The context in which any artist creates an artwork is integral to understanding its significance, and one crucial aspect of context is how a work was created. When first looking at how Edgar Degas created his dancer paintings, his process seems simple- he watched the dancers and then painted what he saw. However, that is only a surface examination of a much more complicated system of observation, practice, repetition, mastery, and reproduction. This thesis investigates how Degas bridged the gap between observation and understanding of balletic technique; how deep his knowledge of balletic technique was; and if Degas did have a deep understanding of balletic technique, what process he utilized to gain that knowledge. It reconstructs the process Degas utilized to learn and then reproduce the repertoire of the Paris Opéra ballet by pairing visual analysis of specific works with my own knowledge of ballet technique as a dancer of twenty years. Ultimately, this study reveals that Degas learned how to dance classical ballet by mimicking the process ballerinas used to learn how to dance: first watching, then doing, and finally performing.

The purpose of this thesis is to develop and understand dance balance characteristics on various kinds of dance, related positions and shoe types which contribute to dance performance and to understand different balance controls in various groups. The first study was conducted to examine balance into ballet 2nd position between Ballet shoes and Pointe shoes. Eight dancers performed five different conditions in ballet 2nd position (Ballet Flat, Ballet Demi, Pointe Flat, Pointe Demi, and Pointe Toe) and Centre of Pressure (COP) was used to assess balance. The second study was testing balance control and response to perturbations whilst standing on double leg stance dance positions using a moving platform. Four dance positions were performed by eight subjects (Normal Flat, Turnout Flat, Normal Demi and Turnout Demi) and the platform was moved in two different directions (Forward and Backward) at two different speeds (slow and fast). Kinetics, Kinematics and EMG data was taken from this study. The third study was taken to compare balance control and response to perturbations in single leg standing dance positions between eight dancers and eight gymnasts. The subjects performed static single leg balance in Normal Flat, Turnout Flat, Normal Demi and Turnout Demi. Also, perturbed stance trials were collected in anterior, posterior, right and left directions for two dance positions (Normal Flat and Turnout Flat) at two different speeds (slow and fast) on the moving platform. The results from the studies indicate that dancers move in Medial - Lateral direction more than in Anterior - Posterior direction on Demi-pointe and Toe standing by performing plantar flexion during ballet 2nd position. Demi-pointe position may cause longer delay of EMG latencies because CNS is probably sending information already to keep correcting balance on Demi-pointe. Dancers and Gymnasts have different balance controls due to their ways of training in their performance. Dancers generally reacted faster with slow perturbation in Turnout stance than Gymnasts because this is the particular condition which Dancers are training in.

Made available in DSpace on 2015-03-26T13:44:26Z (GMT). No. of bitstreams: 1 texto completo.pdf: 2409719 bytes, checksum: 8c5f542722f31d08238059e4c031a9ac (MD5) Previous issue date: 2012-03-30 / William Shakespeare s Romeo and Juliet can be considered the ultimate tragic love story. That is why it has generated the most varied artistic adaptations. In dance, Romeo and Juliet has been translated mainly into the language of classical ballet. Within this context, this work aims to analyze the play s process of transmutation into the language of classical dance. The object of this work, was produced by The Royal Ballet in 1965, and choreographed by Kenneth MacMillan. The theoreticians who guided our work in the field of adaptation studies are Gérard Genette (2010), Julie Sanders (2006; 2007) and Linda Hutcheon (2011); in the field of the performing arts, Patrice Pavis (2008a; 2008b; 2010); and, for the purpose of analysis, in the field of semiotic studies, the intersemiotic translation theory proposed by Roman Jakobson (2010). Thus, the aim of this work is to understand the transformations the play has undergone in the process of becoming a choreographic production, focusing on the following elements: costumes, scenery, props, lighting, movement and gestures. / Romeu e Julieta, de William Shakespeare, pode ser considerada como a maior história de amor de todos os tempos e, por este motivo, foi adaptada para diversas linguagens artísticas. Na área da dança, Romeu e Julieta foi traduzida principalmente para a linguagem do balé clássico. Neste contexto, este trabalho visa a analisar o processo de transmutação do texto teatral Romeu e Julieta para a linguagem da dança clássica. O objeto de estudo desta pesquisa é a versão que foi produzida pela The Royal Ballet, em 1965, com coreografia de Kenneth MacMillan. Os teóricos norteadores deste trabalho no campo dos estudos de adaptação são Gérard Genette (2010), Julie Sanders (2006; 2007) e Linda Hutcheon (2011); nas artes cênicas, Patrice Pavis (2008a; 2008b; 2010); e, no campo dos estudos semióticos, para efeito de análise, utilizou-se a teoria de tradução intersemiótica proposta por Roman Jakobson (2010). Portanto, pretende-se compreender os aspectos e as transformações da peça teatral para a obra coreográfica a partir dos seguintes elementos: figurino, cenário, objetos cênicos, iluminação, movimento e gesto.

Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2017-05-12T19:38:18Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) VERSÃO FINAL DISSERTAÇÃO.pdf: 30969870 bytes, checksum: f2dad514370b11a588111188391e3769 (MD5) / Made available in DSpace on 2017-05-12T19:38:18Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) VERSÃO FINAL DISSERTAÇÃO.pdf: 30969870 bytes, checksum: f2dad514370b11a588111188391e3769 (MD5) Previous issue date: 2016-04-25 / Um dos elementos característicos do balé clássico é o uso da sapatilha de ponta, um calçado que possibilita a dança na ponta dos pés. Seu uso remonta ao período romântico na dança (século XIX), e foi um dos elementos que tornou possível a reprodução dos significados estéticos desse movimento artístico. O uso da sapatilha de ponta é encarado como um ritual de passagem para toda aspirante a bailarina. Normalmente cabe ao professor avaliar suas alunas e decidir o momento ideal para começar a prática nas pontas, o que deve ser feito de maneira responsável, caso contrário, vários danos podem ser causados à saúde da praticante. Reconhecendo a complexidade do processo de indicação e com a ideia de identificar elementos que o envolvem, o objetivo do estudo foi compreender como ocorre o processo de indicação do uso da sapatilha de ponta sob o ponto de vista de professores e alunas de Balé Clássico. Foi feito um estudo descritivo e exploratório, conduzido pela abordagem qualitativa. Participaram da pesquisa catorze professores e onze alunas de balé clássico de instituições privadas da cidade do Recife. Para a coleta dos dados, ambos os participantes foram submetidos a um roteiro para entrevista semiestruturada. Para as alunas, foi acrescida a solicitação de desenho(s) e narrativa da(s) imagem(ns) construída(s). Todas as falas foram gravadas e transcritas. Os dados foram submetidos à análise de conteúdo (BARDIN, 2011), com auxílio do software Atlas.ti for Mac. Após a análise das falas, os resultados foram agrupados em duas categorias analíticas/temáticas: os professores, o ensino do balé e a indicação para o uso da sapatilha de ponta e as alunas, a prática do balé e o uso da sapatilha de ponta. Para os professores, o ensino do balé apresentou-se marcado por dualidades envolvendo suas crenças versus realidade, bem como a presença dos conhecimentos empírico e científico; a indicação para o uso da sapatilha de ponta teve a ver com a abordagem didático-pedagógica e a verificação de critérios, tanto objetivos quanto subjetivos. As alunas pareceram ter clareza dos requisitos importantes para o uso da sapatilha de ponta, mas também compreenderam que a palavra final é do professor. Os significados referidos à sapatilha foram marcados pela expectativa, por uma forte presença iconográfica, pela influência de modelos ao longo da formação e por valores estéticos. Estes significados remeteram-se a ideais de feminilidade, estimulando comportamentos esperados para uma aspirante a bailarina. Os achados da pesquisa servem de subsídios para nortear novos estudos, ampliando a discussão sobre o tema em questão e, possivelmente, auxiliando na construção de propostas de intervenção que aliem conhecimentos da Arte, Educação e Saúde. / One of ballet’s features is the use of pointe shoe, a shoe that enables the dance on the tip of the toes. Its use dates back to the Romantic period in dance (19th century), and was one of the elements that made possible the reproduction of the aesthetic meanings of this artistic movement. The use of pointe shoes is seen as a rite of passage for any aspiring ballet dancer. Usually it is up to the teacher evaluate their students and decide the ideal moment to start practice at the pointe shoes, which should be done in a responsible way, otherwise severe damage can be caused to the health of the practitioner. Recognizing the complexity of the nomination process, and with the purpose of identifying elements that involve it, the aim of the research was to understand how is the process of indication of pointe shoes from the point of view of ballet teachers and students. A descriptive and exploratory study, conducted by the qualitative approach, was made. Research participants were fourteen teachers and eleven students of private institutions in the city of Recife. To collect data, all the participants underwent a roadmap for semi-structured interview. For the students, it was also requested drawings and their description. All speeches were recorded and transcribed. Data were submited to content analysis (BARDIN, 2011) with the support of Atlas.ti software for Mac. After analyzing the speeches, the results were grouped into two analytical/thematic categories: teachers, ballet instruction and indication for the use of pointe shoe and students, ballet practice and use of pointe shoe. For teachers, the ballet instruction was marked by dualities involving their beliefs versus reality, and the use of empirical and scientific knowledge; the indication for the use of pointe shoe involved didactic and pedagogical approach and criteria of verification, both objective and subjective. The students seemed to have clear in mind the requirements for the use of pointe shoe, but also understood that teachers give the final decision. The meanings of pointe shoes were marked by expectation, a strong iconographic presence, influence of models over the training and aesthetic values. These meanings forwarded some ideals of femininity, encouraging behaviors expected for an aspiring dancer. The outcomes of this research serve as subsidies to guide further studies, expanding the discussion on the topic at stake and possibly assisting in the construction of intervention proposals that combine Art’s knowledge, Education and Health.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-06-29T20:11:29Z No. of bitstreams: 2 Dissertação - Rousejanny da Silva Ferreira - 2015.pdf: 1589090 bytes, checksum: 6daf3cc8b4334b3ed73d51d0dfc82a48 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-06-30T12:03:25Z (GMT) No. of bitstreams: 2 Dissertação - Rousejanny da Silva Ferreira - 2015.pdf: 1589090 bytes, checksum: 6daf3cc8b4334b3ed73d51d0dfc82a48 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-06-30T12:03:25Z (GMT). No. of bitstreams: 2 Dissertação - Rousejanny da Silva Ferreira - 2015.pdf: 1589090 bytes, checksum: 6daf3cc8b4334b3ed73d51d0dfc82a48 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-06-12 / This dissertation aims at discussing the contexts and the reformulations on the vocabulary for the ballet proposed by the North American choreographer William Forsythe (1949), from the decades of 1980 to 1990. The excerpt delimited on the research is within the period which Forsythe directed the Frankfurt Ballet, in Germany. He has been considered an important revitalizer of the patterns of traditional ballet by many art and dance critics as well as by historians. For a better understanding of the trajectory and importance of Forsythe in the transformation of this dance, I first present some of the problems of the uncritical historic discussion of ballet. Following that I point out how ballet has raised aesthetical and political provocations about its performing up to the context of the subject here being investigated – William Forsythe. Next I investigate the social, political and artistic constructions which are designed by this choreographer in order to develop his references about the conception, performing and composing of ballet in the contemporaneity. In this perspective I also investigate the material that registers this period of his career: the CD-ROM Improvisation Technologies. I present the organization of the CD together with the description and analyses of the technology and the studies developed in the field of Labanian Choreutics as well as the description and analyses of all of the categories presented in its first edition, which has influenced the creation of the material. This work problematizes ballet as a web of meanings of our time, presenting the dancer as researcher of his choreographic practice. / Este trabalho discute os contextos e reformulações no vocabulário do balé propostos pelo coreógrafo norte-americano William Forsythe (1949) entre 1984 e 1994. O recorte delimitado na pesquisa compreende o período em que William Forsythe dirigiu o Balé de Frankfurt – Alemanha, sendo considerado por muitos críticos e historiadores da dança e da arte um importante revitalizador dos moldes tradicionais do balé. Para melhor entender os percursos e a importância de Forsythe na transformação desta dança, primeiramente apresento alguns problemas na discussão histórica acrítica do balé e, em seguida, aponto como, em três momentos distintos de sua história, o balé levantou provocações estéticas e políticas sobre seu fazer, chegando, então, ao contexto recente do sujeito aqui pesquisado, William Forsythe. Investigo em seguida as construções sociais, políticas e artísticas traçadas por este coreógrafo para desenvolver suas referências sobre a concepção, atuação e composição de balés na contemporaneidade. Nesta perspectiva, investigo o material que sela este período de sua carreira, o CD-ROM Improvisation Technologies. Apresento os estudos da tecnologia e da corêutica labaniana, que influenciaram a criação do material, e a organização do CD, juntamente com a descrição e análise de todas as categorias apresentadas em sua 1ª edição. Este trabalho problematiza o balé como teia de sentidos de nosso tempo, apresentando o bailarino investigador de sua prática coreográfica.

Estudos sobre a estimação subjetiva de tempo, sob a abordagem da Nova Estética Experimental, utilizam obras de arte (músicas, esculturas e pinturas) como estímulos, buscando revelar quais os processos psicológicos envolvidos na apreciação artística. Alguns desses estudos mostraram que a percepção de movimento de corpos humanos em posições de balé influencia a estimação subjetiva de tempo e que há um efeito do treinamento em artes dos participantes nestas estimações. Outros estudos que utilizaram estímulos acústicos (músicas clássicas de complexidades distintas) também revelaram que a estimação subjetiva de tempo pode estar relacionada com as características das composições. Alguns estudos que abordam a interação som/imagem indicam um domínio do estímulo acústico sobre o visual em tarefas que requerem percepção temporal. O presente estudo propõe a utilização de estímulos acústicos e visuais, com o objetivo de verificar se trechos musicais de diferentes andamentos (rápido e lento) e imagens estáticas com distintas representações de movimento, conjuntamente, afetam a percepção subjetiva de tempo de indivíduos treinados e não treinados em Balé Clássico. No primeiro experimento participaram 58 indivíduos não treinados em dança, e no segundo experimento participaram 49 indivíduos treinados em dança, todos com idade entre 18 e 38 anos de ambos os sexos, os quais foram submetidos a seqüências randômicas de estímulos compostos por um trecho de música clássica e uma imagem de posição de balé clássico. A tarefa dos participantes foi reproduzir o tempo de apresentação dos estímulos sob o paradigma prospectivo. Para controle experimental foram feitos dois grupos: Grupo Controle Imagem (GCI) com 32 participantes e um Grupo Controle Música (GCM) com 25 participantes. A análise dos resultados indica que tanto para bailarinos, como para pessoas não treinadas em dança, o movimento representado nas imagens exerce um efeito nas estimações temporais dos participantes, que pode ser mais ou menos evidenciado dependendo do tipo de andamento musical com o qual é apresentado simultaneamente. Para pessoas não treinadas em dança, a música em andamento lento (Adágio) exerceu um efeito sobre as estimações das imagens que foram estimadas com a mesma duração do tempo real, enquanto que para os indivíduos treinados em dança, foi a música em andamento rápido (Allegro) que exerceu tal efeito. Estes efeitos distintos do andamento musical nas estimações das imagens podem estar relacionados com o treinamento dos participantes, em função da congruência entre o movimento representado nos estímulos e visuais e o andamento musical do estímulo acústico / Subjective Time studies, under the approach of the New Experimental Aesthetics, has been using works of art (music, sculptures and paintings) as stimuli, which seek to reveal the psychological processes involved in artistic appreciation. Some of these studies showed that the perception of motion of human bodies in positions of Ballet influences the subjective estimation of time and that there is an effect of the training in arts by the participants in these estimations. Other studies that used acoustic stimuli (classical music of different complexities) also revealed that the subjective estimation of time may be related to the characteristics of the compositions. Some studies on the interaction sound / image indicate a domination of an acoustic stimulus on the visual tasks which require time perception. This study proposes the use of acoustic and visual stimuli, in order to verify pieces of music of different tempos (fast and slow) and still images with different representations of motion, together, affect the subjective perception of time by trained individuals and not trained in Classical Ballet. In the first experiment involving 58 individuals not trained in dance and in the second experiment involved 49 individuals trained in dance, all aged between 18 and 38 years of both sexes, who were subjected to random sequences of stimuli consisting of a piece of music and an image of classical ballet position. The participants\' task was to reproduce the time of presentation of stimuli under the prospective paradigm. For experimental control groups were made, a Picture Control Group (ICG) with 32 participants and a Music Control Group (GCM) with 25 participants. The results indicate that both dancers and for people not trained in dance, the movement represented in the images has an effect on participants\' time estimations that may be more or less evident depending on the tempo of the music with which it is presented simultaneously. For people not trained in dance the slow music tempo (Adagio) has an effect on the estimations of the images that were estimated with the same length of real time, while those trained in dance, the acoustic stimulus that exerted such influence over the estimates of the temporal images was the music in fast tempo (Allegro). These distinct effects of the tempo of the music in the estimations of the images may be related to the training of participants, depending on the congruence between movement and visual stimuli represented in the tempo of the music and the acoustic stimulus

Orientador: Marcia Maria Strazzacappa Hernandez / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-04T06:59:57Z (GMT). No. of bitstreams: 1 Carvalho_KarinaAparecidaPintoSilva_M.pdf: 583023 bytes, checksum: e8cde3715e4983fa0769fd6e8c735b47 (MD5) Previous issue date: 2005 / Resumo: A interação professor - aluno e suas conseqüências na formação de crianças, jovens e adultos, têm sido objeto de diversos estudos na área da Educação. Na área do ensino da dança, mais especificamente, do ensino do ballet clássico, esta discussão foi até então pouco abordada. O objetivo desta pesquisa é investigar se a relação professor-aluno no ensino de ballet é determinante para a permanência (ou abandono) do aluno na dança. Partimos da premissa de que o ballet, em meio às outras técnicas de dança ensinadas em escolas livres (academias, conservatórios), continua sendo a mais disseminada, por isso a forma como é ensinada pode influenciar a concepção que o aluno terá sobre dança. Trata-se de uma técnica rígida e sistematizada, que impõe um padrão físico pré-estabelecido e talvez em virtude disto, o que se constata nas aulas é uma postura austera do professor em relação a seus alunos, ilustrada aqui pela imagem do bastão em punho. Acreditamos que a relação professor-aluno mais próxima e a preocupação com a individualidade do aluno muito teriam a enriquecer o ensino de dança / Abstract: The teacher-student relationship and its affects over children, young people and adults development, has been the subject of several studies in educational area. In the area of dance education, c1assical ballet education specificity, this theme has been little discussed. The subject of this research is investigating if the teacher-student relationship in barbet education has any importance in stimulating the students' interest or causing them to give up. We've started on the premise that since ballet, among other dance techniques taught in free schools (academies, conservatories), continues to be the more widely taught, and that there is real importance in the way it is taught: it can have an influence on the student's concept of dancing. Ballet is a rigid and systematic technique, which imposes a pre-established physical standard and, perhaps, it could be the reason that we usably see an austere teacher posture in relation with his/her students, here illustrated by the image of stick in hand. We believe that a c1oser teacher-student relationship in which the teacher is concerned with each individual can ready enrich dance education / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

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Title: Ranges of joint mobility in the hip and ankle joints and evaluation of flat feet on a podoscope when finding hallux valgus in classical ballet dancers Objectives: The aim of this thesis is to evaluate if selected parameters: passive range of motion (ROM) of rotations in hip joints, Q angle, passive range of motion of plantar flexion in ankle joints and the foot index are connected with the finding of hallux valgus (HV) diagnose. These factors will be compared between two groups of ballet dancers, one with HV and one without the HV diagnose. Methods: This observational case control study involved 30 probands between the age of 20-40 years. The experimental group consisted of classical ballet dances with the HV angle (HVA) >15ř at least on one foot (n1 = 19), in the control group were classical ballet dancers with the HVA <15ř bilaterally (n2 = 11). The HVA, ROM of the rotations in the hip joints, ROM of the plantar flexion in the ankle joints and Q angle were measured by a goniometer. The plantogram was captured by a photograph of the foot while standing on a podoscope and then it was evaluated by the Sztriter-Godunov method. Analysis of the data was done in R software by means of a Welch's Two-Sample t-Test and the correlation was given by Pearson's Correlation Coefficient. Results: Contrary...

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