Nesse trabalho, problematizamos as experimentações vividas com um Grupo de Dança Contemporânea, denominado de Ballet Contágio, configurado a partir de usuários de um CAPS – Centro de Atenção Psicossocial. Nesse sentido, traçamos uma nova vizinhança, em que a arte e também a imagem se tornam aliadas para a composição de um dispositivo tecnoestético. Em tal trama, a fotografia nos permite a passagem da imagem dançada no espaço como uma experiência estética e libertadora. Em um ballet envolvente, dentro e fora se misturam e promovem brechas na imagem dançante, no instante em que promovem uma nova textura entre um corpo que dança e a coexistência de novas formas e afecções. Desse modo, uma bailarina-psi investe em uma aposta compartilhada com uma coletividade, com o intuito de se deixar atravessar pelo desejo de estetizar o existir. Assim, no meio de um contorno e em seu contra-contorno, disparamos novas chances para a subjetivação e para a clínica, as quais operam com séries heterogêneas e dispostas a construir outras coreografias. Para compor a escrita da tese, dançamos em meio a uma gramática revolvida, permeada por conceitos e micro-acontecimentos. Cortamos o texto aos meios, para compormos pequenos fragmentos, que se transformam em girações, córeos, contágios ou vidas saltitantes. Em cada um deles, produzimos um re-começo, ou uma origem segunda, por meio de um verbante, isto é, uma espécie de verbo dançante, que tenta conectar palavra e estética. Em nosso método, buscamos as coreografias do entre, ao cartografarmos os encontros que nos fazem transformar antigas noções e produzir novos sentidos. Alteramos os modos de trabalhar com a loucura e com a pesquisa, ao propormos um olhar atravessado pela estética e pela tecnologia imagética. Portanto, lançamos a história de uma grudança e suas implicações à mais alta potência do vir a ser. Mapeamos as linhas de fuga e acompanhamos as expressões de um corpo coletivo que dança e se reinventa de um modo singular. De pacientes a bailarinos, saboreamos os efeitos dessa entrega, suportamos as dores e os silêncios, ao mesmo tempo em que fazemos girar as antigas lamentações e ressentimentos. Convidamos, pois, não só o CAPS e o SUS a dançar, mas também a imagem fotográfica, bem como a clínica e suas piruetas insólitas. Sustentamos, em tal experiência, a invenção de novas tecnologias, seja no cuidado em saúde ou nas linguagens expressivas, a fim de promover a disparação de uma clínica que insiste em desinstitucionalizar fazeres e em amar a própria destruição. / In this paper, we discuss the trials with an experienced group of Contemporary Dance, Ballet called Contagion, configured from users of a Psychosocial Attention Center - CAPS. In this sense, we draw a new neighborhood, where the art and also the image become allied to the composition of a technical aesthetic device. In this plot, the picture allows us to cross the image danced in space as an aesthetic and liberating experience. In an involving ballet, inside and outside gaps mingle and promote the dancing image in the instant that promote a new texture between a dancing body and the coexistence of new forms and conditions. Thus, a ballerina-psi invests in a shared commitment to a community in order to let the desire to cross the aestheticize existing. Thus, in the midst of a contour and its counter-contour, we shoot new opportunities for subjectivity and for the clinic, which operate with heterogeneous series and willing to build other choreographies. To compose the writing of the thesis, we danced in the midst of an upturned grammar, permeated by concepts and micro-events. We cut out the text in the middle, to compose small fragments that become gyrations, coreos, disease or leaping lives. In each one of them, we produce a re-start, or a second home through a verbante, ie a kind of dancing verb, which tries to connect word and aesthetics. In our method, we seek the choreography in between, to chart the encounters that make us turn old notions and produce new meanings. We have changed ways of working with madness and with research, by proposing a crossed eye for aesthetics and technology imagery. Therefore, we launched the story of a groupdancing and its implications to the highest power of becoming. We have mapped the gettaways and followed the terms of a collective body that dances and reinvents itself in a unique way. From dancers to patients, we have tasted the effects of such surrender, we have tolerated pain and silence at the same time, we have turned the old resentments and regrets. We invite, therefore, not only the CAPS and SUS to dance, but also the photographic image as well as the clinic and its unusual twists. We maintain, in such an experiment, inventing new technologies, whether in health care or the expressive languages, in order to promote the shooting of a clinic that deinstitutionalize doings and insists on loving their own destruction.

Nesse trabalho, problematizamos as experimentações vividas com um Grupo de Dança Contemporânea, denominado de Ballet Contágio, configurado a partir de usuários de um CAPS – Centro de Atenção Psicossocial. Nesse sentido, traçamos uma nova vizinhança, em que a arte e também a imagem se tornam aliadas para a composição de um dispositivo tecnoestético. Em tal trama, a fotografia nos permite a passagem da imagem dançada no espaço como uma experiência estética e libertadora. Em um ballet envolvente, dentro e fora se misturam e promovem brechas na imagem dançante, no instante em que promovem uma nova textura entre um corpo que dança e a coexistência de novas formas e afecções. Desse modo, uma bailarina-psi investe em uma aposta compartilhada com uma coletividade, com o intuito de se deixar atravessar pelo desejo de estetizar o existir. Assim, no meio de um contorno e em seu contra-contorno, disparamos novas chances para a subjetivação e para a clínica, as quais operam com séries heterogêneas e dispostas a construir outras coreografias. Para compor a escrita da tese, dançamos em meio a uma gramática revolvida, permeada por conceitos e micro-acontecimentos. Cortamos o texto aos meios, para compormos pequenos fragmentos, que se transformam em girações, córeos, contágios ou vidas saltitantes. Em cada um deles, produzimos um re-começo, ou uma origem segunda, por meio de um verbante, isto é, uma espécie de verbo dançante, que tenta conectar palavra e estética. Em nosso método, buscamos as coreografias do entre, ao cartografarmos os encontros que nos fazem transformar antigas noções e produzir novos sentidos. Alteramos os modos de trabalhar com a loucura e com a pesquisa, ao propormos um olhar atravessado pela estética e pela tecnologia imagética. Portanto, lançamos a história de uma grudança e suas implicações à mais alta potência do vir a ser. Mapeamos as linhas de fuga e acompanhamos as expressões de um corpo coletivo que dança e se reinventa de um modo singular. De pacientes a bailarinos, saboreamos os efeitos dessa entrega, suportamos as dores e os silêncios, ao mesmo tempo em que fazemos girar as antigas lamentações e ressentimentos. Convidamos, pois, não só o CAPS e o SUS a dançar, mas também a imagem fotográfica, bem como a clínica e suas piruetas insólitas. Sustentamos, em tal experiência, a invenção de novas tecnologias, seja no cuidado em saúde ou nas linguagens expressivas, a fim de promover a disparação de uma clínica que insiste em desinstitucionalizar fazeres e em amar a própria destruição. / In this paper, we discuss the trials with an experienced group of Contemporary Dance, Ballet called Contagion, configured from users of a Psychosocial Attention Center - CAPS. In this sense, we draw a new neighborhood, where the art and also the image become allied to the composition of a technical aesthetic device. In this plot, the picture allows us to cross the image danced in space as an aesthetic and liberating experience. In an involving ballet, inside and outside gaps mingle and promote the dancing image in the instant that promote a new texture between a dancing body and the coexistence of new forms and conditions. Thus, a ballerina-psi invests in a shared commitment to a community in order to let the desire to cross the aestheticize existing. Thus, in the midst of a contour and its counter-contour, we shoot new opportunities for subjectivity and for the clinic, which operate with heterogeneous series and willing to build other choreographies. To compose the writing of the thesis, we danced in the midst of an upturned grammar, permeated by concepts and micro-events. We cut out the text in the middle, to compose small fragments that become gyrations, coreos, disease or leaping lives. In each one of them, we produce a re-start, or a second home through a verbante, ie a kind of dancing verb, which tries to connect word and aesthetics. In our method, we seek the choreography in between, to chart the encounters that make us turn old notions and produce new meanings. We have changed ways of working with madness and with research, by proposing a crossed eye for aesthetics and technology imagery. Therefore, we launched the story of a groupdancing and its implications to the highest power of becoming. We have mapped the gettaways and followed the terms of a collective body that dances and reinvents itself in a unique way. From dancers to patients, we have tasted the effects of such surrender, we have tolerated pain and silence at the same time, we have turned the old resentments and regrets. We invite, therefore, not only the CAPS and SUS to dance, but also the photographic image as well as the clinic and its unusual twists. We maintain, in such an experiment, inventing new technologies, whether in health care or the expressive languages, in order to promote the shooting of a clinic that deinstitutionalize doings and insists on loving their own destruction.

Orientador: Júlia Ziviani Vitiello / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T18:23:33Z (GMT). No. of bitstreams: 1 Wolff_SilviaSusana_D.pdf: 793239 bytes, checksum: 8409850822bbbde78747580899802a20 (MD5) Previous issue date: 2010 / Resumo: Este texto apresenta o desenvolvimento de uma investigação teórico-prática sobre a técnica clássica (ballet), visando uma reflexão acerca de sua utilização nos processos de interpretação e criação em dança contemporânea. Esta pesquisa inclui a trajetória do ensino do ballet no século XX, em Porto Alegre, e sua relação com o desenvolvimento dos métodos de educação somática, todos temas de relevância e referência no percurso artístico e acadêmico desta pesquisadora. Visto que o projeto origina-se nas experiências corporais da autora a partir de sua trajetória na dança, as suas recentes experiências como paciente de AVC direcionam o projeto para uma exploração acerca das possibilidades de uso da dança como método de reabilitação e como forma de abordagem de deficiências físicas, tanto na prática coreográfica quanto teoricamente / Abstract: This text presents the development of a theoretical-practical investigation on classical dance technique (ballet), aiming at a reflection on its utilization in the performance and creative processes in contemporary dance. This research includes the trajectory of the teaching of ballet in the twentieth century, in Porto Alegre, and its relation to the development of Somatic Education Methods, all very relevant themes in the artistic and academic background of this researcher. Since the project originates in the bodily experiences of the author within her dance history, her recent experiences as a stroke patient direct the project to an exploration on the possibilities of the use of dance as a rehabilitation method and as a tool to approach physical disability both in practice and theory / Doutorado / Artes / Doutor em Artes

A presente pesquisa teve como objetivo compreender a naturalização do corpo cênico demandado pelo balé clássico. Buscamos investigar como se constrói a naturalização do corpo cênico, expressivo, no balé clássico, uma vez que o mesmo é pensado, pelos bailarinos pesquisados, como algo que é próprio do (a) bailarino (a); como um dom. A partir de uma abordagem metodológica qualitativa, utilizamos como técnicas de investigação a observação de espetáculos de balé e entrevistas semiestruturadas com bailarinos (as) clássicos (as) brasileiros (as), que apresentaram anos de atuação e que possuíam a técnica incorporada. As trajetórias profissionais foram distintas. Alguns desses bailarinos dançaram, por exemplo, balés de repertório completos, outros dançaram variações dessa modalidade. Alguns deles escolheram a profissão de professor (a) de balé, outros, são profissionais em companhias de dança no país, mas todos os entrevistados participaram de festivais de dança. Como resultado de pesquisa, destacam-se os seguintes aspectos: o corpo pleno de quem dança balé clássico; um corpo que já possui uma técnica explícita e implícita, incorporadas. Essas técnicas configuram uma aprendizagem, que se dá por meio da reprodução e imitação de trejeitos de bailarinos renomados, vistos como modelo e inspiração para os bailarinos entrevistados. São assim imitados aspectos que consideram adequados à cena. Ao mesmo tempo, os bailarinos buscam na própria vida, nas emoções do cotidiano, a inspiração e as sensações que possam ser externalizadas na cena. Para os indivíduos pesquisados, ser artista no balé clássico articula-se à ideia de dom por conta de um aprendizado inconsciente que se dá no cotidiano. Essa noção de dom no balé clássico não é recente, podendo ser vista desde o século XVII, articulada à ideia de liberdade e autonomia artística. Há assim, uma atualização dessa ideia, em outros termos, circunstâncias e percepções / This research aimed to understand the naturalization of the scenic body demanded by classical ballet. We seek to investigate how the naturalization of \"scenic body\", expressive, in classical ballet, since it is thought, researched by dancers, as something that is itself the dancer, as a gift. From a qualitative approach, we used as investigative techniques the observing ballet performances and semi-structured interviews with Brazilian classical dancers who had years of experience and that had the technique in their bodies. Professional trajectories were different. Some of these dancers, danced for example, repertory ballets and others danced variations of ballet. Some of them have chosen the ballet teaching profession others are professionals in dance companies in the country but all responders participated in dance festivals. As search result stand out the following: full body who dance classical ballet; a body that already has a \"explicit technique\" and \"implicit technique, in their bodies. These techniques constitute a learning that takes place through reproduction and imitation of renowned dancers renowned dancers seen as a model and inspiration for dancers interviewed. They are mimicked aspects that they consider adequate to the scene. At the same time the dancers seek in their lives, in everyday emotions, inspiration and feelings that can be placed in the scene. For individuals surveyed, being an artist in the classic ballet articulates the gift idea because of an unconscious learning that occurs in everyday life. This notion of gift in classical ballet is not new, it can be seen from the seventeenth century, linked to the idea of freedom and artistic autonomy. There is an update of that idea, in other terms, conditions and perceptions

Orientador: Júlia Ziviani Vitiello / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T15:42:58Z (GMT). No. of bitstreams: 1 Conz_Rosely_M.pdf: 2978119 bytes, checksum: 2f027bfb1a5b08efc1c4f2796d4d109a (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa observou como as memórias determinam escolhas, criam padrões, formas e maneiras singulares de relacionamento com o processo criativo. Este trabalho se desdobrou na articulação entre teoria e prática, dois aspectos fundamentais para o artista na universidade. A criação de um solo em dança contemporânea tornou-se um meio e também um dos objetivos desta pesquisa. O reconhecimento das minhas memórias possibilitou a reflexão sobre o ensino e prática da técnica do ballet clássico, técnica esta frequentemente utilizada nos processos de formação em dança. O método somático da Ideokinesis foi escolhido para instrumentalizar a observação e, quando necessário, a mudança dos padrões de movimento que são parte das memórias de procedimento. Clarice Lispector constituiu o referencial poético para a criação e a escrita da dissertação. Busquei a leveza, o humor e a intensidade com que esta importante escritora conta suas lembranças no livro de crônicas "A descoberta do mundo" (1999). Os procedimentos técnicos e criativos utilizados e desenvolvidos, bem como os encontros, descobertas, dificuldades, inspirações e transpirações deste processo fazem parte da discussão apresentada nesta dissertação, cuja escrita buscou ser, como no solo de dança, uma obra artística / Abstract: This research observed how memories determine choices; create patterns, shapes and unique ways of interaction with the creative process. This work was developed among theory and practice, two fundamental aspects for the artist at the university. The creation of a contemporary dance solo has become the means and also one of the objectives of this research. The recognition of my own memories enabled a reflection on teaching and practice of classical ballet technique, which is often used in educational processes in dance. The somatic method of Ideokinesis was chosen as an observation tool that allowed me, whenever necessary, to change movement patterns that is part of procedural memories. The author Clarice Lispector constituted my poetic reference. I sought for the delicacy, humor and intensity with which the writer told her memories in the book of chronicles "A descoberta do mundo" (1999). The methods and techniques used and developed during the choreographic creation as well as the encounters, discoveries, difficulties, inspirations and perspiration are part of the process of the discussion presented in this dissertation, which seeks to be written, like the solo dance, as an artistic work / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Behavioral skills training (BST) has been proven effective in helping children with autism spectrum disorder (ASD) acquire new skills. Little research had been done to evaluate the effect of BST on the acquisition of sport skills within this population, and no research exists in regards to using BST to teach dance skills to individuals with ASD. The purpose of this study was to evaluate the effectiveness of BST for teaching dance steps to children diagnosed with ASD. This study used a multiple baseline across behaviors design. The dance movements that were targeted consisted of a tap step, a leap, and a turn. Skill acquisition was scored using a task analysis for each dance step to calculate percentage correct. This study found that the use of BST increased the percentage correct of each dance step from baseline levels in all three participants.

The Master's thesis is focused on analyse of human ressource management in proffesional ballet ensembles in the Czech republic. It describes the dance art via personnel activities -- human ressource planning, selection process, motivation, organizing work, education, development and employee renumeration. It calls attention to physical strain of this profession, to health and other risks, especially to short term of the active dance career and it shows the possibilities after the career termination.

Cindy McTee's Symphony No. 1: Ballet for Orchestra is composed primarily of pitch materials from the octatonic collections that contain both diatonic and non-diatonic relationships in the themes, harmonic content, and larger structure of the symphony. Because the octatonic collections contain the potential for both diatonic and non-diatonic relationships, the piece is argued to have octatonic structure, as the octatonic collection is capable of producing both relationships. The second chapter contains a review of the literature, focusing particularly on the work of Arthur Berger, Pieter C. van den Toorn, Richard Taruskin, and Allen Forte. Next, the octatonic structure of the symphony is shown in the thematic material. Finally, the harmonic support and large-scale structure of the piece are shown to contain octatonic relationships as well.

Balance is the ability to maintain an individual’s centre of mass over his or her base of support while standing. Ballet dancers have better balance than non-dancer control groups as they presented with better sensory-motor integrative skills when required to maintain a given posture for a longer period. To evaluate functional balance abilities, assessing individuals with above average balance abilities may provide valuable information about function. The balance of trained ballet dancers (N1) was investigated by comparing Sensory Organisaiton Test (SOT), Motor Control Test (MCT) and Limits of Stability (LOS) test results to matched non-trained individuals (N2). A quasi-experimental and two group design was used. Ten matched trained ballet dancers (N1) and 10 untrained individuals were included in the study. Trained ballet dancers (N1) had an average of 16.6 (± 4.24) years of experience, while non-trained individuals (N2) had none. No significant dufferences in demographic data was present between groups. Both groups reflected good overall balance and similar sensory organization. No differences in reflex latencies and weight symmetry of the left or right leg was present. Trained ballet dancers (N1) reflected higher response strength for medium forward translations (p.05) with the left leg, indicating poorer amplitude scaling in response to platform translations than those of non-trained individuals (N2). In non-trained individuals (N2), there was less variation in the response strength between legs. Research indicated that stretch reflex amplitude was attenuated as load stability was reduced. Co-contraction was also heightened as stability was reduced, but not enough to oppose the induced instability, probably due to feed-forward strategies instead of rapid involuntary feedback. Trained ballet dancers (N1) were able to extend further out of their Centre of Pressure (COP) than non-trained individual (N2) during forward (p<.05) and right forward (p<.05) movements. It was concluded that that for forward and right forward movements, ballet dancers used the feedback they received during the movements better than non-trained individuals (N2), resulting in a better awareness of where to go in space and how to reach that position after a subsequent attempt. This difference may be as a result of continuous training. Ballet training exercises can be used to rehabilitate individuals with impaired limits of stability. Further studies should be done on exactly which ballet training exercise results in increased limits of stability. / Mini Dissertation (MCommunication Pathology)--University of Pretoria, 2016. / Speech-Language Pathology and Audiology / MCommunication Pathology / Unrestricted

Title: Consequences of injuries on stability in ballet Objectives: The main aim of the study was to find out if injuries in the ankle and foot have a negative impact on dancers' postural stability. If so then the secondary objective of this study was to see if the injury of one leg affects also the stability of the other in a one-leg stand. Methods: First part of this thesis is a systematic review. The other part is quantitative research in a prospective, cross-sectional design study. Stabilometric data from all 24 female subjects were analysed and injured and uninjured dancers were compared. The data were measured by a FootScan pressure plate (RSscan International, Belgium). Tested positions were bipodalic stance with eyes opened and closed, bipodalic calf raise (relevé) and monopodalic stance on both legs. Results: The aims of the thesis have been fulfilled but both the hypothesis have been rejected. The results have shown better stability in injured dancers to non-injured dancers in three parameters - Total Travel Way of the centre of pressure (COP) in monopodalic stance on the right foot, mediolateral movement of COP in bipodalic stance with eyes opened and calf rise (relevé). No significant differences have been shown between dancers with one leg previously injured and the non-injured ones in...