Focussing on the 'long 1970s' (1968-1980), this thesis offers a new account of the emergence of performance forms, including Happenings, participatory art, performance art, and performances for the camera, in visual art and related contexts at the ICA. The research is driven by two central aims: firstly, to create space for discourse about women artists and feminist concerns in art in the UK, and secondly, to build a feminist methodology and historiography that allows for a re-thinking of performance events and approaches to interpreting them. My research involves methods drawn from performance studies, history of art and visual studies, cultural history, and feminist theory. Chapters are organised around works by important UK-based artists including Carlyle Reedy, Rose Finn-Kelcey, Cosey Fanni Tutti, and David Medalla, as well as international visitors Carolee Schneemann and Charlotte Moorman. Initially focussing on historical 'recovery' of performances by women artists in order to challenge received or dominant histories of performance, I then shift over the course of the thesis towards reflecting on feminist implications and effects of my historiographical approach. Here the ICA functions as an organising principle rather than a central subject, and so while research begins with the ICA Collection held at Tate Archive, the scope of the study is also broadened to include other sites and archival repositories. As a methodological counterpoint to this, I also question and critique the limits of institutional and archival representation, and conduct interviews with artists and arts professionals. Considered through the lens of each case study, I argue that the 1970s, as a period which saw new performance forms emerge dialogically alongside feminist practice, is a rich area of research for thinking about pre-histories of live art in the UK, as well as questions of identity, identification, and diversity which resonate into the present.

O presente trabalho investiga a relação entre a prática consciente e sua influência na prevenção do desencadeamento e no enfrentamento do processo de prejuízo da performance musical em condições de pressão (choking). Participaram do estudo três estudantes do Curso Superior de Instrumento da Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Foram utilizados os Guias de Execução (performance cues) propostos por Chaffin e colaboradores (2002, 2006, 2008) como suporte para o desenvolvimento de habilidades cognitivas. Os procedimentos metodológicos utilizados para coleta de dados consistiram de questionários, relatos verbais obtidos de entrevistas semiestruturadas, relatos de estudo, registro em áudio e vídeo da obra escolhida e relatos de guias de execução assinalados nas partituras como registro de decisões interpretativas deliberadas. O suporte cognitivo fornecido pelo trabalho com os Guias de Execução proporcionou segurança emocional suficiente para o enfrentamento das situações de estresse de exposição e principalmente de avaliação e autoavaliação. A partir da compreensão dos elementos teóricos encontrados na literatura e dos resultados deste trabalho com a abordagem metodológica de Chaffin, proponho um modelo conceitual de performance musical afetada pela ansiedade e centrado nos processos de controle e gerenciamento da informação durante a performance musical. Relacionado à hipótese levantada nos estágios iniciais de elaboração da pesquisa, esse modelo permite explorar a presença e manutenção de afetos e pensamentos negativos durante a prática instrumental individual e sua relação com a ocorrência de eventos de choking, e a suposição de que o desenvolvimento de habilidades cognitivas, relacionadas ao planejamento, monitoração e avaliação da prática instrumental, possa reforçar os processos de controle e gerenciamento do estado ansioso, ao permitir um suporte cognitivo que minimize o sentimento de vulnerabilidade, incontrolabilidade e imprevisibilidade inerentes ao estado ansioso, contribuindo, assim, para a melhoria e prevenção de eventos de déficits cognitivo-motores em performance sob pressão. / This study investigates the relationship between conscious practice, and its influence in prevention and coping with the decrement process in musical performance under pressure (choking under pressure). The study included three students of the bachelor degree of instrument in Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Performance Cues proposed by Chaffin and colleagues (2002, 2006, 2008) were used as support for the development of cognitive skills. Methodological procedures used for data collection consisted of questionnaires, verbal reports obtained from semi-structured interviews, practice reports, audio and video records of the chosen work and analysis of performance cues assigned in the scores as records of deliberate interpretative decisions. Cognitive support provided by working with Performance Cues provide enough emotional security for dealing with stress exposure situations and especially with evaluation and self-evaluation. Based on the understanding of theoretical elements found in the literature and the results of this study with the Chaffin methodological approach, I propose a conceptual model of musical performance affected by anxiety focused on process control and information management during the musical performance. Related to the hypothesis in the early stages of the research, this model explores the presence and maintenance of negative feelings and thoughts during the individual instrumental practice and its relation to the occurrence of choking event. The model also explores the assumption that the development of metacognitive skills, related to planning, monitoring and evaluation of instrumental practice can improve the control and management process of the anxious state. This control can be achieved by allowing a cognitive support that minimizes the feeling of vulnerability, uncontrollability and unpredictability, thus contributing to the improvement and prevention of cognitive-motor deficits events in performance under pressure.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references. / by Lorilee S. Garbowski. / M.S.V.S.

Atravessado por conceitos de performatividade, participação e performação , o caderno de metodologia desta obra/estudo, além de abordar a estrutura da tese, apresenta proposições do tema transversal do estudo - Dinâmicas e Trocas Entre Estados de Performance (DTEEP). A tese solicita uma leitura/prática nas quais são propostos atravessamentos entre os seguintes formatos: Formatos de escrita: informativo/descritivo, exploratório, inventivo, propositivo e leitor/performer. Formatos de narrativas textuais: Leitura Composicional (entre índices, cadernos e encartes); Leitura Sequencial ou Linear (leitura padr nizada de texto), Leitura Icônica (através de ícones de identificação, de interferência e de transferência) e Leitura/Performance (realizando proposições). Formatos de agenciamentos no campo das artes visuaisŠ: Artista/ Pesquisador/Curador/Aluno/Participante. Formatos de autoriaˆ: projetos individuais do autor, projetos de outros artistas, projetos coletivos, projetos participativos. Formato de metametodologiaˆ: Atravessamento de metodologias de outros autores de Poéticas Visuais. Em cada um dos formatos acima encontram-se diferentes possibilidades expressivas que viabilizam atravessamentos no interior de cada formato. O uso desses atravessamentos, dentro e entre os formatos, objetiva a contaminação, almejando um resultado artístico complexo

The overall aim of the thesis was to appraise critically the role that rhythm can play as an effective focus for high level athletic performance. This aim was realised through a series of staged objectives. In a desktop study, the potential importance of rhythm was investigated across the performance spectrum (chapter 2). Having established the scope and potential utility of the construct, it was necessary to determine whether it was possible to isolate rhythm, to establish whether it was associated with skilled execution, and whether it was a genuine, naturally occurring, phenomenon (chapter 3). Having established significant differences in recalled movement patterns between skilled and non-skilled participants, the third objective was to determine the impact of differing mental sets on elite competitors in a performance environment (chapter 4). Interestingly, low levels of movement variability in horizontal jumps were positively associated with jumps of greater distance in the majority of athletes studied. This finding has implications for the way performers should be instructed, how high performance interventions are designed, and it questions the pre-eminent perceptual paradigm in this area of human performance. Finally, the thesis aimed to determine if rhythm can be applied and manipulated as a performance aid. To this end, two case studies are presented (chapters 5 & 6) which outline the varied means through which rhythm can be manipulated according to the performance needs of the athlete, both in terms of reducing movement variability, and improving overall performance.

My Year as a Choreographer analyzes the art and craft of dance choreography. My training as a theatre and dance student at East Tennessee State University from 2010-2014, culminated in my final senior capstone experience as a choreographer for two productions, the ETSU Division of Theatre and Dance’s 2014 Dance Concert and University School’s musical, Sleepy Hollow. Composing a new dance in a concert setting and choreographing for musical theatre provided significant material for analysis, and the following research compares the two processes. In addition, the research of the history and development of dance choreography and its modern practices created a better understanding of the artistic field. Both in theory and in practice, I explored the multitude of artistic responsibilities that are imperative to the process of a choreographer.

Echoes: A Dance Composition and Performance analyzes the creative process of choreographing a dance with aerial elements to convey an emotional narrative. My experiences as a theatre and dance Fine and Performing Arts Honors student at East Tennessee State University from 2013-2017, culminated with my final senior capstone project as director, choreographer, and performer of The Echoing Effect, performed February 9, 2017 at the Bud Frank Theatre. The following research of the history and development of aerial dance as an art-form created a better appreciation of the artistic field and informed how I approached the daunting task of composing expressive dance that seamlessly connected movement from the ground to the air on an aerial apparatus. Through research and practical application, I explored the world of the aerial dance choreographer, and this thesis serves as a record of my journey.

Thesis (M. Dev.) -- University of Limpopo, 2018 / Thank you to the Most High God for giving me strength, courage, wisdom and understanding to pursue my dream. Compiling this mini-dissertation would not have become a success if it was not for the support I received from my family and close friends. I would like to extend my sincere gratitude to the following persons who contributed immensely to the undertaking of this study from its beginning to its completion:  My Supervisor, Dr. K.S. Milondzo and my Co-Supervisor, Professor. M.X Lethoko for their constructive criticism, patience, expert advice and motivation and for being the sound board of my ideas throughout the process. For the professionalism that they portrayed throughout our interaction.  To Professor C.S. Mkhabela for his academic advice, moral support and fruitful discussions we had in our engagement.  My parents Pauline and Ben Nyoni, for their undivided support, patience, and acceptance.  My son, Tshepo Litswele for his unwavering love and support  My brothers and sisters, for their support, tolerance and acceptance at times I may have inconvenienced them.  To the participants for willingness to participate in the study.  To my employer Department of Education for allowing me to pursue my studies.  To the Department of Public works, Roads and Transport for granting me permission to conduct my research within their department.  To Ms MM Ngobeni for her professional editing. iv ABSTRACT Recent changes in the public sector which also included the Department of Public Works, Roads and Transport have placed new pressure on managers to change their ways of managing Performance Management and Development Systems in its implementation. The above challenge necessitated the researcher to investigate the effective implementation of Performance Management System in the Department of Public Works, Roads and Transport in Ehlanzeni District Municipality. The study is concerned with the development of effective implementation of Performance Management System on employees and production in the Department of Public Works, Roads and Transport. This study used the context of the Department of Public Works, Roads and Transport as its spring board in engaging the subject of performance management system. With all changes that are involved towards the implementation of performance management system, there is a need to review the way performance management system should be implemented, hence this study. In this study, a mixed research design approach was used in the investigation of the effective implementation of performance management system in the Department of Public Works, Roads and Transport. Questionnaires and semi-structured interviews were employed to collect data from the target population. The main findings of the study, confirmed that there are challenges associated with the implementation of performance management system in the Department of Public Works, Roads and Transport. Apart from these challenges, the study also revealed the factors that contribute towards the implementation of performance management system in the area of the study. Furthermore, the study also led to the suggestions and recommendations that may assist Ehlanzeni District Municipality to accelerate effective implementation of performance management system in the department.

An exploration of Theatre Design with a focus on lighting designs created at the University of Iowa in the Theatre Arts Department.

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