students through interviews, questionnaires, letters, project scenes and reports prepared by them at various stages of their education. We conclude that, with regard to the relationship between the curriculum and the egress profile, the critical challenge of the curriculum and student agentsfalls on the disciplines that need to establish greater links between them in order to prepare, each in its specificity but in an integrated manner, a professional that isplural. In this case, interdisciplinarity can be presented as a possible alternative to elicit experiences that are capable of adding art, research and teaching.
APA, Harvard, Vancouver, ISO, and other styles
22

黃凱茵 and Hoi-yan Wong. "Centre for HK Cantonese Opera Artist's Association." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984216.

Full text
APA, Harvard, Vancouver, ISO, and other styles
23

Monteiro, Altemar Gomes. "Caminhares PerifÃricos: NÃis de Teatro e a PotÃncia do Caminhar no Teatro de Rua ContemporÃneo." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19662.

Full text
Abstract:
FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico
A presente dissertaÃÃo, inserida dentro dos estudos aplicados aos processos criativos do Tea-tro de Rua ContemporÃneo, lanÃa-se ao desafio de refletir sobre o processo de montagem e circulaÃÃo de âO Jardim das Flores de PlÃstico / ato 3: Por baixo do saco pretoâ, espetÃculo teatral montado pelo Grupo NÃis de Teatro, em Fortaleza, no primeiro semestre de 2015. A partir da experiÃncia das caminhadas do grupo teatral na periferia urbana, seja no processo de montagem ou na prÃpria lÃgica de encenaÃÃo/dramaturgia proposta ao espectador, o estudo se pergunta sobre as possibilidades desse teatro feito na periferia da cidade na construÃÃo de situaÃÃes poÃticas que inflamem dissensos nas operaÃÃes estratÃgicas de normatizaÃÃo das vidas e segregaÃÃo dos espaÃos da urbe. Reconhecendo um teatro que se faz imanente no es-paÃo urbano, o que o caminhar como prÃtica de espaÃo em fluxo oferece de potÃncia reflexiva e criativa para o trabalho do artista que se lanÃa a este desafio? A proposiÃÃo do trabalho Ã, expandindo o campo de aÃÃo das Artes CÃnicas, estimular o diÃlogo entre teatro e urbanismo, refletindo sobre o que o caminhar pelas periferias urbanas reconfigura, a partir do sensÃvel, sobre a prÃpria experiÃncia de cidade.
APA, Harvard, Vancouver, ISO, and other styles
24

Kaye, J. N. "The fine artist's use of theatre form since 1945." Thesis, University of Manchester, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378437.

Full text
APA, Harvard, Vancouver, ISO, and other styles
25

Wansa, Amanda. "Plungers and Productivity: A Student Artist's Survival Guide to Multi-Tasking." Master's thesis, Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002579.

Full text
APA, Harvard, Vancouver, ISO, and other styles
26

Unyl, Patricia. "Peças de Beatrix : pesquisa teatral em educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/27678.

Full text
Abstract:
Esta dissertação acompanha o movimento de Beatrix. Figura guia e atriz, eternamente grávida do porvir. Enuncia um processo de criação de uma atriz que pulsa sob a interferência da filosofia da diferença, da literatura e das aprendizagens da cena. Num teatro para deseducar, e num deseducar para teatrar. Um movimento contínuo de começar e não começar. A eterna espiral ganha a cena e apresenta a vida. Explora técnicas de corte, e improviso, em especial as que se referem ao pós-dramático e outras manifestações das artes cênicas contemporâneas, articulando conceitos e práxis teatral. Procurando pontuar, sem determinismos, elementos que facilitem tanto o improviso quanto o cut up envolvido no processo de criação, seja de personagens como em imagens e cenas. As considerações sobre o sentido trágico de Nietzsche, a concepção de plano de composição das artes de Deleuze e Guattari, junto com outros autores contemporâneos, são evocadas a fim de, ao se explorar pontos de vista, cortes e montagens, pensar os sentidos e os não sentidos dos textos, no palco e fora dele.
This paper follows the movement of Beatrix. Figure, guide and actress, eternally pregnant with the future. It outlines a process for creating a star that pulses under the influence of difference of philosophy, literature and learning. A theater for to educate, and to contradict the theater. A continuous movement to begin and shall not begin. The eternal spiral won the scene and presents the life.. Explore cutting techniques, and improvisation, in particular those relating to post-dramatic and other manifestations of contemporary performing arts, articulating concepts and practice of theater. Looking to score, without determinism, elements that facilitate both improvisation as the cutup involved in the creation process, either as characters in scenes and images. The findings of the tragic sense of Nietzsche, the concept plan of composition in the arts of Deleuze and Guattari, along with other contemporary authors, are evoked in order, to explore views, cuts and montages, the senses and think no sense of texts, onstage and off.
APA, Harvard, Vancouver, ISO, and other styles
27

Sommerlade, Kristine. "Identity, knowledge and ownership : contemporary theatre dance artists in the UK's creative economy." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/25866/.

Full text
Abstract:
This thesis examines contemporary theatre dance artists' economic conduct to fill a gap in knowledge in current dance scholarship. It seeks to identify economic competencies and behaviours which dance artists employ in their work lives. Furthermore, it explores to what extent the theatre dance field's senior representatives are influential in shaping these competencies and behaviours. It also investigates the relationship between dance artists' economic conduct and their artistic and financial status, in and outside of theatre dance. The thesis's central hypothesis is that dance artists approach their artistic practice(s) and related economic circumstances and behaviours as interrelated value spheres, despite publicly upholding their separateness. An empirical ethnographic investigation, which has involved twenty-two research participants, underpins the thesis's argument. By utilising interviews, community reviews and the embodied presence of the researcher in the field, the study's methodology has aimed to create a more level playing field between the researcher and participants. In addition, it draws on commissioned governmental and independent reports which document and debate New Labour's cultural policies between 1997 and 2010. This study's economic perspective on its research field has been absent in previous key studies. It calls into question idealised perceptions held by many about dance artists as labourers and theatre dance as a work field. To achieve its goals, the study, firstly, provides insights about dance artists' livelihood systems which emphasise that they employ distinct economic strategies and engage expertly with multiple value economies. Secondly, it reveals that New Labour's cultural policies inadvertently disrupted the theatre dance sector's central value-generating mechanisms. In doing so, they destabilised the secondary dance-related labour market and affected dance artists' ability to self-fund their practice. Thirdly, the thesis underlines that cultural policymakers by disregarding dance artists' livelihood systems delivered unexpected outcomes which contradicted their expressed goals.
APA, Harvard, Vancouver, ISO, and other styles
28

Willis, Fleming Harry. "Artist, tower, books : the memory theatre of Richard Cockle Lucas." Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/21400/.

Full text
Abstract:
Richard Cockle Lucas (1800-1883) has been remembered for forging a Leonardo and marrying a fairy. This distorting vision, juxtaposed with his protean versatility and originality, makes Lucas an awkward subject for historiography to get a hold on. Lucas was a sculptor, printmaker, photographer, model maker, architect, performer, writer. From 1854, at Chilworth near Southampton he constructed two idiosyncratic Towers, each as his home, studio, gallery, and observatory. Proceeding from the thematic frame of Lucas as a tower builder and dweller, this study makes the first integrated examination of Lucas as a multimedia artist. It identifies that at the Tower(s) a major shift occurred in his practice: the placing of himself within the subject matter of his art, together with a preoccupation with notions of self, mind, and consciousness. Through the disciplinary sight lines of cultural history and the history of architecture in its broadest formulation (after Dana Arnold and Andrew Ballantyne), the study draws on conceptions of the relationship between architecture and metaphysical thought, notably Frances Yates and Gaston Bachelard on, respectively, magical and poetic space. The study conceptualises the realm of Lucas’s Tower and his ‘monumental’ books (scrapbooks and albums) collectively as a ‘memory theatre’. Employing this occult paradigm and spatial metaphor, it argues that the Tower was a strategic enterprise of knowledge and inspiration, self-memory and self-realisation. Lucas’s practice is found to raise intriguing questions about the dialectics between space, body, and mind in the nineteenth-century and beyond. Using Lucas’s untapped archive and writings, the main body of the study offers a layered series of findings and speculations around the themes of: nature, the view, and the miniature model; symbolism, mysticism, and (meta)fiction; and providence, posterity, and intersubjectivity. In the process, it brings to light connections with other noteworthy histories, such as Lucas’s work as a scale modeller for John Nash and with John Flaxman. In conclusion, the study suggests that Lucas is a significant and transitional creative figure who prefigured later developments and syntheses in the expanded and emerging fields of art and psychology. Finally, it exposes binary oppositions troubled by Lucas that persist through to the present-day within/between the natural sciences and the humanities, on issues of rationality, objectivity, truth.
APA, Harvard, Vancouver, ISO, and other styles
29

Workman, Abigail E. "Artist Descending a Staircase: Blending Radio and Theatre in Production." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1114209663.

Full text
APA, Harvard, Vancouver, ISO, and other styles
30

Grandjean, Coralie. "Etude artistique et financière des débuts au Théâtre de Montpellier sous le Second Empire (1852-1870)." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30029.

Full text
Abstract:
Étude artistique et financière des débuts au Théâtre de Montpellier sous le Second Empire. Fonctionnement des débuts et impact budgétaire sur le théâtre. Etude sur la rémunération et la gestion des artistes. Analyse des gestions artistique et financière du Théâtre. Impact national et politique des débuts. Étude sur les directeurs, le public, le personnel du Théâtre, les artistes et les œuvres utilisées pour leurs passages lors des débuts
Artistical and financial study about the 'débuts' in Montpellier'theater during the Second Empire. How the 'débuts' work and financial impact on the theater. Study about the management and payment of the artists. Analysis of management (artistically and financially) of the Theater. National and political impact. Study about the differents directors, public, theater employees, artists and operas used for their 'débuts'
APA, Harvard, Vancouver, ISO, and other styles
31

Shane, Rachel. "Negotiating the creative sector understanding the role and impact of an artistic union in a cultural industry : a study of Actors' Equity Association and the theatrical industry /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1158512076.

Full text
APA, Harvard, Vancouver, ISO, and other styles
32

Kogut, Kate Berneking. "Connections and confluences the personal and artistic journeys in the writing of Survival dance /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4781.

Full text
Abstract:
Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 26, 2007) Vita. Includes bibliographical references.
APA, Harvard, Vancouver, ISO, and other styles
33

Gama, Joaquim Cesar Moreira. "A abordagem estética e pedagógica do teatro de figuras alegóricas: chamas na penugem." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-19082015-110743/.

Full text
Abstract:
O objeto da presente pesquisa é a abordagem estética e pedagógica do Teatro de Figuras Alegóricas, na encenação Chamas na Penugem, sob a coordenação da Profa. Dra. Ingrid Dormien Koudela com alunos do curso de Licenciatura de Teatro. Identifica-se, neste projeto, a concepção da encenação como prática pedagógica e o seu cerne está nas relações existentes entre a criação artística, a pedagogia do teatro e o artista-docente. As proposições do presente trabalho englobam procedimentos referentes ao jogo teatral, à leitura de imagens e aos processos colaborativos. No que tange à leitura da imagem, são analisados os fundamentos estéticos da didática alegórico-diabólica de Peter Brueghel, o Velho relacionados à descrição de uma série de gravuras intituladas Os Sete Vícios Capitais.
The purpose of the present research is the pedagogic and aesthetic approach of the Theather of Allegorical Figures in the staging of Chamas na Penugem (Flames on down), under the coordination of the PhD Professor Ingrid Dormien Koudela with students of the Theater Degree Course. It can be noticed in this project the conception of staging as a pedagogic practice, and its essential part is in the existing relationship between the artistic creation, the theater pedagogy and the artist-teacher. The propositions of the present paper gather procedures referring to the theater game, the image reading and the collaborative processes. Particularly related to the image reading, is the aesthetic foundations of the diabolic-allegorical didactics of Peter Brueghel, the Elder, related to the description of a set of pictures called The Seven Deadly Sins.
APA, Harvard, Vancouver, ISO, and other styles
34

Fabiano, Claudia Alves. "Uso do território, descentralização e criação de redes no teatro vocacional: aspectos da práxis teatral do artista-orientador." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-09092011-115235/.

Full text
Abstract:
Esta pesquisa parte da sistematização de um processo de trabalho no âmbito do Teatro Vocacional na experiência de duas funções por mim exercidas: artista-orientadora (2004-2006) e coordenadora de equipe (2007-2008), a partir de três dimensões: o uso do território, a descentralização cultural e a criação de redes, como aspectos da formação contínua dos artistas-orientadores envolvidos no Projeto. São estabelecidas relações especialmente com conceitos discutidos na Geografia Humana e presentes na obra do geógrafo Milton Santos, visando a provar que a formação continuada dos artistas envolvidos no Projeto a partir das três dimensões citadas delineia diretrizes básicas para a constituição de políticas públicas culturais sólidas na área de teatro na cidade de São Paulo.
This research starts from the systematization of a work process within the Vocational Theatre based on two tasks performed by the author: orienting artist ( 2004-2006) and team coordinator ( 2007-2008), from three dimensions: use of territory, cultural descentralization and creation of networks, as aspects of the continuous formation of the orienting artists involved in the project. Relations mainly with concepts discussed in Human Geography and present in geographer Milton Santos\' work are established aiming to prove the continuous formation of the artists involved in the project from the three dimensions mentioned outlines basic guidelines to the constitution of solid public cultural policies in the theater area in the city of São Paulo.
APA, Harvard, Vancouver, ISO, and other styles
35

Peterson, Caroline. "Georg Dahlbeck - reklamtecknare och artist i biografernas tjänst : Georg Dahlbeck - advertiser and artist in service for the movie theaters." Thesis, Linköping University, Department of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-16649.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Guerimand, Melanie. "Les programmations du Grand-Théâtre de Lyon (1815–1848) : une identité en construction ?" Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20026.

Full text
Abstract:
Depuis le début du Premier Empire, la création artistique française est régentée, à quelques exceptions près, par les théâtres de Paris. À l’instar de bon nombre de scènes provinciales, le Grand Théâtre de Lyon est contraint, à défaut de pouvoir proposer des œuvres locales, de composer ses programmations lyriques en fonction des productions de la capitale et de construire son affiche en prenant pour modèles celles de l’Opéra et de l’Opéra Comique. À l’aide des différents témoignages retrouvés dans les textes de presse de l’époque, cette étude s’interroge sur l’identité des programmations du Grand Théâtre de Lyon entre 1815 et 1848. Qu’il s’agisse de la représentation de ce répertoire ou de sa réception, les performances des artistes et les jugements des spectateurs lyonnais sont influencés par les succès de la capitale : les programmations de la Restauration laissent la part belle à l’opéra comique ainsi qu’aux compositeurs de l’Ancien Régime et de l’Empire ; celles de la Monarchie de Juillet se renouvellent avec le grand opéra et s’enrichissent d’ouvrages donnés en version originale et de traductions d’opéras étrangers. Mais, bien que la composition et la réussite des saisons soient largement tributaires de la référence parisienne, il existe une identité des programmations lyonnaises, qui est à chercher dans l’originalité du cadre spécifique que constituent l’économie du Grand Théâtre et les prescriptions de la presse locale
Since the beginning of the First French Empire, all the French artistic creation but a few is controlled by the Parisian theatres. As numerous provincial establishments, the Grand Theatre of Lyon, instead of proposing some local creations, is forced to compose its lyrical programs from the productions of the capital city and to take the Parisian Opéra and Opéra Comique as models.Through the different testimonies found in the newspapers of the period, this study questions the identity of the Grand Theatre’s programs from 1815 to 1848. Considering the representation of the repertory or its reception, the artists’ performances and the Lyon spectators’ judgments are influenced by the Parisian successes: the programs during the Restoration are dominated by the opéra comique but also by the Old Regime and Empire’s composers; those during the July Monarchy renew themselves with the grand opéra and are enriched by works played in original version and by translations of foreign operas. But, even though the composition and the success of the seasons are dependent on the Parisian references, there is a Lyon programs’ identity, which is to be searched for in the originality of the specific frame that form the Grand Theatre’s economy and the recommendations of the local newspapers
APA, Harvard, Vancouver, ISO, and other styles
37

Dunn, Amie. "A PERSONAL EXPLORATION INTO THE ETHICS AND RESPONSIBILITIES OF A THEATRE TEACHING ARTIST." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2383.

Full text
Abstract:
As an artist in the field of theatre for young audiences, I encounter many definitions of  teaching artist, and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term  teaching artist continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible teaching artist? This thesis allows me to create a personal definition of  teaching artist while exploring the relationship between responsibility, ethics, and community-based teaching. I begin by formulating my current understanding and beliefs about what it means to be a responsible teaching artist. I research how others in the TYA field, specifically Michael Rohd, Stephani Etheridge Woodson and Barbara McKean have dealt with issues of ethics and responsibility through four specific questions: How does my personal culture, race, gender, sexual orientation, and beliefs positively or negatively affect the work I do with young people? How does a teaching artist manage an environment in which there are inherently therapeutic qualities, without stepping into the role of therapist, and maintain a healthy relationship with the young people and the work? How do teaching artists maneuver through a structure where the ideologies of the teacher are guiding the project on a macro level but not a micro level? Is it possible or necessary to share responsibility with young people? As a reflective artist I can t help but question, challenge, and rethink choices I make in facilitation. I would venture to say it would be irresponsible not to do so. I am hopeful this exploration will not only improve my personal teaching but also allow and inspire others to take a look at their practice in terms of ethics and responsibility.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
APA, Harvard, Vancouver, ISO, and other styles
38

Droth, Barbara Elektra. "Live art, life art : a critical-visual study of three women performance artists and their documentation." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48339/.

Full text
Abstract:
This thesis is a 'practice-led' project that uses observational documentation methods, a long-term collaboration with three live artists, and a narrative analysis to encourage a visual display of 'knowing' the person who makes live art, the performance work itself and the reality of producing and archiving live art. My practice of documenting live performances produces digital representations of the three artists I collaborated with. The fragmented and non-linear expressions of the live performances, which can be viewed in the video documents, also find echo in the life history interviews of the artists. Triangulated with an examination of the artists' websites, these diverse texts provide insight into how the live artists make sense of their embodied autobiographical experiences in a virtual environment. A post-structuralist narrative analysis proposes that the live and online performance-narratives constitute the artists' self as 'an artist' and examines these texts for ideas of the 'self-portrait' and of 'life as experienced'. The research suggests this is especially helpful to the audience's meaning-making processes when engaging with Live Art. The thesis investigates the three artists' representations of the body, specifically their strategies to compel a disruptive reading of nudity, femininity and motherhood. Other performative strategies found in these artists' work lead to discussions on ritual enfleshed in performance, based on Richard Schechner's (1995) understanding of iterative practices, and of participatory incantations that integrate narratives found in myths into narratives of selfhood and community. This thesis aims to develop the understanding of contemporary performance art pratice through examples of three artists' autobiographical performativity in live and online environments. The thesis advances narrative theory beyond its literary framework through a visual and practice-based approach. By linking narrative theory with visual methods this project seeks to demonstrate that experiential approaches could be relevant to narrtaive researches, visual anthropologists, performance ethnographers, as well as live artists, all faced with the inevitability of mediatisation. It contributes to ideas on the digital dispersions of the live artists' identity as not a fracturing of the unified body experienced in live performance but instead as a place for the artists to exercise agency through virtual performativity. The thesis consists of two parts, a website (http://bsdroth.wix.com/thesis2013) and a written text. The online videos and the written text, when read together, form a performative analysis towards the 'knowing who' of the artists. It contributes to the growing interest in methodologies that investigate, document and present cultural experiences and their perceived value. The online presentation of my practice also demonstrates the digital and virtual environment the live artists' work operates in, as exemplified in this thesis. The website is a physical manifestation of integral ideas in this project, around authenticity, ownership and virtual experiences.
APA, Harvard, Vancouver, ISO, and other styles
39

Troop, Meagan. "Developing artistic identity in a post-secondary musical theatre program." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1380.

Full text
APA, Harvard, Vancouver, ISO, and other styles
40

Kidd, Karen Marie. "Towards a Better Use: The Utah Shakespearean Festival, Teaching Artists, and Outreach Programs." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2863.

Full text
Abstract:
Teaching Artists are an important component of the Utah Shakespearean Festival's Education Department's outreach touring program that visits K-12 schools throughout Utah each year. However, the Education Department could be using Teaching Artists in different and better ways to help K-12 teachers infuse theatre into their curriculum. This work looks carefully at the outreach offered by the Utah Shakespearean Festival's Education Department and then compares it to the outreach work being done by the Oregon Shakespeare Festival and Shakespeare Santa Cruz. Based on the analysis of the three festivals, assessment benchmarks are identified to aid the Education Department in evaluating their use of Teaching Artists and suggestions are made to help them strengthen their outreach programs through the creation of a Teaching Artist training program that would allow more Teaching Artists to work in Utah K-12 schools. The work concludes with ideas for lesson and unit plans for Teaching Artists of various levels to use in the K-12 classroom that align with the State Common Core Standards for Language Arts that were adopted by Utah in August, 2010.
APA, Harvard, Vancouver, ISO, and other styles
41

Erwin, Lauren E. "The Making of Camp Shakespeare For Young Performing Artists." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2458.

Full text
Abstract:
In this thesis paper, I will detail the making of Camp Shakespeare For Young Performing Artists, my final graduate short film at the University of New Orleans, from its inception as a script to its final form as a finished short film. In Part One I will examine the personal and cultural influences that led me to develop the script. Part Two will review the pre-production process – how my collaborators and I prepared for the shoot. In Part Three I will scrutinize the day-to-day process of filming. Part Four will chart the post-production process in which the film took its final shape. Finally, I will conclude with an analysis of whether the film met the goals I set for it along with my own successes and failures as a filmmaker and leader of a creative team.
APA, Harvard, Vancouver, ISO, and other styles
42

Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.

Full text
APA, Harvard, Vancouver, ISO, and other styles
43

Gray, Andrew Franklin. "Makers and Creators: Human and Divine Artistry in Calderón." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11141.

Full text
Abstract:
My dissertation examines concepts of creative agency in early modern thought and baroque poetics, with an emphasis on the theater of Pedro Calderón de la Barca (1600-1681). Calderón and his contemporaries inherited from theology the idea that creative authority and power are concentrated in divinity, while humanity cannot, in a strict sense, create at all. While ancient philosophical and scriptural sources often describe a demiurgic God in anthropomorphic terms, the Christian doctrine of ex nihilo creation separates categorically an omnipotent deity from human "makers," who may refashion pre-given materials but not engender anything radically new. In the sixteenth and seventeenth centuries, however, this hierarchy was challenged by literary, political, and psychological insights that endow humanity with an exalted creative potential and an enhanced efficient power over the world. As paradigmatic of this intellectual-historical movement towards the envisioning of a demiurgic humanity, I analyze the "human dignity" tradition and the literary-psychological discourse surrounding the faculty of the ingenio. The intersection of theological ideas with these currents of thought produces a fruitful tension in baroque literature, particularly in the work of Calderón. I argue that Calderón was deeply troubled by the Faustian undercurrent of his century, and that this concern plays out not only in his explorations of the question of poetic "darkness," but also in his treatment of biblical and mythological creator figures like Solomon, Nimrod, Prometheus, and the craftsmen of holy and idolatrous images. Throughout the thesis, I place Calderón's ideas on creative power and efficient knowledge or ciencias in relation to other early modern figures like Huarte de San Juan, Francis Bacon, and Giambattista Vico. This thesis is a contribution to the study of baroque poetics, of early modern Spanish theater, and of the place of aesthetics in the intellectual landscape of the seventeenth century.
Romance Languages and Literatures
APA, Harvard, Vancouver, ISO, and other styles
44

Oliveira, Lineker Henrique de 1987. "Por uma experimentação indisciplinar do artista da cena." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284618.

Full text
Abstract:
Orientador: Matteo Bonfitto Júnior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T18:29:54Z (GMT). No. of bitstreams: 2 Oliveira_LinekerHenriquede_M.pdf: 41164120 bytes, checksum: 3602e9b2a72d03cbd9fa49808ace8732 (MD5) Oliveira_LinekerHenriqueDe_Anexo.zip: 3062258807 bytes, checksum: 86c97b23e199df122863338193c6c6ed (MD5) Previous issue date: 2013
Resumo: Pensar a experimentação como um caminho possível ao desenvolvimento técnico-poético do artista da cena e à criação. Pensar uma prática corporal e vocal integrada, sob o prisma da corporeidade. Pensar a criação artística sob um olhar inter, trans e indisciplinar. Essas são algumas questões que norteiam este estudo, que se propõe como um material a ser apropriado e experimentado por artistas da cena que buscam ampliar as fronteiras de seus saberes e fazeres. A pesquisa apresenta a sistematização de alguns exercícios que têm por objetivos experimentar e reconhecer algumas possibilidades da conexão entre corpo e voz, voz e movimento, considerando ainda os aspectos sensíveis e pulsionais presentes na criação artística. Apoiando-se ainda em outras práticas artísticas, essa sistematização foi integrada ao processo de criação do espetáculo "Depois", que teve a participação de atrizes, bailarinas e cantoras, alunas e ex-alunas do Instituto de Artes da UNICAMP, integrantes do "NUA ¿ Coletivo Artístico Indisciplinar
Abstract: The abstract is available with the full electronic document
Mestrado
Artes da Cena
Mestre em Artes da Cena
APA, Harvard, Vancouver, ISO, and other styles
45

Syron, Liza-Mare. "Ephemera Aboriginality, reconciliation, urban perspectives ; Artistic practice in contemporary Aboriginal theatre /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060220.155544/index.html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
46

Maresh, Karin Ann. "Struggles for recognition : the women artistic directors of Ireland's Abbey Theatre /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402544588655.

Full text
APA, Harvard, Vancouver, ISO, and other styles
47

Beckham, Kathryn Ann. "'The Gate City' artistry and identity in an American historical pageant (Nebraska) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 14.18 Mb., 74 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435838.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

Ames, Margaret Patricia. "Alternative aesthetic encounters: creating dance-theatre performance with artists with learning or intellectual disabilities : seven published works." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/ea8c5832-bf22-4cf0-a131-4fe61370203d.

Full text
APA, Harvard, Vancouver, ISO, and other styles
49

Clark, Philip. "Ten years at the Sherman Theatre, 1990-2000 : creating and developing a young people's and emerging artists' strategy at the Sherman Theatre, Cardiff, 1990-2000." Thesis, University of South Wales, 2007. https://pure.southwales.ac.uk/en/studentthesis/ten-years-at-the-sherman-theatre-19902000(3685c156-781c-4897-9c77-b8ce060eeb2a).html.

Full text
Abstract:
This overview, in partnership with the physical portfolio, chronicles my work as Artistic Director and Chief Executive of the Sherman Theatre, Cardiff, 1990 - 2000 and demonstrates how I invented, created and developed a young people's and emerging artists' policy and strategy in this regional theatre over a ten year period. In 1990 I was appointed to the post to create and develop the Sherman Theatre as Wales' premiere pioneering theatre for young people. Within this paper I will describe my practice over the ten year period, but I will also examine in detail my own artistic work in the year 1999-2000 with the aim of demonstrating how this period of work had particular relevance to young people. Within the study I will also investigate and explain some of my own personal working methods with artists when creating a theatre production. In the late 1980s the Arts Council of Wales (ACW) in partnership with the (then) South Glamorgan County Council (SGCC), the two main funders of the theatre, and the theatre's Board of Trustees employed Adrian Trickey, an independent arts consultant to prepare and present a feasibility study that investigated the possibility of the Sherman Theatre refocusing its policy and becoming a Young People's Theatre for Cardiff with an all Wales remit. His findings and proposals were positive and his recommendations accepted. I was appointed in 1990 to spearhead the development and translate the theoretical recommendations into positive practice. In 1999 I, in partnership with the senior management of the Sherman, recognised that the current funding levels of the theatre were far too low to sustain its artistic programme and the capital infrastructure of the building. We employed Peter Boyden, an independent arts consultant to work with us and advise the team in preparing a document for the Sherman's Board of Trustees, the ACW and Cardiff County Council (current funders) that clearly stated that the status quo operation at that time was not an option for sustainability of the Sherman Theatre. This overview records and examines the years between the Trickey and Boyden reports (1990-2000). This is a portfolio submission to the University of Glamorgan. The physical portfolio that accompanies this paper includes examples of artistic and administrative policy developments and practice. This submission is therefore a personal investigation and records the creation, development and sustainability of a Young People's Theatre and Emerging Artists Strategy within a regional theatre (Sherman Theatre) 1990-2000, and how it practically applied to a generation arising of young people and emerging artists.
APA, Harvard, Vancouver, ISO, and other styles
50

Morris, Amanda. "Investigating the 'Audience' in Theatre for Young Audiences: The Call for Artistic Educators." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2199.

Full text
Abstract:
Theatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on the subject of how a child is perceived as well as the purpose and role of a theatre audience. In this thesis, I investigate the classical, romantic, realist, modern, and current theatre movements and how scholars and theorists have perceived or written about their audiences in an effort to cultivate an understanding of what an audience is today and how the concept of theatre etiquette has or has not changed throughout history in order to relate these findings to experiences of audiences today. I began this thesis with a general knowledge of "audience," from a personal perspective as a performer and audience member. However, through my collected data, I find that audiences are valued in distinctive ways throughout various movements in theatre history. With this understanding, I wrote a short book to help young audience members to understand what the present conventions are as a theatre audience member.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Theater artists' for other source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography