Title: Compared creative approaches in creating a dance composition. Goals: The aim of this thesis is to find similarities and differences in the creative approaches of selected Czech and foreign authors of choreographies. Methods: A qualitative research and casuistry as the main research method was selected for this thesis. Namely comparative studies, which together with the survey through semistructured (depth) interview, conducted with selected experts in the field of choreography, compared the two cases among themselves - Czech choreographers with foreign reformers. Results: In the research part of the thesis, based on the literature research and accomplished investigation, there are similarities and differences found in creative approaches of Czech choreographers and foreign reformers. The outcome of the research is a comparative table following the life and work of choreographers in three areas: the entry conditions, the process of creation and creation outputs. Research has found possible functional approaches to dance practice and experience. Keywords: Art, dance, choreography, creation, comparation.

Undergraduate honors paper--Mount Holyoke College, 2007. Dept. of Art. / CD-Rom includes images of art work. Includes bibliographical references (leaf 8).

What is queer? What is queer? What is queer theory? Where can it go from here? This thesis sets out to explore the origins and influences of queer theory before investigating the present and the future spaces (ie, bodies and settlements) it can potentially move into. Three distinct experiments of fieldwork and ethnographic filmmaking test the truths and potentialities of queer theory when relating to queer bodies and settlements. That is to say that each chapter balances a film and its supporting text by embracing the value and urgency of practice led research. The first chapter questions queer history and details the importance of emerging trans politics in the post-gender, leftist, avant-garde, queer activist and militant space of Bologna. Queer bodies, case one: transgender and transsexual perspectives. Settlements, case one: Bologna and Lido di Classe (Italy). The second chapter considers the interface between disability theory and queer theory with particular attention paid to the practical theory of ‘curative education’. Defined by Rudolf Steiner in 1922 and further developed by Karl König with the foundation of the Camphill movement in 1944, curative education privileges the social model over the medical model in the field of disability so that disability is in fact ability. Queer bodies, case two: learning differences and disabilities perspectives. Settlements, case two: Berlin (Germany), Chatou and La Rochelle (France), Barry and Glasallt Fawr (Wales, United Kingdom). The third chapter uses queer perspectives to promote the relevance of quantum physics to the human body, thus involving contemporary dance, physical theatre and the arts more generally to address and redress the chiasm between science and technology on the one hand, and arts, humanities and socio-cultural sciences on the other. Queer bodies, case three: the inescapably queer reality of the physical world. Settlements, case three: multiple locations in Tuscany (Italy), and Thamesmead, London (England, United Kingdom). This thesis brings notions of queer and otherness deceptively close to notions of the self. Otherness and queerness become mirrors in which our own queerness comes into view.

Thesis (M.A.)--Ohio University, June, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (Ph. D.)--Texas Woman's University, 2004. / Includes bibliographical references (leaves 178-185). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (Ph. D.)--Texas Woman's University, 2004. / Includes bibliographical references (leaves 178-185).

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-11-21T18:19:01Z No. of bitstreams: 1 VEIGMA LACERDA E SILVA.pdf: 2543992 bytes, checksum: 99d5e50bdb01cca8e8466f842c4a77cf (MD5) / Made available in DSpace on 2018-11-21T18:19:02Z (GMT). No. of bitstreams: 1 VEIGMA LACERDA E SILVA.pdf: 2543992 bytes, checksum: 99d5e50bdb01cca8e8466f842c4a77cf (MD5) Previous issue date: 2018-08-31 / The general objective of this study is to know if the artistic language of dance, as an art therapy instrument, can be able to provide significant improvements in the psychological aspects experienced by these women. The research was conducted at the Reference Center of Social Assistance in Hidrolândia, Goiás, with a cohort of women aged 18-37 years who have experienced some form of physical, psychological and/or sexual violence by an intimate partner or non-partner in their lifetime. The art therapy group activities consisted in eight multi-thematic sessions involving the basic principles of Modern Dance. Data was collected by a sociodemographic data sheet, personal interviews and freehand drawing pre and post the art therapy process as well as during the sessions, and then analyzed through psychanalytic interpretation. The results indicate that the women in the group showed significant improvement in verbal communication skills, self-representation and expression through movement, all linked with the perception and resignification of their bodily self. This emphasizes both the key importance of multidisciplinary actions and the role of art therapy combined with professional practices of psychologists as a useful alternative to address the issue of violence against women, and at the same time provides opportunities for collaboration and interchange from diverse fields. / O objetivo geral desse estudo consiste em saber se a linguagem artística da dança, enquanto instrumento arteterapêutico, pode ser capaz de fornecer melhoras significativas quanto aos aspectos psicológicos vivenciados por essas mulheres. O cenário do estudo foi o Centro de Referência em Assistência Social de Hidrolândia-GO. A pesquisa foi desenvolvida com um grupo de nove mulheres com idade entre 18 e 37 anos com histórico de violência de natureza sexual, física, psicológica e/ou obstétrica. O grupo arteterapêutico foi desenvolvido em oito sessões com diferentes temáticas envolvendo os princípios básicos da Dança Moderna. Os dados de pesquisa foram coletados por meio do preenchimento da ficha de dados sóciodemográficos, entrevistas e desenhos livres nas fases pré e pós processo arteterapêutico, e observação das sessões de arteterapia. A análise e a conclusão dos resultados foram consideradas à luz da teoria e da interpretação psicanalítica. Os dados da pesquisa sinalizam que as mulheres que participaram dos encontros arteterapêuticos apresentaram progressos quanto às suas produções verbais, quanto à representação projetiva a respeito de si mesma e, principalmente, quanto à movimentação expressiva de seu corpo, ressignificando seu Eu corporal. Destaca-se, portanto, a indispensável ação multidisciplinar frente a esse fenômeno propondo o trabalho de grupos arteterapêuticos como uma das alternativas de ação possíveis, junto à prática profissional dos psicólogos, ampliando a comunicação de diferentes áreas de atuação a serviço desse universo.

Orientador: Marilia Vieira Soares / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de artes / Made available in DSpace on 2018-08-04T10:58:05Z (GMT). No. of bitstreams: 1 Miller_JussaraCorrea_M.pdf: 5654339 bytes, checksum: cbe2a428391f4bc8afe8a40ad1ebe596 (MD5) Previous issue date: 2005 / Resumo: O presente trabalho é fundamentado nos princípios desenvolvidos pelo professor e pesquisador Klauss Vianna (1928-1992) que, por aproximadamente quarenta anos, se dedicou a um trabalho de observação e pesquisa das estruturas do corpo e do movimento humano, posteriormente sistematizado por seu filho Rainer Vianna (1958-1995), e por sua nora, Neide Neves, resultando na Técnica Klauss Vianna. Esta dissertação aborda a sistematização da Técnica Klauss Vianna, explanando o processo didático e a criação da coreografia "Corpo Sentadd' como aplicação conclusiva da pesquisa. o objetivo principal deste trabalho é contribuir para o entendimento e reconhecimento da Técnica Klauss Vianna, com a apresentação de sua estruturação didática e o estudo dos tópicos corporais trabalhados no dia a dia de sala de aula / Abstract: This work is based on the principies developed by the professor and researcher Klauss Vianna (1928-1992), who dedicated approximately forty years of his life to a work of obssrvationand research on body structures and human movement, later systematized by his son Rainer Vianna (1958-1995) and his daughter-in law, Neide Neves, resulting in today's known Klauss Vianna's Technique. This dissertation approaches the systematization of Klauss Vianna's Technique, explaining its didactic process and the creation of the "Seated Body" choreography as a conclusive application of the research. The mainobjective of this work is to contribute to the understanding and acknowledgement of Klauss Vianna's Technique, with the presentation of its didactic structuring and the study of the corporal topics worked out in daily classroom practices / Mestrado / Artes / Mestre em Artes

Orientador: Ana Cristina Colla / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T21:27:34Z (GMT). No. of bitstreams: 1 Barros_IsisAndreatta_M.pdf: 3785426 bytes, checksum: ec95e47558acf1536541571a67dfb058 (MD5) Previous issue date: 2015 / Resumo: Este trabalho tem como ponto de partida explorar atravessamentos entre a Mímesis Corpórea, metodologia desenvolvida pelo Lume Teatro de Campinas, e a criação em Dança Contemporânea: O que há de mímesis na dança? O que há de dança na mímesis? Nos questionamos também se o contato com procedimentos da mímesis poderia fomentar disparadores teórico-práticos para a criação em dança. Ou qual seria a relevância desse levantamento para a dança na contemporaneidade. E para a minha dança. O interesse foi imergir em um processo investigativo cuja prática se pautou, especialmente, por uma experimentação individual, pessoal e solitária, culminando no desenvolvimento do experimento cênico intitulado "autorretrato em movimento". Assumindo a prática corporal como principal disparadora dos processos reflexivos, este texto contém o exercício de recriação dos laboratórios individuais em forma de escrita, mapeando as principais ressonâncias que o processo criativo suscitou. Nesse sentido, fez-se necessário traçar uma cartografia dos percursos de vida que alimentam esta pesquisa, reconhecendo o trabalho desenvolvido pelo Grupo Vão, coletivo de dança contemporânea do qual faço parte, como principal zona de imbricação da prática artística. Ao final, o trabalho assume como principal pressuposto a busca por um corpo que dança a experiência de "ser outros" a partir do contato com as próprias pulsões, ou seja, o "olhar para o outro" compreende, necessariamente, o "olhar para si". E considerando o movimento dançado fruto da relação de contágio entre o artista e o mundo, um dos interesses foi identificar o caráter autobiográfico da dança contemporânea para, então, reconhecer o corpo que dança sob a noção de uma identidade não fixa / Abstract: The starting point of this work is the exploration of the crossings between Body Mimesis, methodology developed by Lume Teatro de Campinas, and creation in Contemporary Dance: What is there of mimesis in dance? What is there of dance in mimesis? We also question if the contact with mimesis procedures could promote theoretical and practical triggers for creating in dance. In addition, what is the relevance of this survey to contemporary dance? What about my dance? The interest was to immerse in an investigative process, which practice was an individual, personal and lonely trial, culminating in the development of scenic experiment entitled "self-portrait in motion". Assuming body practice as the main triggering of reflective processes, this text contains the exercise of recreating individual laboratories in the form of writing, mapping the main resonances raised by the creative process. In this sense, it was necessary to draw a map of the life paths that feed this research, recognizing the work of Grupo Vão, contemporary dance collective to which I belong, as the main nesting area of artistic practice. Finally, this work takes as its main assumption the search for a body that dances the experience of "being others" as from the contact with its own instincts. In other words, "looking at others" includes necessarily "looking at oneself". In addition, considering danced movement as fruit of contagion between the artist and the world, one of the concerns was to identify the autobiographical aspect of contemporary dance and then recognize the dancing body under the notion of a non-fixed identity / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Diploma Thesis "Dance education and personality development" covers educational field of dance and motoric training characterization. It includes integration of the field into the Framework Education Programme for Elementary Education, defines educational objectives, goals and field content and points at its contribution to upbringing, education and personal social development of pupils. Theoretical part of the thesis takes in incorporation of dance and motoric upbringing in terms of art education and it contains the dance and motoric upbringing referring to framing educational programme for basic education. It also points out the influence of dance and motion on pupils' personal and social developments. In the empirical part of the thesis, possibilities of personal development of pupils are shown in relation to dance and motoric trainings from qualified dance lecturers' perspective.