Una ricerca che si prefigga di studiare la danza teatrale nel Settecento s’imbatte inevitabilmente in un nodo problematico: l’oggetto della ricerca non è (più). Di esso sono rimaste soltanto alcune tracce, ovvero una serie di materiali eterogenei che si presentano come effetti capaci di mostrare la causalità della causa – l’oggetto vacante – ma non la sua forma. A partire dalle opere riformatrici di G. Angiolini e J.G. Noverre nonché dai testi di diversi filosofi coevi interessati allo statuto del gesto, la tesi interroga la congerie di effetti sopravvissuta al ballet d’action per approfondire la danza come forma artistica e forma del sapere all’interno del più ampio sistema della rappresentazione. Nello specifico la tesi si propone di mostrare come il segno negativo che contraddistingue variamente la disciplina tersicorea e il dibattito critico su di essa nel XVIII secolo sia da ricondurre più propriamente all’essenziale matrice espressiva del gesto stesso e abbia contribuito a un progressivo slittamento del paradigma classico della mimesi della natura da un’accezione “imitativo-riproduttiva” a una “espressivo-creativa”. / A research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”

Aux XVIIe et XVIIIe siècles, des représentations théâtrales sont régulièrement donnés dans les différents collèges parisiens de plein exercice, les dix attachés à la faculté des arts de l’université de Paris, comme celui tenu par les jésuites (le collège de Clermont devenu Louis-le-Grand), avec un faste et un retentissement variables, où la musique et la danse peuvent prendre une large place. Cette thèse est consacrée aux pratiques musicales et de danses en usage dans ce théâtre collégien. À l'issue d'une recension des représentations (établissement d’un catalogue des représentations et d’un répertoire de sources) et d'une reconstitution de plusieurs fragments musicaux, ce travail envisage l’inscription des scènes collégiennes dans l’espace artistique de la capitale, tout en les replaçant dans les usages pédagogiques de chaque établissement. Les conditions de ces représentations, leur publicité et les nombreux écrits qu’elles génèrent, enfin les acteurs et les milieux professionnels impliqués dans ces spectacles, sont successivement étudiés. La deuxième partie de la thèse est consacrée à un genre remarquable par sa continuité et son prestige, le ballet, l’élément le plus marquant et le plus polémique des spectacles de collège depuis le milieu du XVIIe siècle. Les spécificités du ballet de collège et leurs évolutions au cours de plus d’un siècle de répertoire sont analysées. La scène collégienne parisienne apparaît dès lors comme une interface, où se mêlent des acteurs et des usages chorégraphiques et musicaux de diverses origines et de diverses esthétiques. / During the 17th and 18th centuries, there were regular performances given by Parisian Colleges, the ten belonging to Paris University, and the one held by the Jesuits (College de Clermont, later College Louis-le-Grand), with variable pomp and success, in which music and dance took a significant role. This thesis studies musical practices and dances as part of these performances. A complete catalog of the performances and the preserved sources along with a reconstruction of musical fragments gives an image of the artistic life in these pedagogical institutions in particular and in the Parisian theatrical context of the period. The specific conditions for these performances, the numerous publications (programmes, commentaries, manuscripts, posters, etc.), the actors and their professional environment have been studied. The ballet, with its continuity and prestige, is the subject of the 2nd part of this work. Since the mid-17th century, it holds an important and polemic position within the theatrical performance. The particularities of the college ballet and its century-long evolution are analyzed. The Parisian College Scene appears as a place of multiple assimilations, with actors, chorographic and musical practices from various origins and styles.

L’histoire biblique de Salomé est un vaste sujet qui passionne artistes et écrivains depuis longtemps. En musique, il semble toutefois plus présent au début du XXe siècle. L’œuvre testamentaire sur le sujet demeure encore aujourd’hui l’opéra de Richard Strauss, créé à Dresde en 1905. Pourtant, maints compositeurs vont également traiter la légende qui met en cause Salomé à la même époque, dont notamment Florent Schmitt, avec son ballet La Tragédie de Salomé et Antoine Mariotte qui s’inspirera, tout comme Strauss, de la pièce théâtrale éponyme d’Oscar Wilde pour écrire son opéra.Considérant la date de création de l’œuvre de Mariotte (1908) et l’existence du ballet de Schmitt composé en 1907, notre objectif est de comprendre pourquoi ces deux compositeurs se sont intéressés quasi simultanément en France à ce même sujet. Pour cela, nous nous concentrerons sur les rapports d’ordres historique, social, esthétique et musical qui uniront Salomé au symbolisme, avant d’orienter notre travail vers d’autres tendances de cette époque, comme l’orientalisme voire l’aspect psychanalytique du sujet, ainsi que vers l’étude des créations et des grandes représentations de l’œuvre.À travers cette approche comparative de La Tragédie de Salomé de Florent Schmitt et de la Salomé d’Antoine Mariotte, suivant leur conception, leur organisation et leur réception, nous pourrons conclure, outre la fascination, à la puissante représentativité de ce sujet dans la France musicale du début du XXe siècle. / The biblical story of Salome is a vast subject that has inspired artists and writers alike for years. In music however, the story was evoked the most at the beginning of the twentieth century. To this day, the work of reference on the subject remains Richard Strauss’s opera composed in Dresden in 1905. And yet, numerous composers of the same era were to use the legend of Salome, namely Florent Schmitt with his ballet ‘The Tragedy of Salome’ and Antoine Mariotte. The latter, like Richard Strauss, sought inspiration for his opera from the play of the same name by Oscar Wilde.Bearing in mind the date of conception of Mariotte’s work (1908) and the existence of Schmitt’s ballet composed in 1907, our aim is to understand why these two composers, both in France, became interested in the same subject at practically the same time. To this end, we will concentrate on historical, social, artistic and musical accounts that link Salome to symbolism. Our work will then explore other trends of the time, such as orientalism and even the psychoanalytical nature of the subject. The final part of our study will deal with the premières and major performances of the work. Through this comparative study of the conception, organisation and reception of ‘The Tragedy of Salome’ by Florent Schmitt and of ‘Salome’ by Antoine Mariotte, we can not only conclude that the subject was a source of great fascination, but also that it had a strong influence on music in France at the beginning of the twentieth century.

La ciudad de lima en su actualidad cuenta con diversas academias dedicadas exclusivamente, otras no tan personalizadas, en el arte del ballet. Esta danza se enfoca a la concentración y disciplina de sus bailarines en la ejecución de los movimientos. Se menciona a una academia que existe en el distrito de Surquillo que tiene 50 años de vigencia enseñando únicamente ballet. Esta academia toma el nombre Escuela Nacional Superior de Ballet. Se realizó una investigación con respecto a esta escuela y los espacios que se pueden apreciar son bastante reducidos para el aforo que se plantea. Se busca reubicar esta institución a una zona accesible y brindarle la infraestructura que necesitan. Este proyecto es el compendio de información con respecto al ballet y su magnitud en la ciudad de Lima. Mediante una comparación e investigación de otros proyectos en el mundo con la misma tipología se explica y demuestra la arquitectura y funcionalidad del espacio con relación a este tipo de danza, y como este espacio tiene diversas características que lo hacen específico para su usuario objetivo. Este proyecto explica y relaciona las etapas de una clase de ballet para la ubicación de la luz, para evitar la distracción de los bailarines. / Nowadays the city of Lima has a diversity of academies exclusively dedicated to Ballet. This dance it’s well known by its discipline and its focus of the dancers by the execution of the movements of their bodies that show the control they have of over their bodies. In one district of Lima, called Surquillo, there is a school that has been teaching, only, ballet. This academy is named “Escuela Nacional Superior de Ballet”. The research covers this academy and also other academies in Lima. This project seeks to relocate this institution into somewhere accessible and at the same time giving them a better infrastructure to hold this kind of activity. This research compares other architecture projects in the world with the same typology, it explains and shows the function of the space in relation to this kind of dance, and how these spaces have different qualities for its objective user. Another point to take in consideration the light to emphasis different parts of the dance to avoid any distraction form the technique. / Tesis

Thesis title: Work related musculoskeletal disorders in professional ballet dancers Objective: The high demands of the ballet dancers' profession are reflected especially within the individual dancer's musculoskeletal body system which is repeatedly exposed to a physical load that is specific for classical dance. The objective of this thesis is to find out what are the work related musculoskeletal disorders ("WRMD") in dancers who work in the Czech Republic, what risk factors prevail and which preventive strategies are applied to avoid the occurrence of WRMD. Methods: The stated objective was achieved by means of a questionnaire survey, during which randomly selected women/young adults with vocational training in ballet who are/were professional ballet dancers voluntarily filled in a questionnaire. In total, 56 ballet dancers within the region of the Czech Republic took part in this survey. The questionnaire consisted of open and closed questions and its conception was based on the Nordic Musculoskeletal Questionnaire ("NMQ"), with selected questions adapted to the specifics of the ballet profession. The first part of the questionnaire consisted of questions related to sociodemographic data, the next part aimed to gather data on the musculoskeletal disorders suffered and preventive strategies...

Contemporary dance and modern ballet often focus on conveying emotions through patterns of movement which may be abstract, obvious, or anywhere in between, as supported by music, sound, or spoken words that set the mood. Scenography is typically sparse or confined to the available space, leaving the dancers as the main instrument of communication. This work explores choreography and costume design, with a focus on how garments can inform and direct movement, choreography, and performance, and in turn how movement may inform and contribute to the development of dynamic garments. Through a series of live experiments, ranging from self-instigated performance/video work in collaboration with choreographers and dancers to performances of garment interaction associated with everyday life, the performative, spatial, and interactive properties of garments are explored. The results of these live experiments relate to various aspects of choreography, scenography, and performance space, and offer wide-ranging creative potential. The work shows how designers and choreographers can collaborate on performance scenarios within the context of modern ballet and contemporary dance productions, thus creating conceptual garments that influence the design, choreography, and manipulation of conceptual garments. In relation to the act of dressing and undressing, previously unseen types of garment and ways of wearing and performing were found. New models of collaborative interaction are proposed. This work has demonstrated how the agency of garments can function as a manuscript in modern dance, and how performance itself redefines the notion of wearing and the concept of garments.

Although the benefits of exercise are well documented, the risk of injury as a result of exercise is also documented. The undertaking of exercise in the form of sport or dance carries a risk of injury. This risk is increased in the professional ranks where increased intensity of exercise coupled with greater exposure periods are noted. Two published systematic reviews of the literature pertaining to musculoskeletal injuries and pain in dancers (up to 2008) indicated that there are still major scientific limitations and biases in the literature reviewed and indicated the need for explicit criteria on injury definition and methods of injury reporting. The reviews did comment on the evidence that musculoskeletal injury is an important issue for all dancers and that there is preliminary evidence that comprehensive injury prevention and management strategies may reduce injuries. The purpose of this single cohort observational study was to document injury incidence and severity in professional ballet dancers over three years including any changes as a result of changes within their medical management. While it is recognised that a randomised control trial would be advocated for an interventional study, due to the demands of this high performance environment this was not feasible. As such, steps were taken to improve the reporting of findings through the utilisation of the Strengthening the Reporting of Observational Studies in Epidemiology (STROBE) Statement. To date there are two publications in peer reviewed journals as a result of the data collected in this study. In the absence of international consensus on injury data collection in dance the methodology employed in this study was consistent with the International Consensus Statements on injury data collection from sport. Although the incidence of injuries in Year 1 was lower than that in other sports, the results were higher than other studies that have been reported in dance. The reason for this may be due to the use of a more encompassing injury definition. In response to the data and details obtained through the injury audit process changes in the comprehensive medical management of the dancers were implemented. The pre-participation screening was extended and the individual conditioning programmes were structured using the developed Hybrid Intervention Model. The result of the injury auditing indicated a significant reduction in injury incidence in the Year 2, with a further reduction in Year 3. These findings support the results of the systematic reviews in that there is growing evidence that comprehensive injury prevention and management strategies may reduce injuries in dance and that in the absence of stronger evidence there is a strong recommendation for those charged with caring for professional dancers to implement comprehensive medical management programmes.

Bakgrund: Balett ställer höga fysiska krav på dansare och skador är vanligt förekommande. Många dansare har haft en skada innan påbörjad karriär. Dock finns en begränsad mängd forskning om konsekvenser av skador och rehabilitering för pre-professionella balettdansare. Metod: Kvalitativ explorativ design. Fem pre-professionella balettdansare intervjuades med semistrukturerade intervjuer. För databearbetning användes en kvalitativ innehållsanalys. Resultat: I analysen framkom 4 kategorier och 9 subkategorier som visade att press från omgivning, otydliga riktlinjer för hantering och behandling av aktuell skada påverkade dansutövningen. Även oklarhet om orsaken till problemet/skadan upplevdes frustrerande vilket i sin tur påverkade skaderehabiliteringen och dansutövandet. Utöver de fysiska konsekvenserna för dansutövandet upplevdes även psykisk påverkan av att inte kunna utöva dansen. Konklusion: Pre-professionella balettdansare påverkas negativt både fysiskt och psykologiskt av skada. Utbildning i skadeprevention och skadehantering brister idag och behövs för att minska risken att skada sig samt för att korrekt kunna behandla en eventuell skada. Skador har en betydelsefull påverkan på pre-professionella balettdansares upplevda framtidsutsikt, och skulle kunna hanteras tidigare och bättre för att inte hindra möjlig fortsatt danskarriär. / Background: Ballet demands great physical skills on the dancer and injuries are common. Many dancers have had an injury before the start of their career. However, there is a limited amount of research on the impact of injuries and rehabilitation for pre-professional ballet dancers. Method: Qualitative exploratory design. Five pre-professional ballet dancers interviewed with semi-structured interviews. For data processing using a qualitative content analysis. Results: The analysis showed 4 categories and 9 subcategories that showed that pressure from the environment, unclear guidelines for the management and treatment of current injury influenced dance practice. Although uncertainty about the cause of the problem / injury created frustration, which in turn impact on the injury rehabilitation and dance practice. In addition to the physical consequences for dance practice the dancers also experienced psychological stress of not being able to practice the dance. Conclusion: Pre-professional ballet dancers are adversely affected both physically and psychologically by injury. It is required with more training in injury prevention and management today and needed to reduce the risk of injury, and in order to correctly treat a possible injury. Injuries have a significant impact on pre-professional ballet dancers perceived outlook, and could be handled earlier and in better order not to foreclose a possible continued dancing career.

The Garden Of Eden is a ballet for four instrumental quintets: brass, woodwind, string, and percussion. Each ensemble is associated with one of four dancers: God, Adam, Eve, -and the Serpent, respectively. The duration of this ballet is approximately sixteen minutes and is divided into three parts depicting (1) the creation of the world and Adam; (2) the creation of Eve-and the warning about the tree of knowledge; and (3) the Serpent's temptation of the main characters, as well as their subsequent banishment from the garden by God. One of my reasons for composing this work was to answer an important question: how to control musical motion and emotion. Since ballet incorporates both motion in its choreography and emotion in its program, it provided a perfect medium in which to work.

Thesis name: The evaluating of the change of walking quality in dancers in comparison with the normal population Thesis goal: This thesis deals with effect of long-term ballet dance on kinematic parameters of gait. The theoretical part includes basic characteristics of gait cycle and kinesiological and biomechanical findings of ballet movement and its compensatory mechanisms in musculoskeletal system. There is analyzed angular parameters of gait cycle in ballet dancers in performance of walking in the experimental part. The results will show if the many-years intensive training of dance affects the alignment of particular joints of the body during human walk. Method: Kinematic analysis by Qualisys system allowing automatic processing of record obtained with infrared cameras. Qualisys uses its own high-frequency cameras for precise movement tracking of the measured object using active or passive markers. Gathered data from device were processed and statictically evaluated with Microsoft Office Excel. Keywords: gait, bipedal locomotion, dance, gait analysis, gait of dancers, ballet, kinematics analysis