Performative Pedagogy is a philosophical essay on dance telling of the necessity to reintegrate dance in the curriculum as well as a performative inquiry that recognizes space-moments of learning realized through performance. Dance/tool of exploration/research is the integration of multiple layers of understandings, intellectual, physical, emotional, and spiritual, in the absence of word and the presence of silence. This text is a creative response to researchers seeking a legitimate space of recognition for our arts-based processes. Writing choreographically is the integration of phenomenology of kinaesthetic consciousness, hermeneutics, and the not yet known in a moment of imagining. Text sometimes linear, sometimes not, inter-danced with personal photographs, autobiographical narratives, poetry, dancing on the page, exploring a space moment of imagining with you. I explore concepts such as "embodied awareness", "thinking in movement", "voice of the soul", "intentional rhythm", and "language" using a methodology of performative inquiry. Writing choreographically a dance space of imagining invites the reader in a historical journey of dance, from Ruth St-Denis, Isadora Duncan and Mary Wigman to post-modernists Merce Cunningham, Yvonne Rainer, the Grand Union, and Canadian choreographers Francoise Sullivan, Jennifer Mascall, Chick Snipper, and Daniel Soulieres and myself, blurring the boundaries between dancers, choreographers, viewers, as well as between the mediums. This historical movement creates an opportunity for readers to question their own inquiry in dance. Performative Pedagogy: Writing choreographically a dance space of imaginings is an artistic adventure inviting you to re-create meaning within this performative inquiry the same way a spectactor would during a dance performance. Through the explorations of danced moments into the unknown, we may offer pedagogical possibilities.

In this thesis, the author claims that dance (especially improvisational dance) is a political practice. Rather than following the familiar trope, where the dancing body stands in as a figure of liberation, the author draws on theorists such as Michel Foucault, Pierre Klossowski, and Judith Butler to suggest that bodies in motion are partially determined though discipline, coded language, and norms of sex and gender. Citing empirical cases of dance performances and the author’s own practice, she suggests that the body in motion is also partially undetermined by cultural conventions. She extrapolates from the example of dance improvisation, where the dancer begins with a norm or loose choreography and, from there, moves into unexpected territory, to offer an alternative conception of the body. The author argues that bodies in motion move between extremes of structure and freedom. / Graduate

Thesis (Ph. D.)--University of California, Santa Cruz, 2001. / Typescript. Includes bibliographical references (leaves 67-72).

Performative Pedagogy is a philosophical essay on dance telling of the necessity to reintegrate dance in the curriculum as well as a performative inquiry that recognizes space-moments of learning realized through performance. Dance/tool of exploration/research is the integration of multiple layers of understandings, intellectual, physical, emotional, and spiritual, in the absence of word and the presence of silence. This text is a creative response to researchers seeking a legitimate space of recognition for our arts-based processes. Writing choreographically is the integration of phenomenology of kinaesthetic consciousness, hermeneutics, and the not yet known in a moment of imagining. Text sometimes linear, sometimes not, inter-danced with personal photographs, autobiographical narratives, poetry, dancing on the page, exploring a space moment of imagining with you. I explore concepts such as "embodied awareness", "thinking in movement", "voice of the soul", "intentional rhythm", and "language" using a methodology of performative inquiry. Writing choreographically a dance space of imagining invites the reader in a historical journey of dance, from Ruth St-Denis, Isadora Duncan and Mary Wigman to post-modernists Merce Cunningham, Yvonne Rainer, the Grand Union, and Canadian choreographers Francoise Sullivan, Jennifer Mascall, Chick Snipper, and Daniel Soulieres and myself, blurring the boundaries between dancers, choreographers, viewers, as well as between the mediums. This historical movement creates an opportunity for readers to question their own inquiry in dance. Performative Pedagogy: Writing choreographically a dance space of imaginings is an artistic adventure inviting you to re-create meaning within this performative inquiry the same way a spectactor would during a dance performance. Through the explorations of danced moments into the unknown, we may offer pedagogical possibilities. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Univ., Akad. avh.--Lund, 2006.

Thesis (Ed.D.)--Teachers College, Columbia University, 1974. / Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: J. Marion Magill. Includes bibliographical references (leaves 130-133).

This feminist study examines women's use of improvisation in discovering, creating, and articulating various self-identities. To create a theory of identity formation, two feminist theoretical position, essentialism and poststructuralism, are analyzed and merged. This hybrid theory addresses the interplay between the self and society that women must recognize in order to form satisfying identities. Improvisational practices, involving bodily awareness and movement, are demonstrated to have the potential for helping women to actualize themselves in these various identities. For this study, the writer uses her experience as an improviser and interviews three women who use improvisation in their choreographic processes. She also discusses performers whom she has seen and performers about whom feminist performance critics have written. This study examines improvisation in dance and performance art from a feminist perspective. I clarify what improvisation entails and, by doing so, illustrate how improvisational movement in dance and performance art can enhance the lives of women as viewers and performers. Through exploring improvisation from this feminist perspective, I demonstrate the psychological insights I have gained from practicing improvisation and document performances that have been improvisationally inspired by women who feel dissatisfied with the manner in which this society shapes and limits their identities.

Orientador: Márcia Maria Strazzacappa Hernandez / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-22T10:31:45Z (GMT). No. of bitstreams: 1 VilasBoas_Priscilla_M.pdf: 2145338 bytes, checksum: 0f9ed54958a03c02b1f62a009f8d25d2 (MD5) Previous issue date: 2012 / Resumo: A presente pesquisa versa sobre a improvisação como proposta de iniciação à dança com crianças entre sete e dez anos de idade. Por meio da etnografia, estuda e analisa aulas de dança por mim ministradas na Escola Municipal de Iniciação Artística de São Paulo/SP, usando como recorte o ano de 2011. A partir do conceito de experiência de Jorge Larrosa Bondía, discute sobre procedimentos metodológicos que possibilitem a participação efetiva da criança na elaboração de seu próprio aprendizado em dança. Para o aprofundamento do estudo sobre a improvisação como forma de aprimorar as habilidades físicas e as capacidades sensíveis e criativas da criança, traz como referencial teórico pesquisadores que estudam a fenomenologia (Machado 2010), a educação em dança (Strazzacappa, 2001, 2006) e a improvisação (Gouvêa 2012). As aulas de dança pautadas na improvisação mostraram que é possível proporcionar às crianças um denso conhecimento em dança e a construção de uma experiência estética autoral. / Abstract: This research deals with improvisation as proposed initiation to dance with children between seven and ten years old. Through ethnography, studies and analyzes dance classes taught by me at the Municipal School of Art Initiation of São Paulo / SP, using as clipping the year 2011. From the concept of experience Bondia Jorge Larrosa, discusses methodological procedures which enable the effective participation of children in constructing their own learning in dance. To deepen the study of improvisation as a way to enhance the physical abilities and capacities sensitive and creative child brings as theoretical researchers studying phenomenology (Machado 2010), education in dance (Strazzacappa, 2001, 2006) and improvisation (Gouvea 2012). Dance classes in guided improvisation showed that it is possible to give children a dense knowledge in dance and the construction of an aesthetic experience copyright. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestra em Educação

Thesis (MChor)--University of Melbourne, Faculty of the Victorian College of the Arts and Music, 2010. / Typescript. Includes bibliographical references (leaves 65-69)

Orientador: Eusébio Lobo da Silva / Acompanha DVD com o espetáculo improvisado "Trânsito Livre" realizado com a Cia SeisAcessos e folheto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T05:02:21Z (GMT). No. of bitstreams: 1 Volpe_MarinaFernandaElias_D.pdf: 4407641 bytes, checksum: de230838b4e66ee4ea1b9e8e9a47b2b8 (MD5) Previous issue date: 2011 / Resumo: O dicionário Aurélio define o improvisador como "o que improvisa/ Repentista". Já o Dicionário de Teatro de Patrice Pavis não apresenta uma definição. Mas quem é o improvisador? Como defini-lo? O que determina um "bom" improvisador? Quais são seus procedimentos? Fazendo essas perguntas deparei-me com a seguinte afirmação de Novarina (2005, p. 19): "Será preciso que um dia um ator entregue seu corpo à medicina, que seja aberto, que se saiba enfim o que acontece ali dentro, quando está atuando." Decidi "abrir" o improvisador para cartografá-lo, e minha "medicina" foi a Zona do Improviso (ZI), um jogo de improvisação sistematizado em meu mestrado1. Esta cartografia foi gerada na experimentação da Zona do Improviso como linguagem cênica, resultando no espetáculo improvisado Trânsito Livre realizado com a Cia SeisAcessos2. Trânsito Livre aglutina as etapas da experimentação - criação, ensaio e apresentação - em um único território no qual o improvisador é a própria linguagem. Através da ZI, verifiquei procedimentos e atributos do improvisador que o territorializam em um fluxo cartográfico e em constante condição de vir a ser, por isso, esta tese não propõe uma definição para o improvisador e sim um mapeamento: uma cartografia teórico criativa possível de um improvisador em criação. Nesta pesquisa, o território poético do improvisador não é o teatro ou a dança, mas as virtualidades e imanências, sendo sua linguagem ele próprio, e por esta perspectiva, o improvisador não compõe a improvisação, mas se decompõe nela. Portanto, mais do que compartilhar minhas metodologias e princípios sobre a improvisação, proponho-me nesta tese cartográfica, discutir e reinventar o território de quem improvisa, mapeando um Improvisador em Criação que (nesta pesquisa) se dá no encontro rizomático e em devir entre cinco forças relacionais indivisíveis e constituintes da própria criação: imaginação, pensamento, memória, técnica e movimento. Para lançar o improvisador em fluxo cartográfico experimentei e investiguei alguns improvisadores em laboratórios da Zona do Improviso, aliando a esta prática uma constante provocação de autores, cujos princípios e conceitos me encaminharam para uma perspectiva teóricocriativa potencializadora de minhas experimentações. Entre eles destaco principalmente Baruch Spinoza, Valère Novarina, Gilles Deleuze, Félix Guattari, Jose Gil, Renato Ferracini, Viola Spolin e Keith Johnstone / Abstract: The most recurrent definition of 'improviser' that appears in any dictionary is "the one who improvises". If we look it up in the Dictionary of Theatre by Patrice Pavis, instead, we will not find it. So, who is the improviser? How to define it? What defines a "good" improviser? What about his procedures? While asking myself these questions I came across the following provocation by Novarina (2005, p. 19): "It will be necessary for the actor to donate his body for medical research, in order to have it opened, and finally get to know what happens inside him, while he is acting". I decided to "open" the improviser in order to map him, and my "medical research" was the Improvisation Zone (ZI), a systematized improvisation game. This map was generated by the experimentation of the ZI as a scenic language, which led to the improvised play called "Trânsito Livre" ("Free Traffic"), performed by SeisAcessos Company. "Trânsito Livre" articulates all the stages of experimentation - preparation, rehearsal and presentation - within a unique territory in which the improviser is the language itself. Throughout the Improvisation Zone, I put into practice procedures and attributes that territorialize the improviser in a mapping flow and in a constant condition of "becoming". Therefore this thesis does not provide a definition for improviser, but a mapping, a possible theoretical creative map of an Improviser in Creation. In this thesis, the poetic territory of the improviser is not related to theater or dance, but the virtualities and immanences, a fact that allows him to turn himself into his own language. From this perspective, the improviser does not compose the improvisation, but decomposes himself into improvisational potentialities. So, rather than share personal principles and methodologies associated with improvisation, in this cartographic research I propose to discuss and reinvent the territory inhabited by those who improvise, mapping an Improviser in Creation, a process that takes place at the rhizomatic crossroad that involves five relational forces which are indivisible and constitutive of creation: imagination, thought, memory, technique and movement. In order to place the improviser in a mapping flow, I tested and investigated some improvisers making experiments for laboratorial exercise in the Improvisation Zone, combining with this practice a constant provocation carried out by authors whose principles and concepts led me to a specific theoretical-creative perspective. Among them, I highlight Baruch Spinoza, Valère Novarina, Gilles Deleuze, Felix Guattari, José Gil, Renato Ferracini, Viola Spolin and Keith Johnstone / Doutorado / Artes Cenicas / Doutor em Artes