Within competitive sport the coach–performer relationship is of central importance to the performance enhancement process. Such relationships may develop over many years, with effective communication and mutual understanding core components. Despite the obvious importance of the coach–performer relationship, very little is known about coach–performer compatibility, especially from a cognitive perspective. Attribution theory has been shown to be useful in explaining behaviour, cognitions and affect, both in achievement and social settings. A key feature of this approach has been the emergence of what has been termed actor–observer differences; this has been little examined within sport psychology. Where attribution theory has been applied in sport, it has tended to focus exclusively on the performer. The aim of this research, therefore, is to explore coaches' and their performers' attributions, and specifically to examine the presence or otherwise of coach–performer attribution differences.

Buscar uma possível fusão entre elementos midiáticos e a construção do performer. Este é foco da pesquisa, analisar conexões eficientes entre a Performance Corporal e as Tecnologias Midiáticas e Mecânicas, procurando com isso uma experiência de conjunção entre performer e as tecnologias do som, vídeo, luz, cenografia e o espectador. Utilizando-se de teorias da informação, construções visuais e técnicas corporais, pretendemos analisar as diferentes potencialidades de cada elemento envolvido na montagem performática; desde o corpo e suas diversas qualidades até as aplicações e construções permitidas pelas mídias atuais na elaboração de um discurso artístico mais livre e pessoal. Ao mesmo tempo em que sentimos a necessidade de contextualizar historicamente este trabalho em relação ao desenvolvimento artístico nas últimas décadas, buscamos um constante aprofundamento nas diversas linguagens utilizadas (vídeo, luz, som, cenografia, corpo, texto e dança, fotografia, instalação) procurando tornar o trabalho mais autoral em seus resultados. / Trabajo de pesquisa nas inetrsecciones entre cuerpo performatico y tecnologias de comunicacion, con enfasis na construcion de personagens baseados en las interaciones cuerpo-midias.

Buscar uma possível fusão entre elementos midiáticos e a construção do performer. Este é foco da pesquisa, analisar conexões eficientes entre a Performance Corporal e as Tecnologias Midiáticas e Mecânicas, procurando com isso uma experiência de conjunção entre performer e as tecnologias do som, vídeo, luz, cenografia e o espectador. Utilizando-se de teorias da informação, construções visuais e técnicas corporais, pretendemos analisar as diferentes potencialidades de cada elemento envolvido na montagem performática; desde o corpo e suas diversas qualidades até as aplicações e construções permitidas pelas mídias atuais na elaboração de um discurso artístico mais livre e pessoal. Ao mesmo tempo em que sentimos a necessidade de contextualizar historicamente este trabalho em relação ao desenvolvimento artístico nas últimas décadas, buscamos um constante aprofundamento nas diversas linguagens utilizadas (vídeo, luz, som, cenografia, corpo, texto e dança, fotografia, instalação) procurando tornar o trabalho mais autoral em seus resultados. / Trabajo de pesquisa nas inetrsecciones entre cuerpo performatico y tecnologias de comunicacion, con enfasis na construcion de personagens baseados en las interaciones cuerpo-midias.

No program supplied by performer / text

This research identifies successful compositional techniques for voice and marimba, intended for a single performer, through comparison of commissioned works composed by Beth Caucci, Philip Rothman, Emmanuel Séjourné, Raymond Helble, and Roger Foreman. The comparison highlights musical and technical aspects most effective when writing for this genre. My first personal experience combining marimba and voice occurred in January, 2003 during a performance of Šta Vidiš by Nebojša Živković. The piece, written in 1990, involves an ancient Serbian text chanted over a drone following an improvised introduction on the marimba. The performance’s positive reception inspired further exploration of this instrument combination. At the time of the performance, additional pieces for solo voice and marimba intended for a single performer were not available. Rather than focusing on transcription possibilities, I commissioned Four Songs by Beth Caucci. The premiere of Four Songs (October, 2003) resulted in another positive reception and led to inspiration for further commissions and development of this new genre. During the commissioning process, it became clear that a practical guide, concerning the possibilities and limitations of singing while playing the marimba, would aid composers in the creation of effective and playable works. Composers asked questions regarding technical aspects such as the maximum arm-span range possible, the difficulty of shifting the body angle to reach chords in various sharp and flat arrangements, and the feasibility of performing rapid passages on the marimba while sustaining a vocal line. This document offers an examination of these and other compositional considerations. The guide may also be used as a commissioning resource for other marimba and voice performers, as well as an aid in addressing technical demands of singing while playing the marimba. Recently, a few other percussionists have been working in the genre as well, including works performed, commissioned, or written by Brian Calhoon, Louise Devenish, Michael Neumeyer, and Dr. Lee Hinkle. The work of these musicians, in addition to my own commissions, is an illustration of how the genre has progressed during the last eight years and indicates the possibility of continued growth.

The aim of this thesis is to explore through historical and practical research, the use of gymnastics-based practices for contemporary performer training. This thesis addresses the following key questions: What are gymnastics-based practices? How have gymnastics-based practices already influenced performer training, particularly in the work of François Delsarte, Rudolph Laban, and Jacques Lecoq? How can gymnastics-based practices be understood, applied, and developed in order to contribute to performance/performer training? The practical investigation employs the use of gymnastics-based practices in a series of three studio-based projects which focus on the development of the training. Project 1 explores gymnastics-based practices in relation to my own process as a performer. In Project 2, I apply gymnastics-based practices to the facilitation of a group-devised performance. Project 3 uses gymnastics-based practices to facilitate the actor in character development, vocal work, and performance of a naturalistic text. In this manner, this thesis has developed a set of exercises, workshops, and frameworks which draw on gymnastics-based practices to activate the performer in several different contexts.

Este trabalho elege a obra de Jerzy Grotowski como objeto de investigação da Alteridade na construção do sentido do fazer teatral. Seu escopo abrange as formulações do encenador polonês para uma metodologia do trabalho do ator e suas implicações, tanto no que se refere às artes performáticas quanto às artes rituais. Utiliza como ferramenta teórica categorias do pensamento filosófico de Emmanuel Levinas, notadamente suas proposições acerca do encontro face-a-face, da noção de rosto e da idéia de Infinito, no sentido de uma proposição da ética como filosofia primeira. A análise das diversas fases do percurso criativo de Grotowski permite afirmar que a Alteridade se constitui como o eixo conceitual em torno do qual a obra do encenador se estrutura. / This paper elects the work of Jerzy Grotowski as the subject of investigation in the construction of the theatrical practice\'s sense. It beholds the Grotowski\'s frame into a metodology of the actor\'s work and it\'s implications, as in performing arts and in ritual arts. It makes use of the categories of the philosophy of Emmanuel Levinas, as theorical tool, picking out his proposals refering to the face-to-face encounter, the \"face\" notion and the idea of infinity, as a proposal of the ethic as first philosofy. The analisis of the diverse fases of the criative path of Grotowski allows to declare that the Alterity is build with it\'s conceptual focus, that structures all his work.

O presente estudo aborda as possibilidades artísticas e expressivas da luz, a partir da realização de laboratórios, onde estímulos luminosos foram especialmente concebidos no sentido de afetar a percepção de um peformer e sua consequente criação de movimento. Assim, tanto o processo criativo do iluminador, enquanto criador do estímulo, quanto aquele do perfomer encontram-se aqui examinados. A reflexão que acompanhou todo o processo empírico esteve nutrida por aspectos do comportamento da luz dentro dos campos da ótica física e alguns princípios do pensamento fenomenológico de Merleau-Ponty. / The recent study discusses the artistic and expressive possibilities of light, based on laboratory experiments, where the stimulus of light were specially created in order to affect the perception of a performer and his movement creation. This way, both the scenic lighting creative process, as the creator of the stimulus, and the performer are here discussed. The reflexion that followed the entire empirical process, was nurtured by the aspects of the behavior of the light inside the field of optical physics and some principles of the phenomenological thought of Merleau-Ponty.

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-05-22Bitstream added on 2014-06-13T20:35:58Z : No. of bitstreams: 1 guse_cb_me_ia.pdf: 1363595 bytes, checksum: 6c059a7dd653a92c5e4d9117b185b991 (MD5) / Universidade Estadual Paulista (UNESP) / Tendo em vista a exigência do cantor de ópera atual possuir não somente uma excelente técnica vocal e musical, mas também uma competente desenvoltura cênica, e, levando em consideração que estas habilidades cênicas são desenvolvidas pelo cantor na maioria das vezes de forma autodidata, este trabalho tem como objetivo pesquisar conhecimentos que possam auxiliar no desenvolvimento destas habilidades por jovens cantores que careçam de orientação nesta área ao ingressarem no mercado de trabalho. Esta pesquisa baseia-se principalmente em teóricos que já abordaram a questão específica da atuação cênica do cantor de ópera. / Considering the demands presently made upon the opera singer to have not only an excellent vocal and musical technique, but also a competent capacity scenically, and taking into account that these scenic abilities are usually self-taught, the objective here is to research theoretical tools that will aid the young singer entering the job market and who lacks orientation in this area to develop these abilities. Research is based on works that approach the specific subject of the opera singer' scenic performance.

O presente estudo aborda as possibilidades artísticas e expressivas da luz, a partir da realização de laboratórios, onde estímulos luminosos foram especialmente concebidos no sentido de afetar a percepção de um peformer e sua consequente criação de movimento. Assim, tanto o processo criativo do iluminador, enquanto criador do estímulo, quanto aquele do perfomer encontram-se aqui examinados. A reflexão que acompanhou todo o processo empírico esteve nutrida por aspectos do comportamento da luz dentro dos campos da ótica física e alguns princípios do pensamento fenomenológico de Merleau-Ponty. / The recent study discusses the artistic and expressive possibilities of light, based on laboratory experiments, where the stimulus of light were specially created in order to affect the perception of a performer and his movement creation. This way, both the scenic lighting creative process, as the creator of the stimulus, and the performer are here discussed. The reflexion that followed the entire empirical process, was nurtured by the aspects of the behavior of the light inside the field of optical physics and some principles of the phenomenological thought of Merleau-Ponty.