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This multi method, quasi pre and post intervention design evaluated the impact of Hung Fut Gung Fu's ten basic stances (TBS) on quality of life (QOL) and postural balance in elderly females. The purpose of this inquiry was to explore the effectiveness of TBS as an appropriate and health promoting form of physical activity for senior populations. Five females aged sixty-nine to eighty-three, participated in the eight-week intervention. Pre and post intervention data were collected through a Quality of Life Profile: Seniors questionnaire, the Berg balance test, and a self-report calendar of slips, trips and falls. Post-intervention interviews captured participants' reflections of the experience. Quantitative findings indicate that the TBS sessions generated slight improvements in QOL and postural stability and significant reductions in slips trips and falls. Qualitative data analysis identified two themes as contributing to participants' QOL - acquiring knowledge and socializing with peers. The TBS appears to be a promising strategy for enhancing QOL and postural balance for senior populations.

Thesis (M.CM)--Hong Kong Baptist University, 2006. / Dissertation submitted to the School of Chinese Medicine. Includes bibliographical references (leaves 26-28).

Thèse (D. en études et pratiques des arts)--Université du Québec à Montréal, 2004. / En tête du titre: Université du Québec à Montréal. Bibliogr.: f. 286-296. Publié aussi en version électronique.

Thesis (Ph.D.)--Xianggang Zhong wen da xue, 2001 / Zhi dao jiao shou: Mo Banghao. 880-03 Includes bibliographical references.

Thesis (M. Sc. (Urb. Plan.))--University of Hong Kong, 1994. / Includes bibliographical references.

Thesis (M. Sc.(Urb. Plan.))--University of Hong Kong, 1995. / Includes bibliographical references (leaf 190-196).

Thesis (M.A.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 59-61). Also available in print.

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Orientador: Kathya Maria Ayres de Godoy / Banca: Alexandre Luis Mate / Banca: Rita de Cássia Franco de Souza Antunes / Resumo: Esta pesquisa surgiu da necessidade de registrar, organizar, sistematizar e relacionar os conhecimentos adquiridos em minha formação de atriz, professora de teatro e artista marcial, no intuito de melhor explorar o processo de criação teatral, utilizando técnicas marciais orientais. Aproximando as duas artes: teatral e marcial - kung fu, termo que além de designar uma arte marcial de origem chinesa possui outros significados como, por exemplo, capacidade de aguentar jejum e resistir, vislumbrei desenvolver, com os envolvidos no processo, potencialidades e habilidades, que foram vivenciadas na preparação corporal destes como atores, iniciando pelo treinamento para se chegar ao ensaio e por fim o espetáculo, promovendo de forma prática o aprimoramento do autoconhecimento e de suas relações com o outro e com o espaço, proporcionando um maior domínio do corpo, que se tornou mais expressivo para a criação cênica. Por buscar orientar os processos de trabalho teatral, de modo a tornar a experiência com teatro um meio socializador, fundamentado no principal postulado brechtiano, em que educar e divertir se apresentam essenciais à experiência com os jovens, considerando o contexto aqui abordado, o eixo dessa proposta leva em conta a abordagem práxica do teatro épico, sistematizado por Bertolt Brecht, sobretudo a partir de meados da década de 1920, quando o dramaturgo alemão passa a dedicar-se à criação das peças didáticas. Por meio dessas ideias e das práticas vivenciadas, algumas perguntas surgiram. Por que e como se apropriar de duas artes aparentemente distintas: kung fu e teatro, a fim de possibilitar uma melhor expressão do corpo? Como essas duas artes poderiam interagir, dando origem a um treinamento utilizado em um grupo de teatro? O que há nessa técnica oriental, que mobiliza e contribui para... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work is a product of a necessity of register, organize, classify and transpose the knowledges obtained during my actress formation, theater teacher and martial artist, with the intent of better explore the theatrical creation process, by using oriental martial techniques. By uniting these two arts: theatrical and martial -kung fu, term that besides designating a chinese martial art has others meanings such as, capacity of endure a fast and resist, it was possible to develop, with the ones involved, potentialities and abilities, which were experienced in their body preparation as actors, starting by training to get to the rehearsal and at last to the presentation, helping them in a practical way in the improvement of self-knowledge and their relations with each other and with space, providing a greater body control, that became more expressive to the scenic creation. For trying to guide the theatrical work processes, in a way to make the experience with theater a socializing means, grounded in the main brechtian postulate, where to educate and to have fun are essential to the experience with the youngsters, considering the context that was approached here, this proposal takes into account the practical approach of epic theater, systematized by Bertolt Brecht, specially from the middle of the 1920 decade on, when the german dramatugist begins dedicating himself to the creation of educational plays. Through these ideas and experienced practices, some issues came up. Why and how to appropriate of two arts apparently so different: kung fu and theater to enable a better body expression? How could these two arts interact, creating a training used by a theater group? What does this oriental technique have, that mobilizes and contributes to the work of scenical creation with young theater students? Then, this... (Complete abstract click electronic access below) / Mestre