O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.

O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.

O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-06-29T20:11:29Z No. of bitstreams: 2 Dissertação - Rousejanny da Silva Ferreira - 2015.pdf: 1589090 bytes, checksum: 6daf3cc8b4334b3ed73d51d0dfc82a48 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-06-30T12:03:25Z (GMT) No. of bitstreams: 2 Dissertação - Rousejanny da Silva Ferreira - 2015.pdf: 1589090 bytes, checksum: 6daf3cc8b4334b3ed73d51d0dfc82a48 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-06-30T12:03:25Z (GMT). No. of bitstreams: 2 Dissertação - Rousejanny da Silva Ferreira - 2015.pdf: 1589090 bytes, checksum: 6daf3cc8b4334b3ed73d51d0dfc82a48 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-06-12 / This dissertation aims at discussing the contexts and the reformulations on the vocabulary for the ballet proposed by the North American choreographer William Forsythe (1949), from the decades of 1980 to 1990. The excerpt delimited on the research is within the period which Forsythe directed the Frankfurt Ballet, in Germany. He has been considered an important revitalizer of the patterns of traditional ballet by many art and dance critics as well as by historians. For a better understanding of the trajectory and importance of Forsythe in the transformation of this dance, I first present some of the problems of the uncritical historic discussion of ballet. Following that I point out how ballet has raised aesthetical and political provocations about its performing up to the context of the subject here being investigated – William Forsythe. Next I investigate the social, political and artistic constructions which are designed by this choreographer in order to develop his references about the conception, performing and composing of ballet in the contemporaneity. In this perspective I also investigate the material that registers this period of his career: the CD-ROM Improvisation Technologies. I present the organization of the CD together with the description and analyses of the technology and the studies developed in the field of Labanian Choreutics as well as the description and analyses of all of the categories presented in its first edition, which has influenced the creation of the material. This work problematizes ballet as a web of meanings of our time, presenting the dancer as researcher of his choreographic practice. / Este trabalho discute os contextos e reformulações no vocabulário do balé propostos pelo coreógrafo norte-americano William Forsythe (1949) entre 1984 e 1994. O recorte delimitado na pesquisa compreende o período em que William Forsythe dirigiu o Balé de Frankfurt – Alemanha, sendo considerado por muitos críticos e historiadores da dança e da arte um importante revitalizador dos moldes tradicionais do balé. Para melhor entender os percursos e a importância de Forsythe na transformação desta dança, primeiramente apresento alguns problemas na discussão histórica acrítica do balé e, em seguida, aponto como, em três momentos distintos de sua história, o balé levantou provocações estéticas e políticas sobre seu fazer, chegando, então, ao contexto recente do sujeito aqui pesquisado, William Forsythe. Investigo em seguida as construções sociais, políticas e artísticas traçadas por este coreógrafo para desenvolver suas referências sobre a concepção, atuação e composição de balés na contemporaneidade. Nesta perspectiva, investigo o material que sela este período de sua carreira, o CD-ROM Improvisation Technologies. Apresento os estudos da tecnologia e da corêutica labaniana, que influenciaram a criação do material, e a organização do CD, juntamente com a descrição e análise de todas as categorias apresentadas em sua 1ª edição. Este trabalho problematiza o balé como teia de sentidos de nosso tempo, apresentando o bailarino investigador de sua prática coreográfica.

Syftet med denna studie är att undersöka gitarrlärares syn på studenters förkunskaper inom pentatonik då de börjar inom högre musikutbildning. Metoden för studien bygger på kvalitativa intervjuer av tre erfarna gitarrpedagoger med flera decennier bakom sig inom högskola och folkhögskola. Studien har sin utgångspunkt ur ett sociokulturellt perspektiv. Resultatet visar på att lärarna uppfattar att studenter besitter förkunskaper inom pentatonik men att det finns tydliga kunskapsluckor. / The purpose of this study is to investigate guitar teachers’ views on college students’ prior knowledge of the pentatonic scale. The methodology used was based on interviews with three experienced college level teachers with several decades of teaching experience behind them. The study is rooted in a socio-cultural perspective. The result shows that the teachers unanimously believe the students enter higher education with prior knowledge of the pentatonic scale. However, there is consensus that there are gaps in their knowledge.

Cette monographie a pour objectif de mettre en lumière la contribution fondamentale que Nicolas Bérauld (c. 1470-c. 1550), humaniste orléanais du début du XVIe siècle, apporta à la mise en place d’un humanisme spécifiquement français. Professeur, éditeur, imprimeur, libraire, juriste et écrivain à ses heures, cet humaniste polyvalent, très réputé à son époque, est aujourd’hui tombé dans l’oubli : il est, comme l'indique le titre de cet ouvrage, un laissé pour compte des « Bonnes Lettres » à qui il convient de rendre la place qu’il mérite. Son inlassable activité l’amena à intervenir dans de nombreux domaines. Il conduisit une réflexion approfondie sur les langues, puisqu’il s’intéressa à l’improvisation en latin et contribua à l’essor du grec, encore bien peu étudié au début du XVIe siècle. Il prit pour modèle de ses activités la figure du grammaticus au sens où l’entend Quintilien dans son Institution oratoire, à la fois encyclopédiste, éditeur, commentateur et professeur. Ce grammaticus polyvalent avait vocation à s’impliquer dans tous les domaines. Bérauld réfléchit donc aussi à la dimension esthétique et créatrice de la langue, à sa « poïétique », et prit position dans les grands débats idéologiques (politique, droit, religion) qui agitèrent son époque. L’étude de l’itinéraire de cet humble professeur est aussi un hommage rendu aux débuts de l’humanisme éclipsés par l’époque brillante des Lecteurs royaux et de la Pléiade. / This monography intends to highlight the fundamental contribution which was brought by Nicolas Bérauld (c. 1470- c. 1550), humanist born in Orleans at the beginning of the XVIth century, for the benefit of the establishment of a specific french humanism. Teacher, publisher, printer, librarian, jurist and even writer, this multitalented humanist, very famous during his time, has fallen in oblivion nowadays: he is, as the title of this work points it off, a laissé pour compte des « Bonnes Lettres » who needs to get back the appreciation he deserves. He relentlessly intervened in many fields of activity. He brought on a deep thinking about languages, as he was interested in latin improvisation and contributed to the rise of greek, still very little studied at the beginning of the XVIth century. The model of the grammaticus inspired his activities, exactly the way Quintilian figured it in his Institutio Oratoria, which means that he could be at the same time encyclopaedist, publisher, commentator and teacher. This versatile grammaticus was bound to tangle with every field of his time knowledge. This made Bérauld either to pay attention to the aesthetic and creative dimension of language, its « poïetic », or to get involved into the great ideological debates which stired up his time (as for politics, law or religion). To study the career of this humble teacher is also a way to pay tribute to the early stage of humanism, more or less put in the shade by the bright time of the Royal Lectors and of the Pleiade.

Syftet med detta arbete är att undersöka på vilket sätt det är möjligt att designa en övningsprocess för att uppnå spelteknisk utveckling på instrumentet piano och om denna process kan gynna en utveckling inom området improvisation. För att undersöka detta har jag under en tioveckorsperiod övat på två specifika övningar, ca. fem övningspass i veckan á 20-30 minuter per tillfälle. Dokumentation av övandet har skett via videofilmning och loggboksskrivande. Jag har i analysen utgått från ett designteoretiskt perspektiv. I resultatdelen av arbetet beskrivs vilka resurser jag använt för att öva, hur övningen designats samt hur mitt pianospel, med inriktning på improvisation, påverkats av detta övande. Det har i resultatet framgått att många olika typer av resurser använts och att mycket av det jag valt att fokusera på har gett positiva resultat. I diskussionsdelen diskuteras resultatet utifrån det designteoretiska perspektivet samt den litteratur och tidigare forskning som jag presenterat. / The purpose of this study is to observe and examine my own learning process when practicing technique on the piano. The purpose is also to observe how this affects my piano playing. In order to examine this I have, during a ten week period, practiced two specific exercises, five times a week 20-30 minutes per session. I documented the sessions via video and a logbook. I have chosen a design theoretical perspective as my theoretical basis. In the result section, I describe which resources I have used in my practice, how I choose to design my practice as well as how it has affected my piano playing. It turns out that I have used many different resources and that many of them has produced positive results. Lastly, I discuss the results in relation to relevant literature and research.

Né en Guadeloupe au XVIIe siècle avec l’esclavage transatlantique, le Gwoka se fit à l’origine musique de résistance à une acculturation forcée violente et occasion de préserver un héritage culturel. Accordant une large place à la voix, cette pratique musicale – qui s’appuie sur le triptyque tambour-chant-danse et dont le socle est la langue créole – a été transmise de génération en génération. Quelques familles ont su préserver ce genre musical. Parmi celles-ci, les Geoffroy – originaires de la région des Grands Fonds et spécialisés dans les chants de veillées et le bouladjèl. Cette recherche doctorale s’intéresse aux modalités de transmission du santiman et de la lokans, deux valeurs esthétiques propres à cette tradition orale. Nous examinons ces propriétés expressives en nous appuyant sur des observations ethnographiques et sur des enregistrements sonores réalisés in situ – ces derniers faisant l’objet d’analyses comparatives réalisées notamment à l’aide de sonogrammes. Nous avons choisi comme étude de cas la famille Geoffroy, autrement dit un processus de transmission en contexte endoculturel. Nous explorons en outre la question de la filiation entre Gwoka et musiques traditionnelles africaines. Sont également examinés les enjeux identitaires sous-jacents à cette tradition orale – terreau pour la communauté Gwoka d’une affirmation de son africanité et / ou de sa « guadeloupéanité ». Nous nous intéressons à cette esthétique sonore en tant que pratique d’appartenance associée à une mémoire collective. / Beginning in Guadeloupe in the 17th century with the transatlantic slave trade, Gwoka developed as music of resistance to the violence of forced acculturation and a means of preserving cultural heritage. Granting a large importance to voice, this musical practice – which relies on the triptych drum-song-dance and whose base is the Creole language – has been transmitted from generation to generation. Some families have been able to preserve this musical genre. Amongst them, the Geoffroys – originating from the “Grands Fonds” region and specialized in wake songs and bouladjèl. This doctoral research aims to study the methods of transmitting santiman and lokans, two aesthetical values characterizing this oral tradition. We examine these expressive qualities by means of ethnographical observations and also voice recordings obtained in situ – these being the object of comparative analysis making use in particular of sonograms. We chose as a case study the Geoffroy family, in other words a transmission process in an endocultural context. Our research also explores the question of filiation between Gwoka and African traditional music, as well as the identity issues at stake that underlie this oral tradition – which, for the Gwoka community, represents a support for claiming its Africanity and/or its “Guadeloupeanity”. Our interest in this sound aesthetics questions the fact that it is a practice of belonging associated to a collective memory.

Cette recherche s'intéresse à l'improvisation des enseignants entrant dans le métier. Elle procède à la description et à la compréhension de cette activité spécifique à partir d'une anthropologie cognitive qui donne une place centrale à la phénoménologie de l'expérience des acteurs eux-mêmes (Theureau, 2006, 2009). Nous défendons la thèse selon laquelle l'improvisation, plus particulièrement marquée par le complexe nouveauté-surprise-incertitude, est un temps fort de la dynamique du couplage entre un acteur et son environnement (y compris social) et, en tant que tel, un mouvement majeur de construction de soi et de développement professionnel. / The research focuses on improvisation by young teachers. It conducts a description and an understanding of this specific activity based on a cognitive anthropology which is centered on the phenomenology of the agents' experience (Theureau, 2006, 2009). We hold the theory that improvisation, particularly impacted by the complex ‘novelty-surprise-uncertainty', is a key moment in the dynamics of the interaction between the agent and their environment – including social environment – and, as such, is a major step in both personal development and professional development.

Quel est le sens de ce geste, finalement assez étrange, qui consiste à vouloir (s') improviser en musique, jusqu'à vouloir se montrer improvisant ? C'est en résonnant de grand air que ses significations raisonnent, et qui s'abordent aussi en sabordant. Ici, le complexe d'identité dans son entier est bouleversé, comme mis à vif dans un amour du son délesté de musique : l'urgence s'éprouve au plus fin, sur la crête d'un temps prêt à tout moment à s'évaporer en une immédiateté aussi foncièrement nouvelle qu'ancestrale. Le spectacle d'improvisation apparaît dès lors comme une sorte de lieu de jonction entre la fête sacrée et l'intimité d'un art brut. À la rencontre de l'autre pourtant dénié, le rapport à soi de l'improvisateur en jeu retrouve sa mondanéité propre et son originalité souveraine. / Why does someone want to improvise (by) music, and even show himself improvising ? Meanings of improvisation appear by resounding to wild life, and need destruction to be sensed. Here, the overall identity is shattered, sublimed in a love for sound without music. Improviser feels the urge, when time is ready to disappear in a new and ancestral immediacy. In this way, improvisation's show is like a confluence of sacred celebration and naive art. At the encounter of the one yet denied, the improviser's self-appreciation finds its own worldhood and its sovereign originality.