This research manuscript directly pertains to and partially documents my practice-led solo investigation Dialogical Dancing as undertaken toward the Masters of Choreography (by Research). It has been composed to support and co-exist with the two live performance works presented in a season at The Victorian College of the Arts and Music toward the end of these investigations.

Thesis (M.S.)--University of Wisconsin--Madison, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 121-124).

Thesis (M.S.)--University of Wisconsin--Madison, 1964. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 193-197).

Includes bibliographical references (leaves 105-113). / Eurythmy is an art of movement that expresses music and speech. This dissertation explores eurythmy's musical field, called tone-eurythmy, in its multifaceted appearances, background and within its philosophical context. Tone-eurythmy, carried out by performers moving in space and time, makes music visible. It transforms music into a new movement-art form, that of audible-visible music, by expressing musical components as well as the artistic intentions within a composition and those held by the performing artists. The dissertation examines how musical concepts are seen by eurythmists to integrate ideas of wholeness and to understand music as both audible and inaudible. It draws on studies and findings from music psychology to show distinct effects of musical elements on the human being, and to indicate the similarities between those and the qualitative expressions of music through tone-eurythmy.

No description available.

This thesis enquires how a rethinking of sight as the primary sense for experiencing dance performance can instigate new choreographies that embody the interplay between seen and unseen, described and not described, inside and outside, subject and object. By ‘unseen’ I mean invisible to the eye but potentially available to other senses or imaginative capacities. Choreography is a methodological and critical lens through which to explore relationships between description, translation and sensory perception in a range of performance engagements that invite multi-sensory attention. The research is launched with implications arising from a consideration of audiodescription: the supposed neutrality of the speaker, the potential for cultural mismatches or power tensions in translation and the challenge of making spoken language more fully represent the body in performance. The thesis argues that rethinking ideas of description, from the beginning of a devising process, can lead to the production of choreographic work that does not privilege vision. The research for this thesis has involved choreographic practice combined with writing. In this writing, the on-going narrative of my choreographic studio work has been deliberately interwoven with analysis and contextualisation of this practice. The different elements enacted in the studio and at the writing desk have continually interacted, back and forth, identifying in the process, appropriate objectives for successive phases. For example, the reflections stimulated at each phase of concurrent theoretical research and studio work have deepened my choreographic enquiries, while also identifying other points requiring further exploration. This exploration has been carried out during further practical choreographic experiments in the studio, triggering still further theoretical analysis, and so on. In this way, the dancer writing becomes, and interacts with, the writer dancing. Sensory and kinaesthetic knowledge can build a more integrated and immersive sensual experience of dance as something to be not just observed but also engaged in. The intention is that insights from the research will inform strategies for original choreography expressed in performance.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 306-335).

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 198-203).

No description available.

Thesis (M.A.)--University of Wisconsin--Madison, 1975. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.