Thesis (M.A.)--University of Adelaide, Dept. of English Language and Literature, 1993. / Includes bibliographical references (leaves 248-271).

Thesis (Ph. D.)--University of California, Berkeley, 1989. / Includes bibliographical references (367-390).

Thesis (M.S.)--Brigham Young University. Dept. of Exercise Sciences, 2006. / Includes bibliographical references (p. 61-66).

No description available.

An exploration into the psychosomatic dynamics of theatre-based practices was undertaken using heuristic methodology (Moustakas, 1990). Twenty-two practitioners, some working independently, others working collaboratively, were interviewed about their approaches, focusing on their experiences of self-expressive performance as a way to work on the self and to induce healing and/or transformative growth. The heuristic approach also allowed for the researcher's direct involvement and participation in the practices under investigation, enabling her to explore firsthand the potential of theatre-based practice as a means to work on the self. Following heuristic methodology, the researcher created a Composite Depiction and a Creative Synthesis, juxtaposing the individual approaches of the research participants and highlighting the core elements of Theatre as a Transformative Practice. In doing so, she proposed that the practices explored facilitate an attunement of ego, some leading to deep, body-based introspection which in turn enables the practitioner to gain greater self-insight and internal balance through expressive engagement with felt senses and corresponding imagery. The researcher further suggested that Theatre as a Transformative Practice requires specific conditions under which the creative journey can lead to healing and personal growth. The chief condition identified was that the work be approached with mindful awareness of others and self in the performative relationship.

The following investigation develops a critique of Competitive Ballroom Dancing as a social phenomenon from an anthropological perspective and that of a non-dancer. In order to do this the thesis is concerned with interrelating dance with anthropology. The concepts of how people express themselves and communicate in society provide the study with the scope to explore certain issues. The first aspect shows how a person would prepare to be a dancer in competition, this involves, among other things, learning to dance, finding a suitable partner and the overall appearance of the dancer. Secondly looking at competition, which involves sport and dance, judgement and perception of how the dancers and spectators view it. The embodied content of the competitive dancer is seen as an important issue, since it can affect how the dancers dance and how the dance is perceived, despite the fact that competitive ballroom dancing is such a highly formal, structured and rule-governed form of dance. Ritual and performance theories integrating emic and etic tendencies are juxtaposed with what appears to happen in this form of dance. In addition various types of altered state of mind are examined, in view of comments made by dancers about how they feel when dancing. Furthermore this thesis explores an understanding of how important this form of dancing is to its participants and how the activity can be a life-long pursuit whether as a dancer or subsequently as a spectator. It also illustrates the extent to which younger people enjoy an activity where there is great emphasis on being fit and how they have come to link it with sport.

Modes of Infernal Rave Dancing is a lively and compact orchestral work combining many elements that would not otherwise belong together. It applies 20th-century harmonic techniques to a simple dance melody as one would hear in the electronic dance genre. The piece begins by emphasizing one pitch, and gradually adds more pitches before presenting the main melody. Each section builds to segments with harsh dissonances. The entire piece relies on the rhythmic pulse, which creates a sense of urgency in the beginning, nearly disappears in the middle, and returns energetically at the finale. My hope is that this work is suitable as a witty beginning or conclusion to any orchestral concert.

Thesis (M.Tech.: Chiropractic)-Dept. of Chiropractic, Durban Institute of Technology, 2004 1 v. (various pagings) / Classical ballet is generally defined as a form of art although it has been found to be more physically demanding than most sports, perhaps due to its very precise technique that differs considerably from normal movement. Epidemiological studies investigating ballet injuries in other countries suggest that the incidence and prevalence of injuries among ballet dancers is high. However, no such studies had been conducted in South Africa. Consequently the purpose of this study was to determine the lifetime incidence and prevalence of ballet injuries in the greater Durban area, and to examine the association between certain individual factors and ballet injuries, in order to identify potential risk factors.

published_or_final_version / Sports Science / Master / Master of Science in Sports Science

No description available.