Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

Thesis (M.A.)--University of Akron, School of Dance, Theatre and Arts Administration, 2007. / "December, 2007." Title from electronic thesis title page (viewed 02/22/2008) Advisor, James Slowiak; Committee member, Chris Hariasz; School Director, Neil Sapienza; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

Thesis (MDram (Drama))—University of Stellenbosch, 2006. / The actor uses the body in different ways when communicating with the audience. Physical theatre focuses less on the voice and more on the rest of the body during communication with the audience. Contact improvisation serves as training for the actor or dancer so that he or she can learn more about how the body communicates. This form of movement works mostly with the inner rather than the outer feelings. The focus is not on what the movements look like, but on what the improviser experience through the movements. Lanon Prigge and Samantha Pienaar developed various exercises that make the practicing of contact improvisation easier. These exercises serve as basis for their way of jamming. Their focus is not on technique, but on the physical skills en personal growth the improvisers experience through contact improvisation. Contact improvisation is associated with dance and acting, but is also recognised for its therapeutic quality. It has the ability to give insight to the emotional state of the improviser. Therefore it is also practiced in the field of therapy.

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1985. / Bibliography: leaves [478]-479. / Microfiche. / viii, 479 leaves, bound ill. 29 cm

Thesis (MCA) -- University of Newcastle, 2003. / The Conservatorium. Includes bibliographical references (leaves 124-128). Also available online.

Thesis (M.Ed.)--University of Melbourne, 2001. / Typescript (photocopy). Includes bibliographical references (leaves 124-129).

The interpretation and performance of literature is a theatre art in which literary texts are transformed into staged productions. Novelists, poets, playwrights, and essayists use the symbols of written language to create an imagined world for their readers; interpretative performers present their audiences with this world through symbols of both speech and movement. Hence the interpretation and performance of literature incorporates a wide range of literary and performance theory. Unfortunately, little is known about how literary texts can be communicated through symbolic movement. The purpose of this study, then, is to propose principles of stylized movement which would be useful to the interpretative performer of literature. To develop these principles, Martha Graham's choreographic use of classical tragedy was investigated. Using a decriptive methodology based on Aristotle's elements of tragedy, four of Graham's ballets were analyzed in view of their literary sources: Cave of the Heart from Euripides' Medea, Night Journey from Sophocles' Oedipus the King, Clytemnestra from Aeschylus' The Oresteia, and Cortege of Eagles from Euripides' Hecuba and The Trojan Woman. As a result of this investigation, five principles emerged. Stated as descriptions of Graham's work, the principles are: (1) rhetoric shapes the form, (2) movement vocabularies are created, (3) synecdochical movement is expanded over time, (4) stage properties assume multiple meanings through movement, and (5) costumes expose movement and indicate character. By using these principles as guidelines, the interpretative performer may understand, create, and utilize stylized movement that communicates the ideas, images, and actions inherent in the text being staged.

In the last fifty years, there has been a concern in the theatre world especially in Europe, about how to train actors to be open and responsive. One of the most respected and well-known teachers in this area is Monika Pagneux who taught for many years in Paris and now aged in her seventies, works as a freelance artist around the world. Her area of expertise is movement for actors. The aim of her work is to develop not only a responsive body but also an open and alive actor who is able to be creative in a disciplined yet risk-taking manner. This thesis is an investigation of the world of Monika Pagneux, including her fundamental principles and platforms of teaching movement for actors. A portrait of her work will be drawn and her influence on other performing arts practitioners. The data comes from three sources: my own field notes based on six weeks of classes in Australia and Paris, additional class notes by a movement expert and ten responses to an open ended questionnaire by former students. Their answers provide insights into the impact of her teaching professionally, in their lives and how they were transformed by her practice.

In the last fifty years, there has been a concern in the theatre world especially in Europe, about how to train actors to be open and responsive. One of the most respected and well-known teachers in this area is Monika Pagneux who taught for many years in Paris and now aged in her seventies, works as a freelance artist around the world. Her area of expertise is movement for actors. The aim of her work is to develop not only a responsive body but also an open and alive actor who is able to be creative in a disciplined yet risk-taking manner. This thesis is an investigation of the world of Monika Pagneux, including her fundamental principles and platforms of teaching movement for actors. A portrait of her work will be drawn and her influence on other performing arts practitioners. The data comes from three sources: my own field notes based on six weeks of classes in Australia and Paris, additional class notes by a movement expert and ten responses to an open ended questionnaire by former students. Their answers provide insights into the impact of her teaching professionally, in their lives and how they were transformed by her practice.

Focused awareness in action was designed by the author as a system of movement experiences intended to enhance individual health and self-developmental processes. Drawing on principles of yoga, pranayama, modern dance, movement improvisation, and meditation, with group discussion as a means of integrating the above principles, form components were organized into a methodology for a course of study. The course of study was implemented in a project class and other workshop settings. As a result of these experiences, the thesis describes the structure and implementation of focused awareness in action. Speculations are made regarding its potential contribution to health and self-development. Most significant among the conclusions reached is the role of group interaction and interconnectedness in realizing the potential of the model.