Marco y Luis Ángel son dos jóvenes que residen en el cono Nor oeste y Nor este de Lima; ambos estudiantes de la Escuela Nacional Superior de Ballet del Perú, se agencian profesionalmente del ballet como tecnología corporal hegemónica, y la combinan con otras tecnologías de manipulación de los cuerpos; luego, las procesan y ejecutan sus performances elaborando propuestas artísticas diferenciadas que traducen formas particulares de entender la realidad. El siguiente informe de trabajo ubica al proceso productivo de los cuerpos danzantes como el elemento central de análisis. Este proceso tiene dos fuentes primordiales; la primera lo constituye la tecnificación cotidiana de los cuerpos y, la segunda, lo constituye la formación institucionalizada. Asimismo, es el resultado de un proceso de investigación que involucró la realización de un video documental donde se expone cómo el ballet junto a otras tecnologías corporales densifica la capacidad de respuesta de los cuerpos de nuestros personajes para responder a las exigencias cotidianas para satisfacer las demandas de públicos diversos; más aún, estas presencias como actores sociales la concretan en una combinación fluida entre escenarios formales e informales. De esta manera adopto como base metodológica de la investigación a las historias de vida; por lo que, la recopilación de la información se produce en un continuo seguimiento a estos jóvenes registrando audiovisualmente los diversos espacios por donde se desplazaban o transitan. En diversos ámbitos de sus vidas Marco y Luis se encuentran influenciados o exigidos por mostrar una plasticidad que les permite probar o descubrir otro tipo de disciplinas o espacios en donde su cuerpo es reinventado, afectado desde otras experiencias corporales. Es decir, El ballet le brinda herramientas que son aprendidas, practicadas e internalizadas; para luego, ser deconstruidas o reintrepretadas para sus intereses particulares.

En el Perú, el ballet clásico no es visibilizado en la sociedad, y aquellos aspectos que son vinculados resultan erróneos. La masculinidad en los bailarines de ballet clásico es un aspecto nulo, dado que son asociados a lo contrario de este, la feminidad. Ante ello, la sociedad mantiene representaciones sociales de los bailarines fundamentándose en los ideales de la sociedad. A partir de lo mencionado, la presente investigación tiene como objetivo explorar las representaciones sociales de la masculinidad en hombres bailarines profesionales de ballet clásico de Lima Metropolitana. Para ello, se realizaron 7 entrevistas a bailarines profesionales de ballet clásico, quienes cumplen o han cumplido el nivel de primer bailarín o solistas de la compañía del Ballet Municipal de Lima entre los 26 - 60 años. Estas se analizaron a partir de una entrevista semiestructurada sobre su formación como estudiantes, su carrera profesional como bailarines y su visión del futuro como agentes de cambio. Por ello, esta investigación cualitativa mantiene un diseño narrativo, el cual permitirá explorar estas representaciones sociales de la masculinidad a lo largo de 3 periodos: pasado, presente y futuro. Dentro de los resultados encontrados, en el pasado se abarcó la infancia y adolescencia de los candidatos, mostrando así cómo se han iniciado en el ballet clásico (entre los 8 a los 10 años), y la importancia de tener apoyo de los pares para poder enfrentar un posible rechazo de la sociedad. Luego, durante el presente contiene a la adultez en donde se muestra cómo las representaciones sociales de la masculinidad en los bailarines se presentan a través de la asociación de ser bailarín con la homosexualidad; sin embargo, se muestra que el bailarín muestra lo contrario a lo que piensa la sociedad a través de características como fuerte, musculoso, etc. Por último, durante el futuro se observa que los bailarines pueden ser agentes de cambio ante esta problemática. / In Peru, classical ballet is not made visible in society, and those aspects that are linked are wrong. Masculinity in classical ballet dancers is a null aspect, since they are associated with the opposite of this, femininity. Given this, society maintains social representations of dancers based on the ideals of society. From the aforementioned, the present research aims to explore the social representations of masculinity in male professional classical ballet dancers from Metropolitan Lima. For this, 7 interviews were conducted with professional classical ballet dancers, who meet or have met the level of first dancer or soloists of the company of the Municipal Ballet of Lima between 26 - 60 years. These were analyzed from a semi-structured interview about their training as students, their professional career as dancers and their vision of the future as agents of change. For this reason, this qualitative research maintains a narrative design, which will allow exploring these social representations of masculinity over 3 periods: past, present and future. Among the results found, in the past the candidates' childhood and adolescence were covered, thus showing how they have started in classical ballet (between 8 and 10 years old), and the importance of having peer support in order to face a possible rejection from society. Then, during the present it contains adulthood where it is shown how the social representations of masculinity in dancers are presented through the association of being a dancer with homosexuality; However, it is shown that the dancer shows the opposite of what society thinks through characteristics such as strong, muscular, etc. Finally, in the future it is observed that dancers can be agents of change in the face of this problem.

La enseñanza de la danza depende en gran medida del docente, que puede no haberse formado como educador. Tanto aquellos que pasaron por una institución formativa, como aquellos que no lo hicieron, poseen un bagaje de experiencias que suele intervenir en su práctica pedagógica. Por ello, la presente investigación busca reconocer de qué manera las concepciones sobre el aprendizaje-enseñanza, basadas en la experiencia en danza de dos docentes de una academia privada de danza en la ciudad de Lima, se vinculan con sus metodologías de enseñanza. Para ello, se realizó una observación participante de ocho sesiones de clases con cada profesor y dos entrevistas en profundidad a cada uno. La primera entrevista recogió la historia y formación artística de los docentes, y la segunda, las concepciones sobre la enseñanza y aprendizaje de la danza, y la metodología empleada en sus cursos. Los resultados muestran que sus concepciones acerca de la enseñanza-aprendizaje en danza se vinculan con su metodología: en primer lugar, se observa una preocupación por el cuidado del cuerpo que es evidenciada en la importancia que se le brinda al desarrollo correcto de la técnica que cada estilo propone, teniendo como premisa el respeto por el proceso y los tiempos de cada alumno. Asimismo, ambos docentes integran la experiencia previa con la que llegan sus estudiantes a sus clases para trabajar con sus limitaciones y potenciarlas. En otro aspecto, existe una apertura de ambos profesores para acompañar a sus alumnos en el proceso de convertirse en docentes, ayudándolos a desarrollar determinadas habilidades. Finalmente, la metodología de estos maestros evidencia que resolver los retos que puedan surgir en sus clases se facilita escuchando con apertura a sus estudiantes. / Teaching dance is largely dependent on the teacher, who may not have been trained as an educator. Both those who went through a training institution, and those who did not, have a wealth of experiences that usually intervene in their pedagogical practice. Therefore, this research seeks to recognize how the conceptions of learning-teaching, based on the dance experience of two teachers from a private academy, are linked to their methodologies. To do this, participant observation of eight class sessions of each teacher and two in-depth interviews were carried out. The first interview collected the history and artistic training of the teachers, and the second, the conceptions about the teaching and learning of dance and the methodology used in their courses. The results show that their conceptions about teachinglearning in dance are linked to their methodology: firstly, a concern for the care of the body is observed, which is evidenced in the importance given to the correct development of the technique that Each style proposes, premised on respect for the process and times of each student. Likewise, both teachers integrate the previous experience with which their students come to their classes to work with their limitations and enhance them. In another aspect, there is an openness on the part of both teachers to accompany their students in the process of becoming teachers by helping them develop certain skills. Finally, the methodologies of these teachers show that solving the challenges that may arise in their classes facilitates open listening to their students.

Submitted in partial compliance with the requirements for the Master’s Degree in Technology: Chiropractic, Durban University of Technology, 2014. / Background: Classical ballet is an art form that seems graceful on the surface. However, beneath the disguise of beauty and ease lies an extremely physically demanding activity that calls for dedication, strength and perseverance. Ballet requires a specific body type and precise techniques, which predispose the dancer to musculoskeletal injury. Although a few studies have been conducted to investigate biomechanical factors as risk factors for injury in ballet dancers, few have included amateur ballet dancers and a range of biomechanical factors. Objectives: This study aimed to determine characteristics of ballet-related injury in amateur ballet dancers in the greater Durban area; to measure and record lower limb biomechanical measurements of these dancers; and to identify associations between the biomechanical measurements and characteristics of injury in the population. Method: A quantitative, questionnaire-based survey with biomechanical measurements was conducted on 21 amateur ballet dancers in the greater Durban area. Statistical analysis included the description of categorical variables using frequency and percentages in tables and bar charts. Continuous variables were summarised using mean, standard deviation and range, or median and range as appropriate. Independent Sample T-tests were used to compare biomechanical measurements between two independent groups. A p value <0.05 was considered as statistically significant. Pearson’s correlations and ANOVA testing were also used. Results: The period prevalence of ballet-related injury over the last 2 years was found to be 62% and the point prevalence 38%. There were 37 total previous injuries, most of which occurred in the hamstring (24%). Most of the worst previous injuries were reported to have occurred in the low back (31%). Most of the worst previous (70%) and current (93%) injuries occurred over time. The worst previous injuries reported ranged from mild to severe in severity, while the worst current injuries reported ranged from mild to moderate. Significant associations were found between right weight-bearing ankle dorsiflexion and previous injury; right weight-bearing ankle dorsiflexion and current injury; ‘functional turnout’ and onset of injury; right non weight-bearing ankle dorsiflexion and onset of injury; and ‘compensated turnout’ and onset of injury. Conclusion: The results suggest a significant association between musculoskeletal ballet-related injury and reduced weight-bearing ankle dorsiflexion; between injuries that occur over time (overuse injuries) and decreased ‘functional turnout’; and between overuse injuries and decreased non weight-bearing ankle dorsiflexion. These findings may help identify risk factors for injury in ballet dancers and contribute towards preventing ballet-related injury. / M

Edgar Allen Poe and Nathaniel Hawthorne are arguably two of the most highly read and heavily debated nineteenth-century antebellum authors in America. Their writings fascinate readers, while their character depictions, particularly their characterizations of fictional women, prompt intense academic debate. This thesis examines the previously less-studied historical developments surrounding Poe and Hawthorne in the antebellum era that shaped their approach to writing fiction. In particular, this study scrutinizes the effects of the development of a newly popular art form, ballet, the ascendency of female authorship, and the impact of American theatrical reform upon antebellum authors’ authorial faculties, especially Hawthorne and Poe.

Submitted in partial compliance with the requirements for the Master’s Degree in Technology: Chiropractic, Durban University of Technology, 2014. / Background: Classical ballet is an art form that seems graceful on the surface. However, beneath the disguise of beauty and ease lies an extremely physically demanding activity that calls for dedication, strength and perseverance. Ballet requires a specific body type and precise techniques, which predispose the dancer to musculoskeletal injury. Although a few studies have been conducted to investigate biomechanical factors as risk factors for injury in ballet dancers, few have included amateur ballet dancers and a range of biomechanical factors. Objectives: This study aimed to determine characteristics of ballet-related injury in amateur ballet dancers in the greater Durban area; to measure and record lower limb biomechanical measurements of these dancers; and to identify associations between the biomechanical measurements and characteristics of injury in the population. Method: A quantitative, questionnaire-based survey with biomechanical measurements was conducted on 21 amateur ballet dancers in the greater Durban area. Statistical analysis included the description of categorical variables using frequency and percentages in tables and bar charts. Continuous variables were summarised using mean, standard deviation and range, or median and range as appropriate. Independent Sample T-tests were used to compare biomechanical measurements between two independent groups. A p value <0.05 was considered as statistically significant. Pearson’s correlations and ANOVA testing were also used. Results: The period prevalence of ballet-related injury over the last 2 years was found to be 62% and the point prevalence 38%. There were 37 total previous injuries, most of which occurred in the hamstring (24%). Most of the worst previous injuries were reported to have occurred in the low back (31%). Most of the worst previous (70%) and current (93%) injuries occurred over time. The worst previous injuries reported ranged from mild to severe in severity, while the worst current injuries reported ranged from mild to moderate. Significant associations were found between right weight-bearing ankle dorsiflexion and previous injury; right weight-bearing ankle dorsiflexion and current injury; ‘functional turnout’ and onset of injury; right non weight-bearing ankle dorsiflexion and onset of injury; and ‘compensated turnout’ and onset of injury. Conclusion: The results suggest a significant association between musculoskeletal ballet-related injury and reduced weight-bearing ankle dorsiflexion; between injuries that occur over time (overuse injuries) and decreased ‘functional turnout’; and between overuse injuries and decreased non weight-bearing ankle dorsiflexion. These findings may help identify risk factors for injury in ballet dancers and contribute towards preventing ballet-related injury. / M

Huit paires de jambes jaillissant de l’eau simultanément et scandant des mouvements identiques au rythme fulgurant d’une musique entraînante. Voilà ce que l’on retient généralement des ballets de natation synchronisée que proposent les retransmissions télévisées d’épreuves sportives internationales. Alors que les journalistes et les spectateurs témoignent de leur émerveillement face à ces réalisations, on pourrait légitimement s’interroger sur la teneur musicale, entre collages, arrangements et compositions inédites, de ces manifestations sportives. En s’intéressant d’un peu plus près à ce monde sportif on découvrirait qu’un compositeur, Jean-Michel Collet, collabore depuis 1996, avec l’équipe de France de natation synchronisée. Une série de questions se poserait alors : pourquoi un musicien collabore-t-il avec cette équipe ? Comment des entraîneures et un musicien arrivent-ils à travailler ensemble ? Sur la base de quels critères (musicaux et/ou sportifs) ces acteurs parviennent-ils à coordonner leurs actions pour créer une musique de ballet ? En somme, comment analyser les processus de création musicale en natation synchronisée ? Dans son enquête, l’auteure mobilise les outils de la musicologie et de la sociologie pour faire saillir les caractéristiques stylistiques de ces musiques de ballet. L’analyse des documents formant le corpus de cette thèse (transcriptions musi-chorégraphiques, entretiens, compte rendus d’observation, corpus journalistique, etc.) montre notamment que « faire la musique » en natation synchronisée relève de savoirs et de savoir-faire inscrits dans une tradition sportive, de l’utilisation et de l’appropriation de conventions, de négociations et autres compromis qui témoignent de la dimension éminemment collective des processus de création artistique. / Eight pairs of legs simultaneously arising from the water, and with identical movements marking the lightning rhythm of a lively music. This is the vision one usually holds from a broadcasted synchronized swimming international competition. Sportscasters and viewers giving rave reviews on skills and figures, it seems rightful to question the value of the music heard with these routines, be it a mix, an arrangement, or an original composition.Investigations conducted within the synchronized swimming world reveal that a composer, Jean-Michel Collet, is a long-time associate to the French national team. Questions arise: why does a musician commit to working in such an environment? How do different partners, i.e. coaches, one musician, manage to work hand-in-hand? What are the criteria, musical and/or athletic, that both parties need to meet, in order to make water ballet music happen? In short, how can the creative processes in music, concerning synchronized swimming, be addressed and analyzed?Analytical methods used in musicology and sociology are called upon by the inquiring author, in order to point out the stylistic characteristics of water ballet music. At the core of this research work, analysis of multiple documents, e.g. transcribed sheet music using ballet marks, records of interviews, on-site personal collections of data, news articles, shows that “music making” in synchronized swimming falls under the law of a tradition in sports, with its own rules and know-how. Actors in both fields need to grasp and take advantage of conventions. Negotiations and other kinds of settlements establish the fact that interaction and teamwork are major components found in the creative processes.

O objetivo deste trabalho está em propor duas companhias de dança sediadas na cidade de São Paulo (Balé Stagium e o Corpo de Baile Municipal/Balé da Cidade de São Paulo) como eixos balizadores do que viria a se firmar como balé moderno nos anos 1970. Historicamente, o diálogo da dança com o seu tempo ocorre durante o período da ditadura militar (1964 1985) e este contexto político sugere vínculos com a natureza da linguagem que veio a se consolidar, e que passou a ser identificada como balé moderno. A hipótese da dissertação é a de que a maneira como a dança dialogava com a sociedade e trazia para o palco questões políticas e éticas, muitas vezes censuradas pela ditadura militar, tem um papel relevante para o entendimento da cultura e das questões artísticas surgidas. A metodologia usada consistiu na revisão bibliográfica e pesquisa em documentos de época como fotos, vídeos, reportagens e críticas de jornais em veículos de comunicação. O resultado foi o entendimento do que representou o balé moderno na década de 70 para o público brasileiro e ao mesmo as influências européias, mesmo quando a tema se referia ao Brasil, nas produções das duas companhias aqui investigadas. / The objective of this paper to present a historical panorama about modern ballet in São Paulo by means of two companies: Balé Stagium and Corpo de Baile do Teatro Municipal. How the dance dialogs with your time and which political and ethics, a lot of times censured by the dictatorship government. The method consists of read books and search in documents like photos, videos and newspapers texts. The result was comprehension about modern ballet in 70s for Brazilian audience and Europeans influence in theses companies.

O objetivo deste trabalho está em propor duas companhias de dança sediadas na cidade de São Paulo (Balé Stagium e o Corpo de Baile Municipal/Balé da Cidade de São Paulo) como eixos balizadores do que viria a se firmar como balé moderno nos anos 1970. Historicamente, o diálogo da dança com o seu tempo ocorre durante o período da ditadura militar (1964 1985) e este contexto político sugere vínculos com a natureza da linguagem que veio a se consolidar, e que passou a ser identificada como balé moderno. A hipótese da dissertação é a de que a maneira como a dança dialogava com a sociedade e trazia para o palco questões políticas e éticas, muitas vezes censuradas pela ditadura militar, tem um papel relevante para o entendimento da cultura e das questões artísticas surgidas. A metodologia usada consistiu na revisão bibliográfica e pesquisa em documentos de época como fotos, vídeos, reportagens e críticas de jornais em veículos de comunicação. O resultado foi o entendimento do que representou o balé moderno na década de 70 para o público brasileiro e ao mesmo as influências européias, mesmo quando a tema se referia ao Brasil, nas produções das duas companhias aqui investigadas. / The objective of this paper to present a historical panorama about modern ballet in São Paulo by means of two companies: Balé Stagium and Corpo de Baile do Teatro Municipal. How the dance dialogs with your time and which political and ethics, a lot of times censured by the dictatorship government. The method consists of read books and search in documents like photos, videos and newspapers texts. The result was comprehension about modern ballet in 70s for Brazilian audience and Europeans influence in theses companies.

Orientador: Júlia Ziviani Vitiello / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T07:35:17Z (GMT). No. of bitstreams: 1 Silva_TatianeMariaPinheiroda_M.pdf: 2667069 bytes, checksum: 452bdabff06365f3453952d8ef198615 (MD5) Previous issue date: 2011 / Resumo: Na técnica do ballet clássico, sob o ponto de vista do estudo de seus conceitos e princípios, de sua trajetória e permanência na formação técnica e expressiva de bailarinos ao longo dos últimos séculos, constatamos que um elemento lhe confere uma característica própria entre as técnicas de dança: a verticalidade. Nesse contexto, esta pesquisa é um estudo que articula uma investigação sobre a verticalidade na técnica do ballet clássico, a partir da relação do corpo com a gravidade, com o objetivo de criar um solo de dança. O processo criativo foi construído a partir de uma reflexão acerca da preparação técnica e expressiva proporcionada pela técnica do ballet clássico, embasada ainda em dois métodos da Educação Somática, a Ideokinesis e a bola suíça. Dessa investigação corporal, emergiu a proposta de um conceito ao qual chamamos de princípio da verticalidade que pretende servir como um possível subsídio ao entendimento da técnica do ballet clássico. Os procedimentos coreográficos que resultaram de nossa pesquisa mantiveram uma mesma poética e investigação corporal durante a realização do projeto, porém é preciso salientar que houve uma evolução com um desenvolvimento bastante diferenciado / Abstract: On the classical ballet technique, through the point of view of the study of its concepts and principles, and, on the other hand, its history and remaining on the technical and expressive formation of ballet dancers over the past centuries, we find that an element gives it a particular characteristic: verticality. In this context, the present research is a study that develops an investigation about verticality on the classical ballet technique based on the relation between body and gravity, with the purpose of creating a solo dance. The creative process was built over a reflection around the technical and expressive preparation proportioned by the classical ballet technique, yet based on two methods of Somatic Education: Ideokinesis and the Swiss Ball. From this corporeal investigation emerged a concept proposal that we call the principle of verticality, that is meant to be a possible subsidy to the understanding of classical ballet technique. The choreographic procedures that have resulted from our research held one and the same poetic and corporal research during the project's implementation, though it must be emphasized that there was an evolution with a very distinguished development / Mestrado / Artes Cenicas / Mestre em Artes