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<p> Architecture must strike the senses with comprehensibility and lend itself to the performance of the human condition. It is to serve as a stimulus that incites awareness and brings forth a sense of identity of the city and the self. Architecture must encourage the activation of the space and serve as a vivid signifier of place, encourage connectivity, and enable the mapping of humanness in the urban condition. To test these principles, the author proposed a series of installations in Levy Park, green scape that sits on the cusp of the residential and commercial divide of downtown Crowley, Louisiana, with a specific goal: not to result in a utopia of spaces, but to arrive at a better understanding of the people who inhabit the city, the site, and the spaces that influence the two in a most positive and activated manner. </p><p> The work is driven by the speculation that architecture must be both the score &ndash; &ldquo;the process leading to the performance&rdquo; &ndash; and the performance itself (Halprin 1). The bodies moving through space, the performers, must be accounted for, understood, and analyzed in order to measure &ldquo;chance&rdquo; and create yet another score based upon findings (Halprin 3). One proposes the installation should be a living experiment in the hope that the architecture will not only become a signifier of place and a stimulus for the citizens of/visitors to the city to identify with, it will serve as an exercise in &ldquo;active and reactive productivity&rdquo; and provide the opportunity to create an architecture of significance that has been tested &ldquo;&lsquo;in the flesh&rsquo; of the lived world&rdquo; (The Eyes of the Skin 71).</p>

This study sought to determine the relationship of motor creativity, tap dance skill, and experience in tap dance choreography to the ability to choreograph tap dances.

This thesis constitutes a performative research enquiry the outcomes of which are three live ensemble choreographic works by the author, Shrink’d (2005-2007), Doing, Done & Undone (2007-2009) and The Living Room (2010-2011). These have been documented and are presented on DVDs and online. The written thesis serves as an exegesis of these works by examining the notions of in-between contained within an aesthetic of ‘everydayness’ as manifested in the works and the ways in which these works intersect and dialogue with performance and dance theory, phenomenological, feminist and post-colonial theoretical perspectives. The writing begins by outlining the key choreographic concerns and ideas driving the research, specifically the notion of in-between and the works’ everyday aesthetic. It continues with a contextual framework charting the practice-led research methodologies employed, the key phenomenological metaphors and theoretical notions underpinning the enquiry as well as situating the works within a historical trajectory of choreographic practice. The main part of the thesis (Chapters Two to Four) serves as an analysis of the primary output of the research project – the works themselves, bridging distinct strands of critical theory. This section of the written thesis journeys from the ‘outside’, via an analysis of theatrical framing, to the core of the practice in an exploration of the choreographic concerns and processes that drove the research. The examination of theatrical framing discusses the dramaturgical methodologies employed in the submitted works, including the reconfiguration of theatrical space in Shrink’d, the compositional use of space, in Doing, Done & Undone and the referencing of the temporal frame in The Living Room arguing that by pointing to the performance frame and fraying the fourth wall the works facilitate an in-between embodied and reflective mode of viewing between performers and audience members. The investigation of the core of the practice examines portraiture via textual address and the interface of text with moving body, and then moves on to discuss the body as a parallel corporeal form of address, ‘a body that speaks’.