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Relevant bibliographies by topics / Theatre, Dance and Performance

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Dissertations / Theses
Books
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Conference papers

Academic literature on the topic 'Theatre, Dance and Performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Theatre, Dance and Performance"

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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.

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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expre

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Parson, Annie-B. "David Bowie: Dance, Theatre, Other." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 31–32. http://dx.doi.org/10.1162/pajj_a_00313.

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I was just thinking about the perfect strangeness of his performance, his separation from gravity and from what is temporal, his saturated colors, his plastic shape-shifting identity, and his insistence on and intentionality around theatricality. And his dances: the abstraction and the symbol. I have an enduring image in my mind from an early album of his fingers specifically molded in an asymmetric shape to express messages from somewhere we don't know, have never been. His last dance, a solo in the middle of Black Star, so eerie, so loose-limbed. I was thinking of his pure, pitch-perfect spe

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Șușu, Petre, Carmen Mihaela Crețu, and Aurelian Bălăiță. "1. The Acting Student’s Choreographic Training. Several Cognitive Objectives." Review of Artistic Education 15, no. 1 (2018): 110–26. http://dx.doi.org/10.2478/rae-2018-0012.

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Abstract Dance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre. Due to the fact that they offer manifold innovating possibilities for artistic expression in a greatly audience-oriented universal language, theatrical forms that include dance, and especially the artistic genre of dance theatre are increasingly often put on stage by directors who work in Romania. Thus, training actors in the area of danc

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Laakkonen, Johanna. "Early Modern Dance and Theatre in Finland." Nordic Journal of Dance 4, no. 2 (2013): 18–31. http://dx.doi.org/10.2478/njd-2013-0009.

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Abstract Early modern dancers established a foothold in theatres and opera houses from the 1910s onwards when the focus of many avant-garde theatre directors shifted from literary text to the actor’s body and its expressive potentialities. This article explores the interplay between early modern dance and theatre in Finland by focusing on three dance scenes that Maggie Gripenberg (1881–1976) composed for theatre and opera performances in Helsinki in the 1920s and 1930s. The developments in Finland will be connected with the international trends that Gripenberg and her Finnish collaborators abs

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Thomas, Karen Kartomi. "Dimensions of Dance with Reference to Song Lyrics: Improvisatory Processes and Practices in Indonesian Malay Mendu Theatre Performance." Dance Research 36, no. 2 (2018): 253–68. http://dx.doi.org/10.3366/drs.2018.0240.

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In this article, I analyse the creative process of dance in Malay mendu theatre staged in Indonesia's northern Riau Islands, based on fieldwork I conducted in 1984 and 2013. I describe and compare the four main motifs that made up most of the theatre's dances (referring specifically to upper body movements, the height of the forearms and hands, the direction of the eye gaze, the number of beats per movement), and deconstruct the five integrated, improvisatory mechanisms of the dance system (repetition, modification, retrogrades, looping, and controlled free-timing) by which actors generated th

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Felseghi, Alexandra. "How to „Read” a Dance Theatre Performance?" Studia Universitatis Babeş-Bolyai Dramatica 64, no. 1 (2019): 157–64. http://dx.doi.org/10.24193/subbdrama.2019.1.10.

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Feldman, Heidi Carolyn. "Staging Public Blackness in Mid-Twentieth-Century Peru: The Repertoires of Pancho Fierro and Cumanana." Theatre Survey 61, no. 2 (2020): 203–30. http://dx.doi.org/10.1017/s004055742000006x.

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In 1951, Victoria (1922–2014) and Nicomedes Santa Cruz (1925–92) attended a performance at Lima's Teatro Municipal (Municipal Theatre) by the Katherine Dunham Dance Company. Dunham (1909–2006), an African American choreographer and anthropologist, pioneered a “research-to-performance” method to study African-derived dances in the Caribbean and stage them in stylized choreographies. Elite Lima patrons walked out of the theatre during the danced African fertility rite in Dunham's “Rites de Passage,” but the performance left a lasting impression on the Santa Cruzes. Nicomedes Santa Cruz later des

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Rosdeen Suboh. "MAKYUNG AS AN OLDEST FORM OF MALAY TRADITIONAL DANCE THEATRE IN SOUTHEAST ASIA." International Journal of Applied and Creative Arts 2, no. 1 (2019): 27–35. http://dx.doi.org/10.33736/ijaca.1441.2019.

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Almost all previous studies on the Makyung dance theater concurred that the aforementioned performance was the oldest form of traditional theater amongst the Malays in Southeast Asia. It arrived or started before the arrival of Islam to the Malay Peninsula. Unfortunately, the written record on Makyung only existed at the end of the 18th century. Hence, the exact date on the origin of Makyung is difficult to determine. This means that the main sources of research on Makyung are from oral traditions, including myths, as well as the evidence contained in the self-titled performances, and not only

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Daye, Anne. "The Role of Le Balet Comique in Forging the Stuart Masque: Part 1 The Jacobean Initiative." Dance Research 32, no. 2 (2014): 185–207. http://dx.doi.org/10.3366/drs.2014.0106.

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The prominence of Le Balet Comique in the narrative of Western theatre dance cannot be denied, as every dance history book implies that this performance of 1581 initiated the ballet de cour, while the image of the fugitive gentlemen is reproduced over and over again to represent the work ( McGowan, 2008 , 169). The performance was certainly innovative, but also a development of previous theatre dance in France and Italy. Barbara Sparti questions the basis of the work's fame and places it in a context of earlier Italian dance theatre (2011, 304–322). The impact of the publication in England has

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Lampe, Eelka. "Disruptions in Representation: Anne Bogart's Creative Encounter with East Asian Performance Traditions." Theatre Research International 22, no. 2 (1997): 105–10. http://dx.doi.org/10.1017/s0307883300020514.

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The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era,

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Dissertations / Theses on the topic "Theatre, Dance and Performance"

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Malmquist, Cassandra Muree Kathleen. "Theatre and dance lighting design." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1688.

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Vest, Jessica M. "Echoes: A Dance Composition and Performance." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/404.

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Echoes: A Dance Composition and Performance analyzes the creative process of choreographing a dance with aerial elements to convey an emotional narrative. My experiences as a theatre and dance Fine and Performing Arts Honors student at East Tennessee State University from 2013-2017, culminated with my final senior capstone project as director, choreographer, and performer of The Echoing Effect, performed February 9, 2017 at the Bud Frank Theatre. The following research of the history and development of aerial dance as an art-form created a better appreciation of the artistic field and informed

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Brauner, Nathan. "Dance Gala 2016: navigating stage management in dance." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5425.

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Maas, Penny. "A Pedagogical Perspective on Storytelling through Movement and Dance." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2721.

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Dance in most musical theatre is an assumed visual element and something that is often taken for granted in production. What is its purpose is the question being pondered in this paper. Since Agnes de Mille first presented her legendary dream ballet in Oklahoma! in 1943, theatrical dance has never been the same. She revolutionized the function of dance in theatre forever. No longer would dance merely be used as interludes or divertissements. Though a seemingly simple theatrical concept, to use movement and choreography to either further the plot or to communicate a character’s journey, it is n

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Mayer, Rebecca F. "Speaking of, Talkin 'bout, Riffing on Tap." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4173.

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This paper examines the dialects of the language that is tap dance. Unlike more codified forms of dance such as ballet, which utilize a universally-accepted technique system, the evolution of tap dance has been largely rooted in oral tradition. During Broadway’s early years, entrepreneurs in the dance training business published manuals and dictionaries on tap, as did several self-styled experts in the 1990s; because many of these books are self-published, referring to them requires educated discrimination. Drawing on my own experience as a dance student, performer, choreographer, and educator

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Thornton, Matthew Paul. "Finding Voice, The Body Speaks: Original Work and Counter-Hegemonic Performance and Practice." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4767.

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Graduate study in theatre has allowed me to understand my work as an artist and educator from a critical academic perspective. I have researched Butoh as a model for original work that employs multiculturalism against hegemonic control of personal identity. From my own training experience, I am recognizing Capoeira, Contact Improvisation, and Devising processes (co-creation or collaborative creative process in dance) as counter-hegemonic forms and techniques that share a physical/philosophical emphasis on communal engagement, improvisation, circularity and repetition. Looking at them together

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Kweyama, Mdunyiswa. "Bringing dance into the realm of theatre : Making sense differently for actors and audiences." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13140.

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Includes bibliographical references.<br>This study investigates what happens when dance is introduced into the realm of theatre. Firstly, it looks at how the audience relates to the combination of dance and text. Secondly, it questions whether dance contributes to the actors’ experience of creating a play. To explore these questions, two productions were created. The first was an adaptation of an existing play text that had already been performed in a realistic style; and the second was based on a novel, a text that was not originally written for performance, but which was adapted. The study a

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Maedza, Pedzisai. "Chains of memory in the postcolony: performing and remembering the Namibian genocide." Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29210.

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This research project is an interdisciplinary investigation of the memory of the 1904-1908 Namibian genocide through its performance representation(s). It lies at the intersection of performance, memory and genocide studies. The research considers the role of performance in remembering, memorialising, commemorating, contesting, transmitting and sustaining the memory of the genocide across time and place. The project frames performance as a media through which history is narrated by positioning performance as a complex interlocutor of the past in the present. This claim is premised on the assum

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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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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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Books on the topic "Theatre, Dance and Performance"

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Bannon, Fiona. Considering Ethics in Dance, Theatre and Performance. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91731-3.

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Contemporary French theatre and performance. Palgrave Macmillan, 2011.

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Elements of performance: A guide for performers in dance, theatre, and opera. Harwood Academic Publishers, 1993.

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Richard, Aven, ed. Acting: Preparation, practice, performance. HarperCollins College Publishers, 1994.

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Nirmmalāpaṇikkar. Nangiar Koothu, the classical dance theatre of the Nangiar-s. Natana Kairali, 1992.

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Vēṇu, Ji. Puppetry and lesser known dance traditions of Kerala. Natana Kairali, Research and Performing Centre for Traditional Arts, 1990.

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Digital performance: A history of new media in theater, dance, performance art, and installation. MIT Press, 2007.

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Ceremony, spirituality, and ritual in Native American performance: A creative notebook. American Indian Studies Center, 2011.

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Sarkar, Munsi Urmimala, ed. Engendering performance: Indian women performers in search of an identity. SAGE Publications, 2010.

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Collaborators: UK design for performance 2003-2007. Society of British Theatre Designers, 2007.

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Book chapters on the topic "Theatre, Dance and Performance"

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Vincent, Charlotte. "Vincent Dance Theatre." In The Twenty-First Century Performance Reader. Routledge, 2019. http://dx.doi.org/10.4324/9780429283956-71.

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Rosa, Cristina. "Neoliberalism and contemporary dance in Brazil." In Neoliberalism, Theatre and Performance. Routledge, 2021. http://dx.doi.org/10.4324/9780429199974-4.

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McGrath, Aoife. "The Dance of Affect in Contemporary Irish Dance Theatre." In The Palgrave Handbook of Contemporary Irish Theatre and Performance. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_47.

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Mallin, Samuel B. "The Line of Performance: Pina Bausch’s Dance-Theatre." In Contributions To Phenomenology. Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1594-7_8.

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Stewart, Nigel. "A Theological Turn? French Postmodern Dance and Herman Diephuis’s D’Après J.-C." In Contemporary French Theatre and Performance. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305663_16.

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Bannon, Fiona. "Introduction: Intertwining Ethics, Aesthetics and Knowing." In Considering Ethics in Dance, Theatre and Performance. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91731-3_1.

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Bannon, Fiona. "Embodying Ethics: Harmonics of Living." In Considering Ethics in Dance, Theatre and Performance. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91731-3_2.

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Bannon, Fiona. "Aesthetics: Ways of Thinking Differently." In Considering Ethics in Dance, Theatre and Performance. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91731-3_3.

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Bannon, Fiona. "Inhabiting Thought: Humanising Pedagogy." In Considering Ethics in Dance, Theatre and Performance. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91731-3_4.

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Bannon, Fiona. "Being in Ethical Relation: Competence and Collaborative Cultures." In Considering Ethics in Dance, Theatre and Performance. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91731-3_5.

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Conference papers on the topic "Theatre, Dance and Performance"

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Dalton, Sean, Henry Koon, Jennifer O’Malley, and Julianna Abel. "A Black Box Design Approach to Avian-Inspired SMA Coil Actuated Wearable Morphing Angel Wings." In ASME 2017 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/smasis2017-3943.

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Black box design is a constraint driven design approach that distills essential elements of a physical process into inputs and outputs. This paper details the black box design implementation and validation of shape memory alloy (SMA) coil actuators as active members in a Watt I six bar avian-inspired wearable morphing angel wing mechanism. SMA coil actuators leverage the unique characteristics of high energy density SMA wire by providing a compact structural platform for large actuation displacement applications. The moderate force and displacement performance of low spring index coil actuator

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Fourmi, Esteban, JiaXuan Hon, and Aoi Nakamura. "Whist: Dance theatre and Virtual Reality." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.39.

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Gherghișan, Alina. "Theatre Of Elite Performance." In ICPESK 2018 - International Congress of Physical Education, Sports and Kinetotherapy. Education and Sports Science in the 21st Century, Edition dedicated to the 95th anniversary of UNEFS. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.02.71.

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Емельянова, Графира Николаевна. "A TRIP TO THE PAST, OR A LOOK FROM THE FUTURE." In Социально-экономические и гуманитарные науки: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Декабрь 2020). Crossref, 2021. http://dx.doi.org/10.37539/seh294.2020.13.94.007.

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В данной статье проводится сравнительный анализ двух постановок балета «Спящая красавица» П. И. Чайковского-М. Петипа - спектакля в редакции К. Сергеева, созданного в 1952 и в 1989 годах и реконструкции данного балета, осуществленной танцовщиком Мариинского театра С. Вихаревым в 1999 году. This article provides a comparative analysis of two productions of the ballet Sleeping Beauty by P. I. Tchaikovsky-M. Petipa - a performance edited by K. Sergeyev, created in 1952 and in 1989 and the reconstruction of this ballet, carried out by Mariinsky Theater dancer S. Vikharev in 1999.

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"Application of Dance Skills in Dance Performance." In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.126.

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Roihankorpi, Riku. "Session details: Theatre, performance and media." In AcademicMindtrek'16: Academic Mindtrek Conference 2016. ACM, 2016. http://dx.doi.org/10.1145/3248652.

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"The Relationship between Dance Music Structure and Dance Performance." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29132.

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James, Jodi, Todd Ingalls, Gang Qian, et al. "Movement-based interactive dance performance." In the 14th annual ACM international conference. ACM Press, 2006. http://dx.doi.org/10.1145/1180639.1180733.

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Tsuchida, Shuhei, Tsutomu Terada, and Masahiko Tsukamoto. "A Dance Performance Environment in which Performers Dance with Multiple Robotic Balls." In AH '16: Augmented Human International Conference 2016. ACM, 2016. http://dx.doi.org/10.1145/2875194.2875219.

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Essid, Slim, Dimitrios Alexiadis, Robin Tournemenne, et al. "An advanced virtual dance performance evaluator." In ICASSP 2012 - 2012 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2012. http://dx.doi.org/10.1109/icassp.2012.6288366.

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