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Tesi sul tema "Performance art"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 25 luglio 2025

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1

Macdonald, Megan. "Performance art, liturgy and the performance of belief." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/2426.

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The history of art and religion is intricately linked in Western culture. This thesis focuses on one strand of this relationship and is concerned with the role of performance practices in relation to spirituality in the West. Contemporary performance practice and theory are at the centre of this research. Case studies on the Roman Catholic Liturgy and the performance artist Marina Abramovi! are used to show how traditional analyses of spiritual performance have not accounted for the effects and affects of metaphysics in how we understand belief. I argue that examinations of spiritual performan
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2

Babot, Philip. "Elements of shamanism within performance art." Thesis, Cardiff Metropolitan University, 2011. http://hdl.handle.net/10369/6528.

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3

Sandström, Edvin. "Performance Art : A Mode of Communication." Thesis, Stockholm University, Department of Sociology, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42382.

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<p>This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how andwhy do artists use performance art. The empirical result shows that artists use performanceart to challenge what art is. The study explains how artists use performance art as a modeof communication, a communication based on using the voice in different modes. Throughusing an electronic filtered voice, the artists capture the audience's attention and at the sametime they challenge their own narrative and presence. Performanc
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4

Smith, Alison. "Raising environmental awareness through performance art." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession86-10MES/Smith_A%20MESThesis%202007.pdf.

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5

Prokůpek, Marek. "Performance Measurement of Public Art Museums." Doctoral thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-264709.

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The issue of the economics of cultural institutions, their economic impact, and measurement of their performance has been paid systematic attention basically only in the past few years. PhD thesis analyses the methods of performance measurement in public art museums and creates economic models. Aim of my thesis is also to create a model for museum managers to measure the performance. Nowadays it is almost necessary to integrate performance measurement system in organization´s strategy decision making. The museum managers feel the pressure to prove that their organization is performing well by
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6

Roland, Barbara. "Performances et représentations: approche pratique et théorique des stratégies du performeur." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209140.

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La thèse consiste en une approche pratique et théorique des stratégies du performeur sur fond des questions problématiques relatives à la performance et à la représentation. Elle s’intéresse plus spécifiquement aux manifestations et aux traductions des trois processus créatifs performance, mimêsis, représentation dans la pratique de la performance comme genre. <p>L’articulation d’axes de recherche paradigmatiques (des Performance Studies) à l’étude du genre repose sur un dialogue constant entre pratiques et théories qui permet de mieux cerner et comprendre le phénomène. La performance est à la
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7

McCusker, Nicole Catherine. "Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7656.

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My thesis examines the event of Dr Sketchy's Anti-Art School, which has branches in over 120 cities worldwide. Dr Sketchy's combines the format of a life drawing class with burlesque performance, creating an event that focuses on both the performance and the creation of art by the attendees. Dr Sketchy's was begun in New York in 2005 by its creator Molly Crabapple, now an internationally recognized artist and popular alternative celebrity. I focus my study on the Christchurch branch of Dr Sketchy's Anti-Art School, founded in June 2010 by Audrey Baldwin, a performance artist and Fine Arts grad
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8

O'Connell, Micheál. "Art as 'artificial stupidity'." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/67604/.

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Through treatment of selected interventions and artworks, the thesis investigates relationships between cybernetics, conceptions of intelligence and artistic practice. The works in question are primarily the artist's own, documented in the thesis and a separate portfolio. Specifically, intelligence's downside, the controversial notion of stupidity, has been reappropriated as a means of considering the way artists intervene and how art, as a system, functions. The term ‘artificial stupidity' was invented in reaction to a particular construal of what Artificial Intelligence (AI) meant. The notio
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9

Drinkall, Jacquelene Ashley School of Art History &amp Theory UNSW. "Telepathy in contemporary, conceptual and performance art." Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/31097.

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This thesis investigates the impact of telepathy and psi on conceptual and performance art from 1968. Emerging from the author???s art practice, the thesis argues telepathy is a key leitmotif and creative concern within much post 60s art, and has become central to the practice of a number of contemporary video, performance and new media artists. This thesis is composed of two interrelated parts: an exhibition of the artwork by the author concerning telepathic processes, and a written project which uses the major themes of the exhibition to frame an historical study of a number of key contempor
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10

Dunlop, Jane. "How we are together : generosity and dissonance in internet-situated performance art." Thesis, University of Brighton, 2018. https://research.brighton.ac.uk/en/studentTheses/bb2cdacb-9479-4c61-b48f-5ccb954e8659.

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How we are together: generosity and dissonance in internet-situated performance art is a practice as research PhD that focuses on how artistic practices engage with the increasing ubiquity of internet communication. Specifically, it addresses how performance art practices respond to the ways internet-enabled technologies augment and extend the interactions between individuals. How we are together investigates what “together” means as internet communication technologies become ubiquitous, and how social relations interweave the on and offline sites of contemporary culture. Through a series of a
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11

Bertelli, Anita Presser. "Perform yourself: a performance art no youtube." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-01122015-095523/.

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A presente pesquisa explora o YouTube como campo de criação da performance art contemporânea. Em primeiro lugar o site é abordado com foco em suas implicações culturais, empregando tanto uma bibliografia específica sobre o YouTube como autores que refletem sobre a subjetividade contemporânea, destacando-se neles aspectos que se relacionam com as práticas dos usuários do site. Em seguida é analisada uma seleção de obras de performance no YouTube realizadas por artistas de diversas nacionalidades. Elas estão reunidas em cinco vetores: #camgirlsattwhores, que trata da mulher e do feminismo na int
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12

Antoniadou, Alexandra. "Realisations of performance in contemporary Greek art." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31283.

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This is the first study to approach, both historically and theoretically, the emergence and development of performance art in Greece from the 1970s to the 2010s. Drawing on an interdisciplinary framework - including feminist theory, philosophy, sociology, art history, and more - the study aims to address an evident gap in histories of contemporary Greek art. The research begins with the emergence of performative artistic practices in the 1970s, in the conditions set out by the seven-year Dictatorship (1967-1974) and follows, selectively, the complex trajectory of these practices while investig
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13

Papadaki, Elena. "Curating screens : art, performance and public spaces." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/11255/.

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Based on theoretical research (for example Fried 1967; Krauss 1979; Graham & Cook 2010; Mondloch 2010; Trodd 2011) and five distinctive art case studies (Videographies: The Early Decades [2005], China Power Station: Part I [2006]), performance ( ... some trace of her [2008]) and public spaces (Under Scan [2008] and Temenos 2012 [2012]) this thesis traces the interrelation between curating, institutions and exhibition practices through screen-based works, specifically using the term to denote screen media in physical space and within an arts context. The field of curatorship in relation to the
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14

Vatulíková, Andrea. "Performance art jako hraniční forma uměleckého projevu." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2018. http://www.nusl.cz/ntk/nusl-387735.

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While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis
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15

Andrez, Bárbara Correia. "Performance art: a voz como corpo presente." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/9519.

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Mestrado em Criação Artística Contemporânea<br>Na presente investigação pretende-se uma análise dos processos da voz falada na performance art ligada ao universo da prática artística. Através do questionamento e levantamento de práticas conceptuais de alguns artistas como Karen Finley, Robin Deacon, Sylvie Cotton, Mark Wayman, Vito Acconci e Gary Hill, que utilizam a voz como forma primordial de expressão, intenta-se o estudo da relação entre a voz e corpo, como se processa e, em última análise, como se estabelece a comunicação. Encontrando o seu espaço no trabalho performático, a voz falada a
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16

Shorter, Mark Travers. "Variety theatre, performance art and the carnivalesque." Phd thesis, Sydney College of the Arts, 2011. http://hdl.handle.net/2123/12477.

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17

Eriksson, Kajsa G. "Concrete fashion : dress, art, and engagement in public space /." Göteborg : HDK, School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2009. http://hdl.handle.net/2077/21545.

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18

Haberman, Margaret A. "Performative Writing in Performance Studies: Filling in Missing Spaces." Fogler Library, University of Maine, 2009. http://www.library.umaine.edu/theses/pdf/HabermanMA2009.pdf.

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19

Pitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.

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Abstract (sommario):
‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and im
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20

Jacobsen, Kenneth Richard. "Prophecy, performance, and persuasion, sermon art and dramatic art in England, 1575-1630." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22468.pdf.

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21

Fok, Siu-har Silvia. "Performance art and the body in contemporary China." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/b40203888.

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22

Palumbo, Jill. "ASSESSING ARTS EDUCATORS: HOW THE PERFORMANCES OF PUBLIC AND PRIVATE HIGH SCHOOL ART TEACHERS ARE ASSESSED IN VIRGINIA." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3204.

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Teacher assessment is a hot topic in today’s high-stakes, test-driven, accountability-focused educational environment. My recent research addresses how high school art educators, under the umbrella of non-tested subjects and grades, are assessed in their classroom teaching practices in Virginia. Based on my findings, it is clear that while the teachers surveyed do not fear accountability, they are wary of being evaluated by those who lack the content knowledge in the arts, by methods that are subjective, and with criteria that is inflexible. This thesis addresses the need to develop open forum
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23

Písaříková, Jana. "Archivy a dokumentace performance art: hledání cesty mezi historií a mýtem." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-256590.

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The PhD thesis deals with the role of archives in the contemporary artistic and curatorial practice, with an emphasis on the performance art. It also analyses the creation process, methodology and the contents of selected personal and institutional archives in both Czech and international contexts. The objective of the paper is to answer the following questions: In what way is the documentation and subsequent archiving of process-oriented forms of art performed? How is the history of the contemporary art formed and interpreted through these archives and with the help of the artistic and curato
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24

Pamment, Claire. "The bhānd mode in Pakistani performance." Thesis, Central School of Speech and Drama, 2013. http://crco.cssd.ac.uk/459/.

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Bhānds are wandering comedians, widely dispersed in Pakistan and North India. While their art constitutes a persistent mode of performed practice in Pakistan, it is not given recognition by dominant culture. The thesis explores the caste, class, ethnic and literary biases that motivate this ostracism, and in turn how bhānds play with these status distinctions in performance. This interaction creates a dynamic mode, which is able to expose, negotiate and subvert hegemonic power structures, and, in so doing, continually adapts itself to changing socio-cultural contexts. Appreciation of these pra
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25

Fok, Siu-har Silvia, and 霍少霞. "Performance art and the body in contemporary China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40203888.

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26

Hassanein, Saffaa. "We will play: protest, performance, and physical activism." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12652.

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This paper explores the politically charged topic of sport and gender in Saudi Arabia. Banning women and girls in Saudi from participating in organized sport is largely, albeit erroneously, attributed to religion. This paper attempts to unravel some of the complex issues involved in the exclusion of women and girls from sport and physical education. We Will Play examines the intimate terrain of institutionalised discrimination and gender inequality, and the ways in which these are literally embodied. This project is a part of an ongoing series of protests and cultural activism that drive my ar
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27

Walker, Rebecca Ann. "Rhapsody in Green - A Happening: An Examination of the Happening as a Rhetorical Tool." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4679/.

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In this study I outline seven characteristics of a traditional Happening (the use of games and play, an inherent intertextual element, an emphasis on place/space, an element/spirit of anarchy, an element of chance, an emphasis on the fusion of art with everyday life, and the existence of both a purpose and a meaning) and seek to determine which characteristics contribute to the Happening's current usage as a rhetorical tool. I created a traditional Happening containing a message of environmental consumption and destruction, and surveyed audience members regarding their interpretation and expe
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28

Haute, Lucile. "Performer dans les environnements mixtes : Actualisation de l'espace programmé." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2197/document.

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Les environnements mixtes sont des dispositifs, des mises en scène, des installations, hybridant tangible et numérique, espace physique et espace informationnel ou fictionnel. Ces environnements permettent à leurs expérimentateurs d’être simultanément ici et maintenant et liés à un ailleurs ou une autre temporalité. Ils peuvent emprunter à la magie du spectacle autant qu’aux technologies de l’ingénieur. Ils rejoignent la performance lorsqu’ils permettent de créer ou de donner accès à d’autres mondes. Ces mondes peuvent être des plateformes 3D ou des fictions. Les environnements
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29

Pell, Sarah Jane. "Aquabatics as New Works of Live Art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1639.

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This practice-based thesis (comprising of an exegesis, exhibition, performances and their documentation) traces a myriad of cognitive and sub cognitive processes that converge towards a complex practice referred to as 'Aquabatics'. In broad terms, Aquabatics describes the research nexus of occupational diving and contemporary performance. The purpose of this body of research has been to explore underwater performance, behaviour and boarders, in order to both devise new works of live art and to develop new methodologies and approaches to art-making. Aquabatics, as a performance strategy, seeks
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30

Campbell, Lee. "Tactics of interruption : provoking participation in performance art." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/21786.

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This thesis addresses a research study predicated on practice in order to explore aspects of participation in Performance Art. The study makes a contribution to knowledge in participative performance practice and the positive deployment of using interruptive processes; this is in order to provoke participation within the context of Performance Art as well as gain a better understanding of the operations of power relations at play. Within the discourse of impoliteness study (Bousfield, 2008; Culpeper, 2011 et al.), there is a term that deserves much greater attention: interruption . Examining i
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31

Kise, Laura Ann. "Performance Art as Sublimation: The Case of Dance." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/353.

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AN ABSTRACT OF THE THESIS OF LAURA A. KISE, for the Master of Arts degree in CLINICAL PSYCHOLOGY, presented on April 14, 2010, at Southern Illinois University Carbondale. TITLE: PERFORMANCE ART AS SUBLIMATION: THE CASE OF DANCE MAJOR PROFESSOR: Dr. Stephen Dollinger Creativity and sublimation have been linked throughout the theoretical literature on psychological defense, especially in relation to artistic creativity. As a performance art, dance has been included as a creative form in one of the commonly used measures of creative accomplishments. These links suggest the possibility that da
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32

Toscano, Giuseppe. "Performance Art: Campo di produzione e aspetti relazionali." Doctoral thesis, Università degli studi di Trento, 2010. https://hdl.handle.net/11572/368349.

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The study focuses on artists who adopt performance art as a form of creative expression within the world of contemporary visual art. Some performances are extreme exhibitions which often assume violent and aggressive forms; others are quasi-visible events like communication misunderstandings or reiterated behaviors which make the flow of ordinary interaction unusual and sometimes create a feeling of anxiety in the audience. There are of course basic differences between these kinds of performance; nevertheless, in the case of both the most spectacular events and «minimal performances», the ar
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33

Toscano, Giuseppe. "Performance Art: Campo di produzione e aspetti relazionali." Doctoral thesis, University of Trento, 2010. http://eprints-phd.biblio.unitn.it/224/1/Giuseppe_Toscano_tesi_dottorale_gennaio_2010.pdf.

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Abstract (sommario):
The study focuses on artists who adopt performance art as a form of creative expression within the world of contemporary visual art. Some performances are extreme exhibitions which often assume violent and aggressive forms; others are quasi-visible events like communication misunderstandings or reiterated behaviors which make the flow of ordinary interaction unusual and sometimes create a feeling of anxiety in the audience. There are of course basic differences between these kinds of performance; nevertheless, in the case of both the most spectacular events and «minimal performances», the arti
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34

Marsh, Dale H. "Art as action and idea: a personal statement discussing performance art, photography, and video." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303234139.

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35

O'Shaughnessy, Francis. "L'art performance et l'installation : épuiser l'objet /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2007. http://theses.uqac.ca.

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Thèse (M.A.) -- Université du Québec à Chicoutimi, 2007.<br>La p. de t. porte en outre: Mémoire présenté à l'Université du Québec à Chicoutimi comme exigence partielle de la maîtrise en arts plastiques. CaQQUQ Bibliogr.: f. [71-73]. Document électronique également accessible en format PDF. CaQQUQ
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36

Braddock, Christopher. "The artist will be present performing partial objects and subjects : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD), 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/441.

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37

Clunn, Rebecca. "The Global Performance Art Network: How the Net Works." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366836.

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As a performance artist, I have experienced a strong synergy connecting performance artists, the work they make, the network they create and inhabit, and the trust that binds them together. I wanted to discover how that network operated. Therefore, this doctoral research project focuses on the question, “What is the operation of the global performance art network? ” Network theory forms the overarching theoretical framework, with the additional concepts of trust, community, social capital, and performance art playing a key part in the analysis. With no known research into the global perfo
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Sandström, Edvin. "The Convaluation of Performance Art : A Study of Peer Recognition Among Performance Artists." Licentiate thesis, Uppsala universitet, Sociologiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-345083.

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Processes and forms of valuation, evaluation and valorization are important for bringing contemporary social life in order. In this thesis, I study the values of the small and autonomous avant-garde of the art-world, performance art. In art worlds, arguably, we can expect to find the most extreme cases of activities which constantly aim at transgressing existing ideas of what is valued in this world, i.e., art. Performance art is an activity that contemplates the border between art and non-art, and that as an activity contributes to the constitution of this border. My focus is on the ongoing p
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39

Costa, Grasielle Aires da. "Ritual em Richard Schechner e Victor Turner: aspectos de um diálogo interdisciplinar." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5704.

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Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-06-29T17:52:52Z No. of bitstreams: 2 Dissertação - Grasielle Aires da Costa - 2015.pdf: 911952 bytes, checksum: c0ced5b7036e92c431253828b800dfc8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-06-30T11:26:56Z (GMT) No. of bitstreams: 2 Dissertação - Grasielle Aires da Costa - 2015.pdf: 911952 bytes, checksum: c0ced5b7036e92c431253828b800dfc8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>M
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40

Manuel, Campos Jose Luis. "Blast theory : intermedial performance praxis and the generative conditions for performance subjectivity." Thesis, Royal Central School of Speech & Drama, 2014. http://crco.cssd.ac.uk/464/.

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The work of the British theatre company Blast Theory explores intermedial dramaturgies that this thesis claims can be categorized as radical because they present a generative characteristic. Intermediality, understood here as the impact of analogue and digital technologies in theatrical performance, establishes complex relationships between physical and virtual spaces, structures that create a rich polyphony of multiple temporal orchestrations, and narratives that present a multiplicity of performative arrangements. Intermedial performance, as a performative and experiential event, encompasses
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41

Findlay, Judith. "Fine art as performance : a definition of the discipline (a study of the fine art world in the art school)." Thesis, University of Strathclyde, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366768.

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42

May, Shaun. "You have to 'be there' : a Heideggerean phenomenology of humour." Thesis, Central School of Speech and Drama, 2013. http://crco.cssd.ac.uk/458/.

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In this thesis, it is my intention to use Heideggerean phenomenology to build an account of two seemingly disparate areas of humour. Firstly, humour that arises out of a shift between ontological categories - specifically, between the ‘human’ and the ‘object,’ on one hand, and the ‘human’ and the ‘animal’ on the other; and, secondly, between objects and bodies failing. In doing so, I hope to elucidate the ‘hermeneutic condition’ of all humour, understood in Heidegger’s terms as the phenomenon of world. A hermeneutic condition is not to be thought of along the vein of a ‘necessary and sufficien
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43

Gaudyn, Weronika. "Study of Haute Couture Fashion Shows as Performance Art." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1543249777154531.

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44

Bacon, Julie. "La performance-installation et les relations d'acte-archivage." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.

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45

Machona, Gerald Ralph Tawanda. "Imagine/nation : mediating 'xenophobia' through visual and performance art." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1011106.

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This half-thesis has developed as a supporting document to an exhibition titled Vabvakure, people from far away, which responds to the growing trends of violence perpetrated against African foreign nationals living in South Africa. This violence which has generally been termed as 'xenophobia' has been framed within this discourse as 'afrophobia', as it is fraught with complexities of race, ethnicity and class. Evidently, not all foreign nationals are at risk but selective targeting of working class black African foreign nationals seems to be the modus operandi. Fanning these flames of prejudic
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Easton, Léonore. "Livegraphy performance art, language, and the multiplicity of sense." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/501.

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This thesis is constructed in three parts. Each one of them offers a reflection on the common ideas disseminated about Live Art, conceptual dance and postdramatic theatre, i.e. that these practices reject the notion of mimesis as it is supposed to represent reality, they reject text in favour of a phenomenological language and they produce a form of non-sense which should be translated into meaning. Each of these statements will be problematized. I will argue that Live Art is producing mimesis even if it works against representation and although its actions are performed for real. It does not
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Puentes, Kalid. "Introducing neo-surrealism : the social science of performance art." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/17144.

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This study is concerned with the obscurity surrounding the boundaries of a socio-political context and a metaphysical context, especially as it correlates to Contemporary Performance Art. This dichotomy seemingly results in symbolic conflation and therefore necessitates the inclusion of social science as part of Performance Studies discourse. The intersection of these disciplines aligns with respect to the significance of context: the role of communication when considering the phenomenon of interpreting the perspective of other individuals. In this study, the various layers appropriated to the
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Forbay, Bronwen M. "Afrikaans Art Song: A Stylistic Study and Performance Guide." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322705.

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Anderson, Raymont Lee. "COMBAT DANCE:A CREATIVELY HOLISTIC APPROACH TO MOVEMENT PERFORMANCE ART." VCU Scholars Compass, 2003. http://scholarscompass.vcu.edu/etd/879.

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"Combat Dance" is an eclectic blend of combat and dance art forms combined and taught from the Fall 2001 to Spring 2003. As defined here, combat dance is a blend of techniques and principles gleaned from both unarmed and armed aspects of stage combat, martial arts (such as aikido and kung fu), modern dance and other expressive movements used to tell a story of conflict. Its primary purpose is to provide both actors and non-actors greater awareness and control of their bodies and to provide a range of creative avenues of expression. Combat dance gives the performers a unique and holistic set of
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50

Cutugno, Carmela <1985&gt. "Intercultural Performance and Dialogue. From Richard Schechner Performance Studies Onwards." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6607/1/Cutugno_Carmela_tesi.pdf.

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Attraverso un excursus storico, teorico e metodologico, questa tesi di dottorato analizza la nascita, gli sviluppi e l’attuale dimensione costitutivo-identitaria dei Performance Studies, un ambito di ricerca accademica che, nato negli Stati Uniti alla fine degli anni Settanta, ha sempre palesato una natura restia nei confronti di qualunque tentativo definitorio. Se i Performance Studies concepiscono la performance sia come oggetto d’analisi sia come lente metodologica, e se, come evidenziato da Richard Schechner, praticamente tutto può essere “elevato a performance” e quindi indagato secondo l
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