Cette recherche s’élabore depuis un travail de terrain mené avec les artistes du spectacle Fractus V (Cie Eastman / choré. Sidi Larbi Cherkaoui) entre juin 2015 et mai 2018. Au fil du récit de cette traversée, de Barcelone à Anvers puis sur les routes d’Europe, une réflexion s’articule progressivement autour de l’interrogation suivante : dans quelle mesure le processus de création et la tournée du spectacle constituent-ils des expériences régénératrices pour les interprètes qui s’y engagent ? Rite de passage à bien des titres, Fractus V repose sur un désir de renouvellement et d’entre’fertilisation (« cross-fertilization ») partagé par neuf interprètes de cultures chorégraphiques et musicales différentes : les danseurs Sidi Larbi Cherkaoui, Dimitri Jourde, Johnny Lloyd, Fabian Thomé Duten et Patrick ‘Twoface’ Williams Seebacher ; les musiciens Soumik Datta, Kaspy N’Dia, Woojae Park et Shogo Yoshii. Leur modus operandi consiste d’abord en deux gestes : les interprètes s’apprennent les uns les autres des danses et s’essaient ensemble à des écritures collectives. Non sans difficultés, la compagnie naissante esquisse peu à peu les contours d’une micropolitique de création embrassant la nécessité de la fabrique d’un commun tout autant que l’inévitable processus de différenciation des interprètes entre eux. Comment les corps parviennent-ils à diffracter les apprentissages ? À faire « à leur manière » sans faire séparément ? À former une compagnie, voire un chœur polyphonique, plutôt qu’un assemblage d’altérités ? C’est à l’étude des pistes de réponse travaillées par les artistes, ainsi qu’à leurs évolutions dans le temps, que se dédie cette thèse. À cette fin, elle élabore une approche ethnographique, écologique et micropolitique des trajectoires et transformations des interprètes en mobilisant les anthropologies des lignes et des modes de Tim Ingold et de François Laplantine, les micropolitiques affectives de Brian Massumi et de Frédéric Lordon, la philosophie ontogénétique de Gilbert Simondon, ainsi que les études poïétiques en danse contemporaine. C’est aux côtés de cette assemblée d’artistes et de penseurs que se formule, au gré de récits et de réflexions théoriques, une pensée de la régénération comme principe d’une micropolitique écologique de l’être en devenir à l’œuvre au sein d’un processus de création chorégraphique collaboratif. / This research developed from fieldwork conducted with the performers of the choreographic worked entitled “Fractus V” by the Eastman/Sidi Larbi company between June 2015 and May 2018. The narrative that unfolds from this fieldwork between Barcelona and Antwerp and thereafter along many roads of Europe revolves around the following questions: To what extent does the choreographic process and the tour of the performance constitute regenerative experiences for the performers involved? How are rites of passage understood? “Fractus V” is motivated by a choreographer’s desire for a renewal and cross-fertilizations shared by nine performers of different choreographic and musical cultures. The dancers include Sidi Larbi, Dimitri Jourde, Johnny Lloyd, Fabian Thomé Duten and Patrick ' Twoface ' Williams Seebacher; and musicians Soumik Datta, Kaspy N’Dia, Woojae Park and Shogo Yoshii. Their modus operandi is twofold: the performers learn each others’ dances and then try together to devise collectively. Not without difficulties, the nascent company gradually sketches out the contours of a creative policy embracing the necessity of “commoning” and differentiation. The thesis asks how do you create a polyphonic company respecting one’s idiosyncratic way of moving while not merely creating an assemblage of difference amongst each other? This thesis includes interviews conducted with the performers, as they evolve over the duration of rehearsals and touring. To this end, it develops an ethnographic, ecological and micropolitical approach analyzing the trajectories and transformations of the performers with Tim Ingold’s and François Laplantine’s anthropological approaches, the philosophy of affect of Brian Massumi and Frédéric Lordon, the ontogenetic philosophy of Gilbert Simondon, as well as the poetic studies in contemporary dance. The combination of the “Fractus V” fieldwork and the theoretical discourse mentioned above both contribute to the notion that the regenerative underpins the performer’s ecological approach of becoming through and with collaborative choreographic devising.

This thesis takes as its broad area of study the solo instrumental music produced since 1960 by the virtuoso performer-composer, and focuses on the works of Australian clarinettist and composer Brigid Burke. The 1960's in music was a decade like no other; the effects of serialism and indeterminacy, the rise of electronic music, and the general climate of experimentation resulted in an explosion of new musical ideas and compositional approaches. One development of this period was the growth of a musician type new to the twentieth century: the virtuoso performer-composer. Brigid Burke (1960- ) is a clarinet soloist, visual artist and a composer of over one hundred works. The majority of Burke's compositional output comprises works for clarinet. In writing almost exclusively for the clarinet, the instrument of which she is a national and international performer, Burke can be viewed as continuing the virtuoso performer-composer trend emanating from the 1960's. The aim of this thesis is to investigate the extent to which Burke's clarinet works represent a unique voice in the international and Australian contemporary clarinet repertoire. Four of Burke's works were chosen for study: Three Sounds on Buildings 2 (2005),

<p>Mainly focusing on the big picture regarding the research concerning the religious sphere in Bronze Age Scandinavia, the research field has been missing out on the smaller picture. The results have a tendency to produce a picture where the big landscape monuments, social structures and cosmology appear in the foreground. This essay is a comment to this phenomena and a methodological and terminological discussion regarding the way in which we as archaeologist’s works with questions about religion and rites. The main task though is to make an attempt in trying to identify the ritual performers and to answer the question whether it's possible or not to do that. This kind of work needs empirical studies with a theoretical background. The grave material can be the key to find these individuals since it's a context where the person’s belongings can be connected with the individual. The theoretical stance is that the Bronze Age research has been unable to identify these performers and that this in factcan be done. The etuis of belongings discovered for the first time in 1845 with the archaeological excavation of the Hvidegaard grave outside Copenhagen in Denmark, containing objects referred to as magical objects, can be one way to make these actors of rites come alive.The etuis of belongings and other grave material are presented in this work and a discussion about the graves material is made. The approach to study the bigger picture by studying the small empirical material is also made in this essay where a model of the ritual sphere is presented in the results with an attempt to show a none official cult existing side by side and in interaction with the official one.</p>

Laura Linney has an extensive education and experience in performance, which has influenced her to create a well-defined methodology when she approaches new roles. She uses a dialectical approach to performance. This approach has two parts as she outlined in a personal interview: phase one is her research, education, understanding of the script, and previous experiences working together to create a character, while phase two is her release of control over the character and the opportunity for the text (film or otherwise) and role to take on their own distinct personalities. This means that Linney eventually gives up agency over her characters in order for them to be effective and successful in the whole of a film. In effect, her characters are created by numerous influences within and outside her range of control. My intentions in this article are to prove that this dialectical methodology is prominent within all aspects of Laura Linney?s performances. In fact, I suggest that her utilization of this technique is what makes her a dynamic, effective, and unique actress. The dialectical nature of her performance techniques can be observed most effectively in specific breakthrough moments within her films. These moments exist most prominently in Linney?s films that are rooted in close character analysis like You Can Count On Me, The Savages, and the HBO mini-series John Adams. Close textual analyses of these scenes show a dramatic hiatus from the standard performance that she has used to help build a character. They show distinct differences between characters, which reinforces my point that each role is not only mandated by Linney?s creative power over her acting, but also a complete release of this control. They highlight how Linney allows herself to be directed and molded to develop deep, complex characters that work organically within the greater text of the film.

Mainly focusing on the big picture regarding the research concerning the religious sphere in Bronze Age Scandinavia, the research field has been missing out on the smaller picture. The results have a tendency to produce a picture where the big landscape monuments, social structures and cosmology appear in the foreground. This essay is a comment to this phenomena and a methodological and terminological discussion regarding the way in which we as archaeologist’s works with questions about religion and rites. The main task though is to make an attempt in trying to identify the ritual performers and to answer the question whether it's possible or not to do that. This kind of work needs empirical studies with a theoretical background. The grave material can be the key to find these individuals since it's a context where the person’s belongings can be connected with the individual. The theoretical stance is that the Bronze Age research has been unable to identify these performers and that this in factcan be done. The etuis of belongings discovered for the first time in 1845 with the archaeological excavation of the Hvidegaard grave outside Copenhagen in Denmark, containing objects referred to as magical objects, can be one way to make these actors of rites come alive.The etuis of belongings and other grave material are presented in this work and a discussion about the graves material is made. The approach to study the bigger picture by studying the small empirical material is also made in this essay where a model of the ritual sphere is presented in the results with an attempt to show a none official cult existing side by side and in interaction with the official one.

In this study, employees are given autonomy in effort allocation across two tasks - complex and simple tasks, where the return to the organization is significantly higher for the complex task requiring high skill than for the simple task requiring low skill. An unavoidable feature of multi-task settings is that effort expended on one task detracts from effort that can be expended on another task. This effort trade-off among tasks becomes problematic when the returns from different tasks are unequal, with important consequences for a firm's overall performance. The design of management accounting control systems in such multi-task setting is difficult because organizations have to achieve multiple objectives: to improve productivity on both simple and complex tasks (i.e., performance) and to direct employee effort to more complex tasks given that the complex tasks are more valuable to firms (i.e., effort allocation). In a laboratory experiment, I examine the effects of two motivational mechanisms, financial compensation and relative performance information (RPI), on employee performance and effort allocation between simple and complex tasks. I find that the effects of RPI and financial compensation are independent such that each motivational mechanism affects performance and effort allocation separately. In addition, I find that the effects of RPI or financial compensation depend on whether a worker is a top performer or a bottom performer. Also, findings demonstrate that the effects of these motivational mechanisms on employee effort allocation and performance depend on the complexity of the task. Future research studies and managers who design incentive systems should consider the implementation of different types of incentives for different performer levels. Organizations should consider the degree of complexity of the tasks that workers must perform in multi-task settings.

O presente memorial propõe‐se a tecer uma reflexão crítica sobre o processo de criação do experimento cênico Mergulho, cujo desafio era pesquisar procedimentos capazes de contribuir para a composição de uma escrita cênica onde a imagem é a substância primeira e, assim, investida na comunicação sensorial com o espectador. No intuito de contribuir com os estudos da área de Artes Cênicas, este trabalho apresenta e discute os princípios adotados e os procedimentos experimentados no curso do referido processo de criação. Em termos metodológicos, a pesquisa adotou o objeto concreto como germe de partida da criação. Assim, a exploração do objeto pelo ator fez emergir o jogo cênico e convocou a intervenção dos demais criadores, em um processo de trabalho colaborativo. O fazer desta pesquisa esteve inspirado nos princípios artísticos dos criadores Robert Lepage, Robert Wilson, Tadeusz Kantor e Pina Bausch e nas ideias de Antonin Artaud e Peter Brook sobre a poesia do espaço. Para ancorar as reflexões desta investigação o olhar sobre o processo criativo encontra apoio teórico na obra Gesto Inacabado: processo de criação artística de Cecilia Almeida Salles. / This memorial presents a critical reflection upon the creative process of Immersion, a scenic experiment which had as challenge the search for procedures that could contribute to the composition of a scenic writing in which image is the first substance and, thus, the substance one should invest in so that a sensorial communication is established with spectators. In order to bring real contributions to the Performing Arts field, this work presents and discusses principles adopted and procedures experimented in the course of the creative process of Immersion. In terms of methodology, this research had the concrete object as starting point for creation. Thus, the exploration of the object by the performer gave birth to a scenic playing, and consequently invited other creators to intervene, in a collaborative work process. The making of this research was inspired by the artistic principles of creators such as Robert Lepage, Robert Wilson, Tadeusz Kantor and Pina Bausch; Antonin Artaud’s and Peter Brook’s ideas on the poetry of space were also a fundamental source of inspiration. In terms of theory, the reflections in this investigation counted on views presented in the work called Unfinished Gesture: artistic creative process, by Cecilia Almeida Salles.

This dissertation entitled CROSSOVER, between the layers of my own staging experience, on the boundaries of forms, genres and not only those, is divided into three parts. All sections are primarily based on my own theatre experience and are interlaced with numerous examples from performances and theatrically performative thinking of selected foreign ensembles. Given the subject matter, the first part primarily deals with Gob Squad and Shunt ensembles and the director Mike Leigh. In the second part, Rimini Protokoll and again Gob Squad are mentioned. The third part is dedicated mainly to the director Tim Etchells and his Forced Entertainment ensemble. My theatre experience is presented in the introductory part of this dissertation; starting with complex shows which represent a symbiosis of all components and are linked by their staging style and formerly discovered drama methods to authorial/devised projects to theatre which implements documentary and technological elements. In the first part of this dissertation, differences and subtle nuances between authorial and devised theatres are examined with focus on the specific devising creative method. The second part of the dissertation is focused on documentary and technologies. The third part consists of subtopics introduced in the previous chapters with respect to crossing boundaries between forms, genres and methodologies, which are more closely related to the phenomena of boundaries between theatre performances/events, fiction/reality, spectator/witness, actor/performer. The methods or the optics with which I work are based on the phenomenon of the mentioned areas and topics. The manner of addressing the issue can be likened to a phenomenological insight.

The hereby presented thesis pursues the occupations of puppeteers, gymnasts, vendors, blade sharpeners and changes of life strategies of itinerant lineages between the late 18th and early 20th Centuries. Above all, the research was anchored at various registers - firstly comprising registry offices, censuses, registers of homestead participants or residence applications. These were supplemented by the then public press, remembrances of contemporaries and other sources. The historical and demographical analyses based upon genealogical outputs were the dominant methodological background, the subject of which primarily became the characteristics of itinerant individuals and their place within society. The author also inquired into their ethnic origins and specific ways of earning one´s living. The pivot of this treatise, nonetheless, was to reveal true historical circumstances having once brought into life a number of widespread clan legends. Neither marriage strategies were omitted as they provided proof of certain behavioural patterns of both the itinerant and settled individuals. Last but not the least, attention was paid to the sojourn and life en route within this roving peripheral community, the presupposed uniqueness of which was fully proved in every respect.

O presente memorial propõe‐se a tecer uma reflexão crítica sobre o processo de criação do experimento cênico Mergulho, cujo desafio era pesquisar procedimentos capazes de contribuir para a composição de uma escrita cênica onde a imagem é a substância primeira e, assim, investida na comunicação sensorial com o espectador. No intuito de contribuir com os estudos da área de Artes Cênicas, este trabalho apresenta e discute os princípios adotados e os procedimentos experimentados no curso do referido processo de criação. Em termos metodológicos, a pesquisa adotou o objeto concreto como germe de partida da criação. Assim, a exploração do objeto pelo ator fez emergir o jogo cênico e convocou a intervenção dos demais criadores, em um processo de trabalho colaborativo. O fazer desta pesquisa esteve inspirado nos princípios artísticos dos criadores Robert Lepage, Robert Wilson, Tadeusz Kantor e Pina Bausch e nas ideias de Antonin Artaud e Peter Brook sobre a poesia do espaço. Para ancorar as reflexões desta investigação o olhar sobre o processo criativo encontra apoio teórico na obra Gesto Inacabado: processo de criação artística de Cecilia Almeida Salles. / This memorial presents a critical reflection upon the creative process of Immersion, a scenic experiment which had as challenge the search for procedures that could contribute to the composition of a scenic writing in which image is the first substance and, thus, the substance one should invest in so that a sensorial communication is established with spectators. In order to bring real contributions to the Performing Arts field, this work presents and discusses principles adopted and procedures experimented in the course of the creative process of Immersion. In terms of methodology, this research had the concrete object as starting point for creation. Thus, the exploration of the object by the performer gave birth to a scenic playing, and consequently invited other creators to intervene, in a collaborative work process. The making of this research was inspired by the artistic principles of creators such as Robert Lepage, Robert Wilson, Tadeusz Kantor and Pina Bausch; Antonin Artaud’s and Peter Brook’s ideas on the poetry of space were also a fundamental source of inspiration. In terms of theory, the reflections in this investigation counted on views presented in the work called Unfinished Gesture: artistic creative process, by Cecilia Almeida Salles.