abstract: The purpose of my creative research was to analyze my choreographic process and answer the research question: how will implementing somatic principles impact my choreographic process? In determining the impact I analyzed the use of choreographic approaches that bring proprioceptive awareness to interdisciplinary somatic themes of bodily systems, sensing, connectivity, initiation and sequencing. These somatic themes were utilized in movement invention and exploration as well as the structuring and performance of my choreography. Additionally, the research involved clarifying my role as a choreographer and my relationship to the dancers in my work. My creative research occurred in three choreographic phases and resulted in the production of B.O.D.I.E.S performed in three consecutive sections titled Discovery, Exploration, and Identity November 5-7, 2010. B.O.D.I.E.S demonstrates how somatics will lead to greater movement possibilities and dynamic range to explore in the craft of dance making. / Dissertation/Thesis / M.F.A. Dance 2011

This thesis offers two layers of analysis of a contemporary dance titled Watch The Gap, a site-inspired work initiated by the architecture, design, and function of the Jamaica, Queens (New York) train station. For the dance analysis, the investigated question is: can a dance that is inspired by a specific location but performed on a concert stage still fit within the genre of site-dance? By comparing its choreographic methodologies within the field of site-dance, a second investigated question arises: can these practices be codified and taught as part of a course in a university setting? Through this study I examine, explain, and analyze the different choreographic tools and aspects of site-dance impacting the field of dance by a comparison study with Watch The Gap and a pedagogical investigation into improvisation and site-dance. In doing so, pedagogical applications, key terminology, and methods, discussed in the paper, help to clarify and add to the discussion of this rapidly growing art form. / text

This study aims to identify my personal choreographic approach to physical theatre-making and then to experientially expand on it by engaging with Joanne Butterworth‘s five-tier Didactic-Democratic spectrum model for choreography. Being accustomed to, and trained predominantly in, one mode of approaching choreography has become limiting. Butterworth‘s model may aid me in expanding choreographically in the context of physical theatre-making. My research is located in a qualitative paradigm. I use an auto-ethnographic, practice-as-research approach to conduct my research. To apply my practice-as-research approach, I use concrete experience, reflective observations, abstract conceptualisation and active experimentation as outlined by Kolb‘s Experiential Learning Cycle. Kolb‘s model provides an overall structure to this study, but is also the way in which I frame and read each of the three separate choreographic processes that I use in the study. The concrete experience I consider in this study is The Entertainer, a work which I choreographed in 2017. To establish a baseline for my research, I retrospectively reflect on The Entertainer to locate it on Butterworth‘s model by using units of analysis that link to the five tiers of the model. These units of analysis are the choreographer‘s role; performer‘s role; choreographer‘s input; performer‘s input; pedagogical positioning of social interaction; instruction methods; and the pedagogical positioning of performers. By using these units of analysis to consider The Entertainer, I position my initial approach to physical theatre choreography along the spectrum of Butterworth‘s model. I then use Kolb‘s abstract conceptualisation to plan how I will move beyond my initial approach to choreography as located on Butterworth‘s model. I do this by selecting tiers that lie to the extremes of my initial approach on the model. I employ Kolb‘s active experimentation, to choreograph two works, WALK and Swem, that each align with one of the extremes. I utilise the extremes since they are the furthest removed from each other and, as a result, challenge me to approach choreography in two ways that are not just completely different from each other, but also from my initial choreographic approach. Each of the three choreographic processes in this study (consisting of a choreographic approach and a resulting choreographic product) starts a new cycle of Kolb‘s Experiential Learning. I use each rehearsal period, along with panel and performer reflections, to create a thick description by means of a choreographic score based on the choreographic approach of each work. To create these three choreographic scores (the physical documentation of the rehearsal period), I also utilise other auto-ethnographic tools, such as journaling and reflective questions. Each score serves as concrete experience that I retrospectively analyse to locate the choreographic approach on Butterworth‘s model. To choreograph WALK and Swem, I utilised a rehearsal period spanning three weeks with the same three performers to calibrate reflection by asking them to complete reflection sheets based on rehearsals. Three panel members were required for expert analysis and therefore have at least a Master_s degree (with choreography as focus) and at least three years‘ experience of choreographing in physical theatre. These panel members attended two rehearsals of each choreographic work and, like the performers, completed reflection sheets in order to mediate my subjective experience of each choreographic approach for a thicker description of the choreographic instance. The panel also completed reflection sheets based on choreographic tracks (see following paragraph) observable in performance to mediate their experience of each choreographic product with my own subjective view. I identify similarities between a greater range of inputs (my own perspective, the perspective of the performers and the panel), to layer my thick description of the choreographic process as a whole. Since Butterworth‘s model is focused on choreographer-performer interaction and roles, it focuses on the choreographic approaches (rehearsals) and not on the choreographic products that result from each approach. I therefore highlight choreographic tracks that link to Laban Movement Studies. These are the treatment of the theme; general space usage; approach to the kinesphere; utilisation of shape; dynamics of movement (Effort); application of elements of choreographic craft; incorporation of soundscape; arrangement of choreographic structure; and integration of structural components/ assimilation methods. / Dissertation (MA (Drama))--University of Pretoria, 2019. / Drama / MA (Drama) / Unrestricted

This thesis, Choreographic Space, and accompanying exhibit is an arrangement of contemporary work being done in the cross-over between movement, drawing, sound and architecture. The thesis develops a lineage of choreographic thinking through a fissure in the classification of a dance as necessarily the body in motion. Through the link of the “choreographic object,” Choreographic Space asks how an interdisciplinary exploration of the principles of movement can reveal novel ways to think about the body in space.

No presente trabalho apresentamos algumas soluçõesoes clássicas para o problema de dois e três corpos. Uma solução memorável para o problema de três corpos, na qual os corpos perfazem uma coreografia em forma de Oito, esta soluçãoo foi encontrada em 2000 por Montgomery e Chenciner. Por fim abordamos um pouco do problema clássico de n-Corpos e suas soluções particulares. / In this work we present some classical solutions for the Newtonian problem with two and three bodies. A remarkable solution for the three body problem, found by Montgomery and Chenciner, in which each body has an eight-shaped orbit is presented. Finally some particular solutions of the n-body problem and the so called central configurations, are presented and discussed.

O foco de interesse deste trabalho reside no mapeamento e na investigação de procedimentos presentes na produção de William Forsythe que estimulam a reflexão sobre a prática cênica e o fenômeno da arte sob uma perspectiva transitiva e espacial. Mover, alterar perspectivas e sugerir o aparecimento de novos ângulos, pesos e intensidades é interferir nas dinâmicas que geram campos instalativos e paisagens frágeis nas quais a percepção está em constante movimento. Qualidades e características presentes nos trabalhos de Forsythe, sobretudo na série Objetos Coreográficos, serão apresentadas aqui como eixos orientadores de discussões que, ao problematizarem conceitos e fundamentos sobre movimento e espaço, lançam diferentes possibilidades de observação sob o fenômeno teatral. Os Objetos Coreográficos, ponto de partida e foco deste estudo, são propostas ou mecanismos de interação entre corpo e espaço, seja o corpo do artista ou do espectador, que incentivam reflexões sobre a arte como um extenso campo de investigação e produção de conhecimento. Ao promoverem impactos físicos, incursões espaciais e desvios de referenciais da percepção, os Objetos Coreográficos tencionam limites entre as artes cênicas, as artes visuais, a arquitetura, a dança e a filosofia ao mesmo tempo em que promovem a superação de padrões e conceitos instituídos e inauguram campos de conhecimento. / The focus of this work lies in mapping and researching the procedures in the production of William Forsythe which stimulate the reflection about the theatrical practice and the art phenomenon from a transitive and spatial perspective. Moving, changing perspectives and suggesting the emergence of new angles, weights and intensities is about interfering in the dynamics that generate \"instalatives\" fields, fragile landscapes in which the perception is constantly moving. Qualities and characteristics present in the works of Forsythe, especially in the Choreographic Objects series, will appear here as guiding axis of discussions, to problematize concepts and fundamentals of movement and space, throw different possibilities for observation under the theatrical phenomenon. The Choreographic Objects, starting point and focus of this study, are proposes or mechanisms of interaction between body and space, the body of the artist or the viewer, encouraging reflections on art as an extensive field of research and production of knowledge. Promoting physical impacts, spatial incursions and deviation of perception references, the Choreographic Objects discuss the boundaries between theatre, fine arts, architecture, dance and philosophy while promoting the overcoming of standards and instituted concepts and inaugurate fields of knowledge.

O foco de interesse deste trabalho reside no mapeamento e na investigação de procedimentos presentes na produção de William Forsythe que estimulam a reflexão sobre a prática cênica e o fenômeno da arte sob uma perspectiva transitiva e espacial. Mover, alterar perspectivas e sugerir o aparecimento de novos ângulos, pesos e intensidades é interferir nas dinâmicas que geram campos instalativos e paisagens frágeis nas quais a percepção está em constante movimento. Qualidades e características presentes nos trabalhos de Forsythe, sobretudo na série Objetos Coreográficos, serão apresentadas aqui como eixos orientadores de discussões que, ao problematizarem conceitos e fundamentos sobre movimento e espaço, lançam diferentes possibilidades de observação sob o fenômeno teatral. Os Objetos Coreográficos, ponto de partida e foco deste estudo, são propostas ou mecanismos de interação entre corpo e espaço, seja o corpo do artista ou do espectador, que incentivam reflexões sobre a arte como um extenso campo de investigação e produção de conhecimento. Ao promoverem impactos físicos, incursões espaciais e desvios de referenciais da percepção, os Objetos Coreográficos tencionam limites entre as artes cênicas, as artes visuais, a arquitetura, a dança e a filosofia ao mesmo tempo em que promovem a superação de padrões e conceitos instituídos e inauguram campos de conhecimento. / The focus of this work lies in mapping and researching the procedures in the production of William Forsythe which stimulate the reflection about the theatrical practice and the art phenomenon from a transitive and spatial perspective. Moving, changing perspectives and suggesting the emergence of new angles, weights and intensities is about interfering in the dynamics that generate \"instalatives\" fields, fragile landscapes in which the perception is constantly moving. Qualities and characteristics present in the works of Forsythe, especially in the Choreographic Objects series, will appear here as guiding axis of discussions, to problematize concepts and fundamentals of movement and space, throw different possibilities for observation under the theatrical phenomenon. The Choreographic Objects, starting point and focus of this study, are proposes or mechanisms of interaction between body and space, the body of the artist or the viewer, encouraging reflections on art as an extensive field of research and production of knowledge. Promoting physical impacts, spatial incursions and deviation of perception references, the Choreographic Objects discuss the boundaries between theatre, fine arts, architecture, dance and philosophy while promoting the overcoming of standards and instituted concepts and inaugurate fields of knowledge.

Made available in DSpace on 2016-04-27T19:31:17Z (GMT). No. of bitstreams: 1 Elizeu de Miranda Correa.pdf: 9916752 bytes, checksum: e10d8c79486f784821162bdecf51f893 (MD5) Previous issue date: 2016-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis aims to analyze the disputes, transformations, innovations, permanencies and ruptures, the resistances and negotiations, outlining the approach of this study to front lines (LF) that permeated the Martial Band of Grand São Paulo in the twentieth century, between years 1957 and 2000. However, reflecting on the events and the impacts occurred in the structure and choreographic conceptions of front lines. Their forms of representations, their meanings and discourses produced on these sets over the years chosen for this study. In the moment it was noticed the front lines Martial bands were protagonists of a series of clashes and tensions to stay ahead of the Musical Group and that this cultural practice is not limited only to its subject, it is necessary to think and understand this cultural practice in the academic scenario , justifying thus historicizing it. It is assumed that one of the inherent LF features along this historic route, it is your limitation and insecurity when facing obstacles, and the indulgence of the instructors "choreographers" in not promote the boldness, even if this costs you loss of titles in competitions. Thus, it is quite possible that it has a huge difficulty to reinvent itself, making it stable and exhausting in its materiality. It was used as a methodological theoretical resource use of the Press (Newspapers and Magazines), Images (Pictures and Movies), Regulations and fanfare and bands, laws and Decrees, and the use of oral history techniques (interviews). Overall, it was realized that the LF constitute a cultural practice and aesthetics defined by specific rules (dance, body movement, gestures and expression) certainly include or socially excluded individuals who aim to integrate it. On the other hand, they are for excellence the space of leisure and sociability, the space of dialogue between the body, movement and music. It is assumed, therefore, that it holds meanings and multiple versions: influence, love, reinvents itself and discipline its members, that according to its proponents. In short, it is to know, and maybe so cannot be defined / Essa tese tem como objetivo analisar as disputas, as transformações, as inovações, as permanências e rupturas, as resistências e as negociações, delimitando o recorte deste estudos às Linhas de Frente (LF) que permearam as Bandas Marciais da Grande São Paulo no limiar do século XX, entre os anos de 1957 e 2000. Não obstante, refletir sobre as vicissitudes e os impactos ocorridos na estrutura e nas concepções coreográficas das Linhas de Frente. Bem como perceber as suas formas de representações, os seus significados e os discursos produzidos acerca desses conjuntos ao longo dos anos eleitos para esse estudo. No instante em que se verificou as Linhas de Frente das Bandas Marciais foram protagonistas de uma série de embates e de tensões para permanecerem à frente do Corpo Musical e que essa prática cultural, não se esgota apenas aos seus sujeitos, faz necessário pensar e compreender essa prática cultural no universo acadêmico, justificando, portanto, historicizá-la. Pressupõe-se que, uma das características inerentes das LF ao longo desse percurso histórico, é a sua limitação e insegurança ao enfrentar obstáculos, bem como o comodismo dos instrutores coreógrafos , em não promover a ousadia, ainda que para isso lhe custe a perda de títulos em concursos. Deste modo, é bem possível que, há nela uma dificuldade imensa em se reinventar, tornando-a estável e esgotando-se em sua materialidade. Foi utilizada como recurso teórico metodológico a Imprensa (Jornais e Revistas), Imagens (Fotografias e Filmes), Regulamentos e Planilhas de Notas de Concursos de Fanfarras e Bandas, Leis e Decretos, além do uso das técnicas de História Oral (entrevistas). De modo geral, percebeu-se que as LF constituem uma prática cultural e estética, definida por regras específicas (dança, movimento do corpo, gestos e expressão) certamente incluem ou excluem socialmente os indivíduos que almejam integrá-la. Por outro lado, elas são por excelência o espaço do lazer e da sociabilidade, o espaço do diálogo entre o corpo, o movimento e a música. Pressupõe-se, assim, que ela é detentora de significados e de versões múltiplas que: influência, apaixona, se reinventa e disciplina os seus integrantes, isso de acordo com seus intérpretes. Em síntese, ela é saber, e, talvez por isso não possa ser definida

Com o objetivo de contribuir com o campo das artes do corpo no Brasil, esta dissertação de natureza prático-teórica apresenta uma reflexão acerca de \"trajetórias coreográficas\", a partir das situações espaciais atualmente vivenciadas em lugares de passagem da cidade de São Paulo. Reconhecemos que o conhecimento construído pela coimplicação entre corpo e cidade pode fomentar criações artísticas que pensam o movimento do corpo enquanto construção de espacialidades. Dentre a literatura pesquisada, ressaltamos o entendimento de corpo como um processo coevolutivo em relação ao ambiente de existência, abordado pela teoria do Corpomídia (KATZ; GREINER, 2005). Passamos também pela compreensão de espaço determinado por unidades de localizações precisas e ordenado por sistemas geométricos e matemáticos, conforme os estudos newtonianos, consultados em Nussensveig (2002) e Watari (2004). A observação de que as cidades contemporâneas nos apresentam diferentes configurações de espaço (SCHULZ, 2008), diferentes formas de produção e circulação no espaço urbano e novas formas de controle e tecnologias (DELEUZE, 1992), possibilitou à presente pesquisa a reflexão de que \"trajetórias\" na dança podem ir além de um corpo que traça um deslocamento de um ponto a outro no espaço. As \"trajetórias\" podem também delinear caminhos, atravessamentos e deslocamentos de informações que se aprontam no movimento do corpo a partir das relações com o ambiente urbano. Isso advém da compreensão de que o espaço percebido nos dias de hoje possibilita uma organização corporal em trajetórias dinâmicas (LOUPPE, 2012). As noções de espaço que possibilitam a construção de \"trajetórias coreográficas\" são realizadas por processos cognitivos, por meio da experiência sensório-motora do corpo nas relações com o meio em que vive, segundo Damásio (2000), Bastos (2003) e Berthoz (2005). Além desse aprendizado de espaço, exercitamos e incorporamos cotidianamente \"regras\" do ambiente que atingem diretamente o corpo, segundo Foucault (1987) e Hewitt (2005), visto que o espaço urbano está diretamente implicado em fatores sociais (SANTOS, 2008). Por meio dessas correlações, experimentamos caminhos de movimentos, nos quais desenvolvemos nosso entendimento acerca de \"trajetórias\". / Aiming to contribute to the field of physical arts in Brazil, this theoretical-practical research presents a reflection about \"choreographic trajectories\", from spatial situations currently experienced in passageways and thoroughfares in São Paulo. We recognize that knowledge constructed by the co-implication between body and city can promote artistic creations, considering the movement of the body as a feature of spatiality configuration. Among the specific literature, we emphasize the conception of the body as a coevolutionary process in relation to the environment, discussed by Corpomídia theory (KATZ; GREINER, 2005). We also go through a space conception determined by units of precise locations and ordered by geometric and mathematical systems, according to Newtonian studies, found on Nussensveig (2002) and Watari (2004). The observation that contemporary cities present, by their different configurations of space (SCHULZ, 2008), different forms of production and circulation in urban space, new technologies and forms of control (DELEUZE, 1992) enables us the reflection that \"trajectories\" in dance can go beyond a body tracing a displacement from one point in space to another. The \"trajectories\" may also delineate paths, crossings and displacements of information prepared in the body movement, as a result of its relationships with the urban environment. This arises from the understanding that the space experienced nowadays enables a body organization in dynamic trajectories (LOUPPE, 2012). The notions of space that allow the construction of \"choreographic trajectories\" are elaborated by cognitive processes, through sensorimotor body experience in relation to the environment this body lives in, according to Damásio (2000), Bastos (2003) and Berthoz (2005). In addition to this sort of spatial learning process, we daily exercise and incorporate \"rules\" that affect directly the body, according to Foucault (1987) and Hewitt (2005), since urban space implicates social factors (SANTOS, 2008). Through these correlations, we have experienced some paths of movement, in which we develop our understanding of \"trajectories\".

The Art of Presence: Contemplation, Communing and Creativity reflects on the making of a dance theatre work called Song of Longing presented at Victorian College of the Arts in 2008. Song of Longing was made in collaboration with the cast, who participated in a process centred on improvisation. The resulting performance was a synergy of dance and unaccompanied singing. / The thesis is an investigation of the choreographer's ongoing exploration of movement, singing and improvisation, informed by Buddhist philosophy. Both the writing and the performance mirror an embodied practice - making tangible themes and concepts that have emerged into consciousness. / Central interests include the ‘life-world’ of the artist and its influence on the creative process, the concepts of spirituality, spirit and ‘flow’, the experiential focus of the inquiry, improvisation as presence and the value of art as healing and therapy. / While the perspective of the writing is drawn from the subjectivity of the practitioner, the aim of the work is to draw on the broader fields of research in these areas and to connect with the creative practices of other artists. To this end, a conventional survey of the literature has been augmented by writings and teachings on Buddhism and other spiritual practices, documentaries and visual art. Interviews with artists in Australia and India and thoughts from the performers of Song of Longing are also included.