Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 61).

Thesis (M.M.)--University of North Texas, 2008. / For live and fixed electronics, mixed ensemble, dancers and painters. Four or more musicians, preferably play flutes, saxophones, clarinets, recorders and/or Kamëntsállnga wind instruments; musicians also perform various percussion instruments. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 36-38).

Thesis (Ph.D.)--University of Western Sydney, 2007. / A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.

Thesis (M.A.)--Miami University, Dept. of English, 2006. / Title from first page of PDF document.

Thèse (M.A.)--Université Laval, 1997. / Bibliogr.: f. 59-61. Publié aussi en version électronique.

Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains vii, 38 p. : ill. (some col.) Includes bibliographical references.

As the cultural upheaval of the `60s fought its way into the `70s, Bill Talen began his career first as a poet, hitchhiking the interstate highways from the Midwest to the Coasts eagerly engaging the literary, intellectual, and artistic opportunities offered by those cultural venues. He settled in San Francisco where he earned an M.A. in Theatre Arts and joined with friends to open a theatre, "Life on the Water." Here Talen met Sydney Lanier, a minister, who became his lifelong mentor and champion. Lanier recognized in Talen a bold presence which accompanies successful preachers and elevates their sermons. He promoted and supported Talen's move to New York City where Talen fully embraced his role as Reverend Billy and directed the full might of his talents against consumerism--especially Michael Bloomberg's socio-economic goals for the City. Eventually, Talen's critique came to challenge foreign policies that promote corporatism, environmental decline, and the global homogenization of culture. Talen's body of work is extensive and two strong threads run through it that are exemplary. One evidences a complete and purposeful disregard for any artistic borders, especially the edgy land between acting and not-acting, including the tiny gradients as one merges into the other. Talen's recognition of the porosity of borders likely facilitated his willing assimilation of his character, Reverend Billy, into his own daily life and persona, until the two merged, endowing Talen, the performance artist, with the skills and insights of a spiritual leader. The second thread is simply Talen's life's journey from reluctant performer of a religious role, to the willing engagement of that role, and finally the adoption of spiritual responsibility, eventually forming a church and a religion based on activism and a strong commitment to environmental causes. The performance artist became Reverend; the Reverend was born to act. This merging of talents, goals, and dreams created a character who would run for public office. It created a performance artist who would wed lovers, baptize new congregants, and console the grieving.

This thesis addresses reenactment and archival practice in the work of Sharon Hayes, a mid-career multi-media artist renowned for her use of archival documents to pose questions about history, politics, and speech. I do this through analyses of two of Hayes’s projects: the series In the Near Future (2005-2009) and a series of projects the artist refers to as “love addresses.” While these projects appropriate and repeat historical documents, Hayes’s work is especially interesting for the way it emphasizes difference over authenticity and explores the ways meaning shifts across temporal, geographic, and social contexts. In contrast to scholars who argue that Hayes’s practice is nostalgic and serves to decontextualize and depoliticize history, my thesis argues that the pedagogical aspects of Hayes’s work and her performative engagements with historical material are deeply political and contextual. My thesis demonstrates that Hayes’s distinctive contribution is to model historical agency and imagine alternative futures.

Made available in DSpace on 2015-06-17T19:34:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-03-13. Added 1 bitstream(s) on 2015-06-18T12:48:55Z : No. of bitstreams: 1 000830810.pdf: 3154819 bytes, checksum: f32ed6f777cbf426e501025c1fbb7ec7 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa busca estabelecer inter-relações entre as subáreas de Performance e Musicologia Histórica, com ênfase na interpretação da Partia Seconda BWV 1004 para violino solo de J.S.Bach transcrita para violão. O objetivo principal é a assunção de subsídios teóricos que possam fundamentar a preparação desta obra para a performance, buscando leituras alternativas aos modelos calcadosno ideal romântico de busca por um paradigma universal de musicalidade interpretativa que sirva a todos os estilos. Consideramos a hipótese segundo a qual o diálogo entre essa duas subáreas propicie, por parte da Musicologia Histórica, o fornecimento dos dados que possam constituir a fundamentação teórica necessária a execução musical deste repertório, assim como a Performance possa filtrar e selecionar metodologias de análise e edição, bem como técnicas de execução. Adotaremos como estratégia metodológica, a análise interpretativa fundamentada na perspectiva sociocultural da músicae na relação texto/contexto musicais, sustentada pelos conteúdos da Lingüística Textual funcionando como via de conexão entre essas duas subáreas de conhecimento. / This research seeks to establish interrelations between the sub-areas of performance and historical musicology, with emphasis on the interpretation of Partia SecondaBWV 1004 for solo violin from J.S. Bach transcribed for guitar. The main goal is the assumption of theoretical elements that can found the theoreticalpreparation of this composition for the performance, looking for alternative readings of the idealized romantic models like an universal paradigm of interpretative musicality that serves all styles. Considering the hypothesis according to which the dialog between these two sub-areas provides, in the context of historical musicology, the data to buildthe necessary theoretical foundation for the musical execution of this repertoire, as well as the Performance can filter and select analysis methodologies, editing and execution techniques. We will take as a methodological strategy, the interpretative analysis based on the socio-cultural perspective of music and in the musical text and context relationship, sustained by the contents of Textual Linguistic that work as a link between these sub-areas of knowledge.

Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-06-27Bitstream added on 2014-06-13T19:27:46Z : No. of bitstreams: 1 rachel_dp_me_ia.pdf: 3988733 bytes, checksum: 80cb87fca863bcd97dbc7489b700d92e (MD5) / É possível atuar como artista e professor na sala de aula? Pode a sala de aula constituir-se como espaço de experimentação artística? Horizontalizar a relação professor-aluno é uma preocupação que concerne ao ensino de artes? Estas são algumas das questões que me fizeram retornar à academia, como uma possibilidade de reflexão a respeito de minha atuação como artista e educadora, como forma de organizar experiências e apreender outras concepções de arte/educação dentro e fora da instituição escolar. Desse modo, pude rever e reelaborar discussões e inquietações que surgiram desde o período em que cursava o magistério, a respeito da organização do espaço da sala de aula, das metodologias tradicionais de ensino e do lugar reservado à arte na escola. Pude também relacionar e buscar uma aproximação cada vez maior entre o meu trabalho como artista, performer integrante do Coletivo Parabelo e o ofício de professora na rede municipal de ensino da cidade de São Paulo; aproximação esta permeada por uma série de conflitos, dificuldades e, ao mesmo tempo, realizações, experiências, um aprendizado que não se limita ao âmbito da academia e da escola de ensino fundamental, mas que constitui uma trajetória de vida. Para compor esta reflexão, contei com a colaboração de Naira Ciotti, a qual discute o conceito de híbrido professor-performer; Valentin Torrens, o qual traz exemplos de diferentes abordagens relacionadas à pedagogia da performance; Judit Vidiella e Fernando Hernández, que discutem a pluralidade de narrativas em torno da educação e a implicação das ideias de performance, performatividade e arte da performance em abordagens diferenciadas para o ensino/aprendizagem em artes, na constante reformulação pessoal da artista/educadora. / Is it possible to act like artist and teacher in classroom? Can classroom compose itself as an artistic experimental space? These are some questions that made me return for academy, as a possibility to though about my actuation like artist and educator, as a form to organize experiences and perceive other conceptions of art/education in and out of the school institution. To compose this reflection, I counted on the contribution of Naira Ciotti, with discussion about the concept hybrid teacher-performer and Valentin Torrens that brings examples of different approaches related to performance pedagogy, with constant personal reformulation of artist in relation to teacher. In this way, I could review and reframe discussions and concerns with emerges since I was in the magisterium, about organization of classroom space, traditional methodology and the place reserve for art in the school. I could also relate and seek an ever higher approach with my work as an artist, performer and member of the Collective Parabelo, and my work as teacher in municipal schools in São Paulo; this approach permeated by a series of conflicts, difficulties and at the same time, achievements, experiences, learning that is not restricted to the realm of academia and elementary school, but it is a life path. To compose this reflection, I counted on the contribution of Naira Ciotti, with discussion about the concept hybrid teacher-performer; Valentin Torrens that brings examples of different approaches related to performance pedagogy; Judit Vidiella and Fernando Hernandez, who discuss the plurality of narratives around education and the implications of the ideas about performance, performativity and performance art in different approaches to teaching/learning in the arts, with constant personal reformulation of the artist/teacher.