Made available in DSpace on 2016-04-26T18:10:40Z (GMT). No. of bitstreams: 1 Renata Rodrigues Marques.pdf: 4329600 bytes, checksum: d26166a18953be6666a697cfb3f0fe50 (MD5) Previous issue date: 2010-06-01 / The objective of this research is to investigate a process of creation in the performing arts, from the point of view of communication networks. The study was based on the discussion generated by an examination of the process, namely the design of idealization of the show, reports, references used (articles, stories, movies, books, pictures and music), audio-visual equipment for meetings, drafts, notes, e-mail traffic, road scenes, diagrams, photos and program performance. The limits of choice in studying the process of assembly Guilt is Science? held by Art and Science on Stage, was due to the quality and availability of the records. The research aims to propose a reading of semiotics as it was the journey of creating this installation art, focusing on communication issues, as well as how it gets the relationship with science. To analyze the corpus was used the methodology of critical process that is characterized by theoretical and critical follow the paths of production, through a phenomenological approach. It is an empirical treatment given to the contents of the documents. The relations between these indices are raised hypotheses that, during the research, are tested. The study is developed from the concept of creation and network construction, as well as discuss by Cecilia Salles, understanding which is the theoretical line Peircean semiotics in dialogue with thinkers of culture (Edgar Morin and Jerusa Ferreira); the study also speaks to the actress and performing arts researcher Thelma Lopes / O objetivo desta pesquisa é investigar um processo de criação, no campo das artes cínicas, sob o ponto de vista das redes comunicativas. O estudo partiu da discussão gerada pela análise dos documentos de processo, ou seja, o projeto da idealização do espetáculo, relatórios elaborados, referências utilizadas (artigos, reportagens, filmes, livros, imagens e músicas), material áudio-visual de encontros realizados, rascunhos, anotações, e-mails trocados, roteiro de cenas, diagramas, foles e programa do espetáculo. A delimitação da escolha pelo estudo do processo da montagem 'A Culpa é da Ciência?', realizada pelo 'Núcleo Arte Ciência no Palco', aconteceu devido à qualidade e à disponibilidade destes registros. A pesquisa pretende apresentar uma proposta de leitura semiótica de como se deu o percurso de criação desta montagem artística, com foco nas questões comunicativas, assim como no modo como se deu a relação com a ciência. Para analisar o corpos foi utilizada a metodologia da critica de processo que se caracteriza pelo acompanhamento teórico-crítico dos percursos de produção, por meio de uma abordagem fenomenológica. É dado um tratamento empírico aos índices dos documentos dos processos estudados. No estabelecimento de relações entre esses índices, são levantadas hipóteses que, no decorrer da pesquisa, são testadas. O estudo é desenvolvido a partir do conceito de criação como rede em construção, assim como é discuto por Cecilia Salles, entendimento que tem como fundamentação teórica a semiótica de linha peirceana, em diálogo com pensadores da cultura (Edgar Morin e Jeitosa Ferreira); o estudo também dialoga com a atriz e pesquisadora das artes cênicas Thelma Lopes

O trabalho apresenta reflexões sobre o processo de criação de Fábrica de Calcinha, pesquisa artística realizada pela autora com o objetivo de explorar a sonoridade como ativadora e norteadora da composição da cena. O processo de criação partiu da sonoridade percebida no centro da cidade de Porto Alegre. O encontro com este material foi estimulado pelo procedimento de Derivas Sonoras, das quais participaram a própria autora, um músico e um performer. Construiu-se, assim, um arquivo de objetos sonoros (Schaeffer, 1966), objetos perceptivos decodificados pela mente como um som, gravados na memória dos corpos e em dispositivos tecnológicos, e recuperados em diferentes etapas do processo de criação. A escuta se afirmou como poética de trabalho, mediando as interações que deram forma ao material cênico. Para a organização das diferentes ações cênicas (físicas, sonoras e vocais) criadas em improvisações, foi utilizado, sobretudo, um modelo de partitura cênica desenvolvido pelo encenador e compositor Heiner Goebbels. / The dissertation presents reflections on the process of creating Fabrica de Calcinha (Panty Factory), artistic research done by the author in order to explore the sonority as activating and guiding the composition of a scene. The creation process started from the sounds perceived in the center of Porto Alegre. We used the Dérive Sonore procedure as stimuli for this encounter, which was carried out by the author herself, a musician and a performer. We were, thus, able to build a database of sound objects (Schaeffer, 1966), perceptual objects decoded by the mind as a sound, recorded in the memory of bodies and technological devices and recovered at different stages of the creation process. The listening of the material affirmed itself as poetic work mediating the interactions that shaped the scenic material. For the organization of the different performing actions (physical, sound and vocals) created in improvisations, we primarily used a scenic music score model developed by the director and composer Heiner Goebbels.

Corpografias: incursão em pele imagem escrita pensamento abarca, sob certos aspectos e intensidades, a dinâmica de experimentação do pensamento num contexto acadêmico. Para tanto, realiza-se como diário e caderno, que cartografam a investigação empreendida, textual e plasticamente, expondo o constituir-se da pesquisa através de um corpo sensível. A forma de composição e apresentação do trabalho ressalta sua natureza híbrida, na qual estão imbricados texto dissertativo e experimentos poéticos (Diário de corpo do pensamento e Caderno Decurso). A partir dela, são discutidas as relações entre Arte, Ciência e Filosofia, inclusive a constituição disciplinar do saber. Embora não seja o tema central da pesquisa, tal reflexão a ela se impõe, imprimindo uma dimensão política neste fazer Ciência. A partir das ideias de Michel Foucault (1966) sobre as heterotopias e o corpo utópico, soma-se, às discussões sobre o corpo do pensamento, a noção de corpo heterotópico. Sendo este trabalho um dispositivo que expressa e carrega a questão de que um corpo poético é um corpo do pensamento, ele problematiza o toque e seus âmbitos de alcance, propondo ao leitor o mesmo modo de operar com o qual foi realizado. É preciso investigar ainda, tatear, compor um corpo no encontro, que toca e é tocado; que busca a relação e se faz nela. Desmonta-se, portanto, o jargão Que corpo é esse?, na medida em que é salientada a condição de invenção infinita do corpo do pensamento, que não cessa de transmutar. / Bodygraphies: an incursion into skin image writing thinking covers, in some aspects and intensities, the thinking process experimentation dynamics in an academic perspective. This research performs itself as a diary and a (note)book. Both of these, textually and plastically, make a cartography of this undertaken inquiry, turning the research doing process up through a sensible body. The composition and presentation forms of this work highlight his own hybrid nature, in witch the dissertation text and the poetics experimentations (Body of the Thought Diary and Course Book) overlap one another. From this very nature, the relation between Art, Science and Philosophy are discussed, including their own notion of knowledge. This last reflection, while not the head issue of this work, imposes itself, mainly cause of the politics dimension in doing science process. The Michel Foucault ideas of heterotopies and utopian body (1966) were taken for this work purposes, bringing the concept of heterotopic body. As this work is a device that manifests and carries the issue that the poetic body is a body of the thought, it argues the very touch and its extent, affording the reader just the same way to perform him/herself. It\'s still necessary to investigate, feel, draw up a body-in-rendezvous, that touches and is touched; seeks for relation and exists only in relation. Thus, the question \"What body is this?\" is disassembled, as infinite invention is a real condition for body of the thought, that doesn\'t stop transmuting itself.

Esta dissertação se propôs a estudar a presença da Grécia clássica e mitológica na obra do escritor Monteiro Lobato (1892-1948), buscando verificar como as referências ao mundo helênico se impuseram em diversos momentos de sua produção literária (adulta e infantil), jornalística e memorialística. Com o objetivo de detectar fontes bibliográficas do autor, a pesquisa recuperou títulos de livros de sua biblioteca particular, atualmente dispersa, bem como menções a obras focalizando a Hélade em sua correspondência e em outros documentos. Colocando em pauta os processos de criação literária, o trabalho abordou as relações intertextuais entre obras de Lobato e títulos do historiador Will Durant (1885-1981) e do educador Virgil Hillyer (1875-1931), ambos estadunidenses. Explorou também o diálogo epistolar do criador de Urupês com o escritor maranhense Coelho Neto (1864-1934), reconhecido cultor da temática helênica. A dissertação apresenta \"Seleta\" de trechos da obra de Monteiro Lobato que focaliza aspectos históricos, linguísticos e culturais do mundo grego, a fim de contribuir para a ampliação do debate levantado. / This work has the proposal to study the classical Greece and the mythology presented in Monteiro Lobato\'s works (1892-1948), searching to verify how the references to the Hellenic world impose itself in several moments of his literary production (adult and young), journalistic and memorialistic. With the objective of detecting bibliography sources of the author, the research recovers book titles of his private library, nowadays fragmented, as the mentions of the works focusing the Helade in her correspondence and in other documents. Putting in question the literary processes of creation, this paper approaches the intertextual relations between the works of Lobato and the titles of the historian Will Durant (1885-1981) and the educator Virgil Hillyer (1875-1931), both North-Americans. It also explores the epistolary dialog of the creator of Urupês with the Maranhense writer Coelho Neto (1864-1934), recognized as the cultivator of the Hellenic theme. This paper presents \"Seleta\" of pieces of Monteiro Lobato\'s works that focuses in historical, linguistic and cultural aspects of the Greek world, in order to contribute to the expansion of the debate we raise here.

Este estudo tem como objeto de reflexão e investigação prática o processo experimental Movimento, Respiração e Canto. Esta prática fundamenta-se na Respiração Vivenciada de Ilse Middendorf. A proposta de vivência da respiração a partir dos princípios da Respiração Vivenciada viabiliza, juntamente com outras estratégias, uma determinada performance do corpo, compondo este processo experimental. O desdobramento criativo da Respiração Vivenciada ocorre inicialmente a partir das experiências didáticas, desenvolvendo-se como fruto da interseção entre pesquisa, ensino e uma proposta de criação. A forma como esta prática pode estabelecer uma ligação com a criação artística surge assim como questão central, investigando-se o que é necessário para a constituição de um processo de criação, especificamente de criação musical, que se organiza a partir da ação do corpo, da respiração e sua relação com o movimento e a voz. Partindo-se de orientações teóricas contemporâneas que consideram a performance como paradigma cultural, e constatando-se que nesta experimentação a atuação dos performers é responsável pela constituição do processo criativo, o enfoque deste estudo é sobre o processo, realizando-se uma apreciação de como se caracteriza a geração de um espaço de criação e de um corpo em estado de criação, conceitos que decorrem da própria reflexão. A vivência do processo leva o performer a adentrar um corpo em estado de criação, gerando improvisações vocais e movimentos, resultado das relações que a respiração estabelece com o movimento e a voz. Estes momentos de criação ocorrem como um evento performático, onde o corpo é o agente principal do processo artístico. A criação artística é considerada aqui como uma forma de transpor os limites entre o corpo e o espaço, levando o corpo a transfigurar-se em movimento, gestos e sons revelando uma das inúmeras possibilidades de sua metamorfose. A reflexão sobre as relações entre corpo e voz aponta para um estado de dissolução de fronteiras e a vivência deste processo experimental revela-se como possibilidade de ocupação das zonas de fronteira - entre as diversas linguagens artísticas, entre o eu e o outro - constituindo-se assim como uma experiência de comunhão. / This study has as subject of reflection and practical research the experimental process Movement, Breathing and Singing. This practice is based on the Perceptible Breath by Ilse Middendorf. The proposal of experiencing breath based on the fundamentals of Middendorfs practice enables, along with other strategies, a certain performance of the body, composing this experimental process. The creative unfolding of the Perceptible Breath derives initially from pedagogical experiences, which develops at crossing points where research, teaching as well as a proposal of artistic creation meet. How this practice can establish a connection with a process creating art emerges then as the main question. This study examines what is necessary to constitute a process of creation, specifically of musical creation, which is organized from a bodys action, that is from breathing in relation to both movement and voice. Starting with contemporary theory that considers performance as a cultural paradigm and attributing the creative process to the performers action, this study has the focus on the process, appreciating what characterizes generating space of creation and a body in a state of creation, as a concept manifesting itself as the result of reflection. Undergoing this process leads the performer to experience a body in a state of creation, generating both vocal improvisations and movements, which result from the interrelations that the breath establishes with movement and voice. These moments of creation occur like a performative event, where the body is the principal agent of the artistic process. The process of creating art is here considered like a way of transposing the limits between body and space, thus leading the body to transfigure itself in movement, gestures and sounds thereby revealing one of the many possibilities of its metamorphoses. The consideration of the relations between body and voice points to a state of dissolution of boundaries and undergoing this experimental process reveals itself as a possibility of occupying the border area - between different artistic languages, between the self and the other so as to constitute itself as a experience of communion.

Made available in DSpace on 2016-04-26T18:17:53Z (GMT). No. of bitstreams: 1 Armando Favaro completo.pdf: 37913105 bytes, checksum: 3a6ca653f050589710734b0bfe43ab26 (MD5) Previous issue date: 2009-05-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this project we intend to examine the creation process and the importance of photojournalism as a form of interaction and, therefore, the role it played during the Brazilian military dictatorship. With epistemological and theoretical fundaments built on the foundations of critical genetic and supported by peircean line semiotics, this study examines the creative process of photojournalist Evandro Teixeira, between 1964 and 1969, with your images and creativity, dribbled the repression and control apparatus placed on the streets and in the media by the regime of the military generals. His work challenges, thus, intolerance and social policy and demonstrates photography s crucial informative role as an instigator of reflection. The work also examines the importance of an integrated relation in terms thought in the process of creating a daily newspaper and selection through which goes every journalistic photo, especially Evandro Teixeira s images produced for the Jornal do Brasil. The process perspective approach is essential in the development of this study; it allows to more accurately examining photojournalism as well as its role in the collective journalism production network / Neste projeto pretendemos analisar o processo de criação e a importância do fotojornalismo como forma de interação e, assim sendo, sobre o papel que ele desempenhou na época da ditadura militar brasileira. Com fundamentação teórica e epistemológica construída sobre os alicerces da crítica genética sustentada pela semiótica de linha peirceana, este trabalho analisa o processo criativo do fotojornalista Evandro Teixeira, entre 1964 e 1969, que com suas imagens e criatividade, driblou o aparato de repressão e controle colocados nas ruas e nos meios de comunicação pelo regime dos generais. Sua obra contesta, deste modo, a intolerância política e social e revela o decisivo papel informativo da fotografia e como instigadora de reflexão. O trabalho também analisa a importância de uma integrada relação do pensamento em rede no processo de criação de um jornal diário e a seleção pela qual passa toda a fotografia jornalística, em particular as imagens de Evandro Teixeira produzidas para o Jornal do Brasil. A abordagem sob a perspectiva de processo é essencial no desenvolvimento desse estudo, pois possibilita examinar com maior acuidade o fotojornalismo, assim como sua atuação na rede da coletividade da produção jornalística

Using external information to gain insights is becoming increasingly important in today’s knowledge based economies. However, from both research and practice it is somewhat unclear how organizations manage these activities. Therefore the purpose of this paper is to explore how four different organizations manage their insight creation process from external information. To do this, a literature review about insight creation is done to create an analytical framework. Based on this framework, the insight creation process is analyzed within the organizations to find characteristics of each process. Next, a cross case analysis is conducted that reveal the main differences between the organizations. The results indicate two main styles of managing the insight creation process that can be differentiated with regards to formality. As such, this paper complements previous research within the area of competitive intelligence and knowledge management in the sense that it increases the understanding of the insight creation process.

The objective of this study is to evaluate the value drivers that drive the value of companies, as reflected in the share-prices. Through this study, the aim is to draw conclusions on the aspects that drive the share-price of companies. A detailed literature study was performed on the value-creation process that takes place in a company. The literature study has a significant focus on Value-Based Management and the elements that should be considered when evaluating the manner in which companies create shareholder value through the operational activities that are performed. Through applying the principles of value-based management, the management of companies should maximise the value-created for shareholders by utilising company resources in the most effective and efficient way possible. Valuebased management should not be seen as a once-of initiative, but should be ingrained in the day-to-day operating and management activities of companies. The objective of applying value based management principles in a company should be to enhance the value of financial assets through the optimisation of the real assets of the company. Value is created in a company when the company can maintain a return on capital that is greater than the cost of capital. Through the literature study several value-drivers were identified that influence the shareholder value-creation process and that should be managed optimally. These value-drivers have been identified to be (1) sales growth, (2) cash profit margin - earnings before interest, tax, depreciation and amortisation (EBITDA), (3) cash tax rate, (4) working capital, (5) capital expenditure, (6) WACC- the risk and inflation adjusted weighted average cost of capital, and (7) the competitive advantage period. The competitive advantage period is defined as the time during which a company has a positive net present value when discounted at the WACC. Any actions that the management of a company can take to optimise these value-drivers will have a positive effect on the value created for shareholders. The link between shareholder value-creation and share-price was investigated in the literature study. It was found that different factors influence share prices and that some have nothing to do with the company itself, but more with investor sentiment about the economy as a whole and other socio-political factors. The empirical study was based on analysing key value-drivers and financial ratios that were identified during the literature study, in order to establish the relationship between company value-creation and the share-price. The data sample that was used in the empirical study consisted of 55 publicly listed companies that had a net asset value of one billion rand (R1, 000,000,000) or more in 1998. This data sample parameter was chosen in order to consider companies in the empirical study that have significant market presence in the respective industries, sectors and sub-sectors. The time horizon of the empirical study was over a 1 0-year period, from 1998 to 2007. The relationship that exists between the dependent variables of (1) Average Share Price (ASP) and (2) Year-End Share Price (YESP) and the independent variables of (1) net assets, (2) turnover, (3) trading profit, (4) operating profit, (5) profit before interest and tax, (6) Net Operating Profit After Tax (NOPAT), (7) retained profits, (8) free cash flow, (9) Economic Value-Added (EVA), (1 0) Earnings Per Share (EPS), (11) Cash Flow Per Share (CFPS), (12) the price earnings ratio, (13) operating assets, (14) Return On Assets (ROA), and (15) Return On Equity (ROE) were analysed during the empirical study. These dependent and independent variables were chosen based on the insights gained through the literature study and was identified as appropriate to formulate conclusions on the relationship that exists between shareholder value-creation and share-price. The distributions of the above-mentioned variables are discussed in detail and distribution figures are provided to contextualise the spread of the variables and provide background on the data that was used in the empirical study. Although the study of the variables was conducted over a 1 0-year period, from 1998 to 2007, distribution figures for the years 1998 and 2007, are depicted and discussed in order to provide a comparison of the changes that took place over the 1 0-year period. Due to the nature of the variables analysed during the empirical study, the Spearman Rank Correlation Coefficient is used to measure the relationship that exists between the dependent and independent variables. The Spearman Rank Coefficient is a factor model that explains complex phenomena through a small number of basic causes or factors. Given the relative large number of shares available on the share market, the estimation of dependent, share-price variables cannot be performed without simplification to dimensionality, therefore the use of the Spearman Rank Coefficient. The coefficient of correlation between the dependent and independent variables was calculated for the each of the years over the 1 0-year period and the applicability to explain the relationship between shareholder value-creation and share-price was analysed. Through the statistical analyses and the interpretation of the results, it was concluded that earnings per share and cash flow per share are the most appropriate indicators for estimating the relationship that exists between shareholder value-creation and the share-price as reflected on the share market. / Thesis (M.B.A.)--North-West University, Vaal Triangle Campus, 2010.

The objective of this study is to evaluate the value drivers that drive the value of companies, as reflected in the share-prices. Through this study, the aim is to draw conclusions on the aspects that drive the share-price of companies. A detailed literature study was performed on the value-creation process that takes place in a company. The literature study has a significant focus on Value-Based Management and the elements that should be considered when evaluating the manner in which companies create shareholder value through the operational activities that are performed. Through applying the principles of value-based management, the management of companies should maximise the value-created for shareholders by utilising company resources in the most effective and efficient way possible. Valuebased management should not be seen as a once-of initiative, but should be ingrained in the day-to-day operating and management activities of companies. The objective of applying value based management principles in a company should be to enhance the value of financial assets through the optimisation of the real assets of the company. Value is created in a company when the company can maintain a return on capital that is greater than the cost of capital. Through the literature study several value-drivers were identified that influence the shareholder value-creation process and that should be managed optimally. These value-drivers have been identified to be (1) sales growth, (2) cash profit margin - earnings before interest, tax, depreciation and amortisation (EBITDA), (3) cash tax rate, (4) working capital, (5) capital expenditure, (6) WACC- the risk and inflation adjusted weighted average cost of capital, and (7) the competitive advantage period. The competitive advantage period is defined as the time during which a company has a positive net present value when discounted at the WACC. Any actions that the management of a company can take to optimise these value-drivers will have a positive effect on the value created for shareholders. The link between shareholder value-creation and share-price was investigated in the literature study. It was found that different factors influence share prices and that some have nothing to do with the company itself, but more with investor sentiment about the economy as a whole and other socio-political factors. The empirical study was based on analysing key value-drivers and financial ratios that were identified during the literature study, in order to establish the relationship between company value-creation and the share-price. The data sample that was used in the empirical study consisted of 55 publicly listed companies that had a net asset value of one billion rand (R1, 000,000,000) or more in 1998. This data sample parameter was chosen in order to consider companies in the empirical study that have significant market presence in the respective industries, sectors and sub-sectors. The time horizon of the empirical study was over a 1 0-year period, from 1998 to 2007. The relationship that exists between the dependent variables of (1) Average Share Price (ASP) and (2) Year-End Share Price (YESP) and the independent variables of (1) net assets, (2) turnover, (3) trading profit, (4) operating profit, (5) profit before interest and tax, (6) Net Operating Profit After Tax (NOPAT), (7) retained profits, (8) free cash flow, (9) Economic Value-Added (EVA), (1 0) Earnings Per Share (EPS), (11) Cash Flow Per Share (CFPS), (12) the price earnings ratio, (13) operating assets, (14) Return On Assets (ROA), and (15) Return On Equity (ROE) were analysed during the empirical study. These dependent and independent variables were chosen based on the insights gained through the literature study and was identified as appropriate to formulate conclusions on the relationship that exists between shareholder value-creation and share-price. The distributions of the above-mentioned variables are discussed in detail and distribution figures are provided to contextualise the spread of the variables and provide background on the data that was used in the empirical study. Although the study of the variables was conducted over a 1 0-year period, from 1998 to 2007, distribution figures for the years 1998 and 2007, are depicted and discussed in order to provide a comparison of the changes that took place over the 1 0-year period. Due to the nature of the variables analysed during the empirical study, the Spearman Rank Correlation Coefficient is used to measure the relationship that exists between the dependent and independent variables. The Spearman Rank Coefficient is a factor model that explains complex phenomena through a small number of basic causes or factors. Given the relative large number of shares available on the share market, the estimation of dependent, share-price variables cannot be performed without simplification to dimensionality, therefore the use of the Spearman Rank Coefficient. The coefficient of correlation between the dependent and independent variables was calculated for the each of the years over the 1 0-year period and the applicability to explain the relationship between shareholder value-creation and share-price was analysed. Through the statistical analyses and the interpretation of the results, it was concluded that earnings per share and cash flow per share are the most appropriate indicators for estimating the relationship that exists between shareholder value-creation and the share-price as reflected on the share market. / Thesis (M.B.A.)--North-West University, Vaal Triangle Campus, 2010.

O trabalho apresenta reflexões sobre o processo de criação de Fábrica de Calcinha, pesquisa artística realizada pela autora com o objetivo de explorar a sonoridade como ativadora e norteadora da composição da cena. O processo de criação partiu da sonoridade percebida no centro da cidade de Porto Alegre. O encontro com este material foi estimulado pelo procedimento de Derivas Sonoras, das quais participaram a própria autora, um músico e um performer. Construiu-se, assim, um arquivo de objetos sonoros (Schaeffer, 1966), objetos perceptivos decodificados pela mente como um som, gravados na memória dos corpos e em dispositivos tecnológicos, e recuperados em diferentes etapas do processo de criação. A escuta se afirmou como poética de trabalho, mediando as interações que deram forma ao material cênico. Para a organização das diferentes ações cênicas (físicas, sonoras e vocais) criadas em improvisações, foi utilizado, sobretudo, um modelo de partitura cênica desenvolvido pelo encenador e compositor Heiner Goebbels. / The dissertation presents reflections on the process of creating Fabrica de Calcinha (Panty Factory), artistic research done by the author in order to explore the sonority as activating and guiding the composition of a scene. The creation process started from the sounds perceived in the center of Porto Alegre. We used the Dérive Sonore procedure as stimuli for this encounter, which was carried out by the author herself, a musician and a performer. We were, thus, able to build a database of sound objects (Schaeffer, 1966), perceptual objects decoded by the mind as a sound, recorded in the memory of bodies and technological devices and recovered at different stages of the creation process. The listening of the material affirmed itself as poetic work mediating the interactions that shaped the scenic material. For the organization of the different performing actions (physical, sound and vocals) created in improvisations, we primarily used a scenic music score model developed by the director and composer Heiner Goebbels.