published_or_final_version / abstract / toc / Literary and Cultural Studies / Master / Master of Arts

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This document is a record of an observed creative experience, defining the collaborative process between conductor, composer, and choreographer in creating and staging an original work for modern dance. There are three areas of focus. First, an introduction to and rationale for the project is coupled with an historical examination of the collaboration between a composer and choreographer (Igor Stravinsky and George Balanchine), and a review of the documentation on the conductors' traditional role in dance as established by the ballet conductors Robert Irving and George Crum. Second, suggested methods will be proposed for the skill level, and technique that a conductor should acquire to use as a method for gathering the talents of collaborating artists (choreographers and composers). These methods are comprised of vision, knowledge and expertise, respect and mediation. Third, a collaborative framework comprised of three sections was created, based upon an objective review of the data collected from the project so that the collaborative process between members could be effectively and efficiently studied. The three sections of this framework are (1) the artistic desires of the creative team , (2) the role of each team member, and (3) the working methodology of the creative team members. It is against this framework that the collaborative process between conductor, composer, and choreographer is defined as it relates to creating and staging a work for modern dance. In addition to highlighting the non-traditional role of the conductor as an intermediary and facilitator in directing artists in collaboration. The framework developed is demonstrated by specific examples from this project that indemnify the findings, offering a clear and concise strategy that future conductors might use as a reference and guide.

This thesis examines the continually changing avant-garde theatre and two artists who have emerged in the style of imagistic theatre. George Coates and Martha Clarke both abandon traditional literary playscripts and create their own work using images as the primary method of communication rather than the traditional word. Specific works of each artist are analyzed through use of text, storyline, visual elements, performer's role, audience reaction and in the case of Coates, his cinematic potentialities. This analysis begins to define the imagistic theatre and its application in the '90s. In addition, the overall potentiality for imagistic theatre as an important form of theatre in the future is discussed, with special attention to the multicultural and interdisciplinary approach.

<p> Ballet music is an important genre of the canon of Western Classical Music. Composers and choreographers have collaborated on large-scale productions since the sixteenth century, but it was in the late nineteenth century that the art of ballet rose to unprecedented heights with the work of Marius Petipa. Petipa&rsquo;s collaboration with specialist composers of ballet music had important consequences for the genre going into the twentieth century. As Petipa worked with these specialists, including Ludwig Minkus and Riccardo Drigo, the relationship of dance and music in ballet evolved from a hierarchical relationship (dance over music) to a more equal pairing. This evolution correlates to the changing cultural and political tides of St. Petersburg from the Great Reforms in the 1860s to the October Revolution in 1905. In the 1890s and early 1900s, Petipa collaborated with more established Russian composers, including Peter I. Tchaikovsky, Alexander K. Glazunov, and Arseny N. Koreshchenko. This project considers several ballets by these composers, analyzing various Adagio movements from these works to show how ballet composing was approached first by ballet specialists and subsequently by symphonic composers. These dances are examined within the context of the Grand Ballets they come from as well as from a cultural and historical perspective. </p>

Composer Adolphe Adam is typically recognized and acknowledged only through Giselle, his most famous ballet. However, Adam's ninth ballet, Le Diable a quatre, though rarely remembered, is also a historically significant work. At the time of its premier in 1845, the story of this morality-comedy had been familiar to the Parisian public for nearly a century. Yet despite its "unromantic" qualities, Le Diable a quatre surpassed some of its contemporaries in longevity and remained in the Opera's repertory for a substantial period of time. In this study I offer a comparison of Le Diable a quatre with contemporary ballets, focusing on several historical perspectives and on critical and popular aesthetics of ballet and ballet music. Additionally, I include an overview of the score of Le Diable a quatre, a discussion of the historical significance of national dance in the Romantic ballet, and a discussion of Adam's significance within the musical canon.

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Thesis (M.A.)--University of Hawaii at Manoa, 2007. / Includes bibliographical references (leaves 225-234). / xv, 234 leaves, bound ill., maps 29 cm

Thesis (Ph. D.)--University of Toronto, 2004. / Adviser: David Booth.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / Author's name on microfiche header: Shah, Purnima Kantilal. Includes bibliographical references (p. 288-298). Also available on the Internet.