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Thesis (Ph. D.)--University of Sydney, 2006. / Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of Philosophical and Historical Inquiry, Faculty of Arts. The name of the School on the title page appears as: School of History & Philosophical Inquiry. Includes bibliographical references. Also available in print form.

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Master of Music (Music Education) / This thesis documents an investigation of the selection procedures relating to Australian vocal repertoire for mid-adolescent and Higher School Certificate (New South Wales) performers, as used by private singing teachers, school music teachers and singing students. It explores the similarities and differences in the criteria employed in these selections. Semi-structured interviews were the source of data and were conducted with participants from these three categories as well as two composers. The participants evinced highly disparate views. The private singing teachers believed that repertoire should be dictated by the technical ability and physiological constraints of mid-adolescent students and that their role in selecting repertoire was related to the long term vocal growth of each individual. They felt that the school music teachers vetted their repertoire choices with no useful explanation of their reasoning, while the school music teachers noted that students frequently presented repertoire that was too difficult or that was not readily communicated with the audience. The ability of mid-adolescent singers to communicate with and engage an audience was the prime concern of the school music teachers. The students wanted to impress their examiners and believed that infrequently heard repertoire was the best choice, though this was not endorsed by the teachers. There was a perception that the students would perform at their best when they chose repertoire to which they could relate emotionally. Many private singing teachers and school music teachers are not aware of the very broad range of contemporary Australian music and its divergent characteristics. However, there is a shortage of appropriate Australian repertoire that addresses the physiological and emotional needs of mid-adolescent singers.

The thesis aims to address a perceived gap in the training and development of music performers, namely the lack of a practical strategies framework for developing performance confidence, especially self-efficacy (situational selfconfidence) in music performance. To this end, a Training Program with Training Manual was designed to assist musicians in the management of practice and performance, using a framework of six integrative mental and physical strategies taken from Sport Performance and applied to Music Performance. Five musicians trialed the Training Program for five weeks. Five individual case studies were constructed to explore and interpret the musicians' practice and performance experiences before and after using the Training Program / Manual. Analyses of in-depth interviews and a follow-up questionnaire revealed that the Training Program had produced positive changes in mental and physical behaviour, along with increased concentration ability and coping skills in stressful situations, resulting in a sense of control in performance. A cross-case analysis revealed that the shared issues of significance for the musicians were Concentration, Stress and Lifestyle Practices, and Sense of Control in practice and performance. This qualitative study demonstrates that a training program addressing the lifestyle context of music performance is beneficial for practice and the lead-up to performance. Confidence in playing ability develops, when practice and performance are perceived to be effectively self-managed and practice becomes a positive experience. The findings of this study suggest the need for a holistic approach to music performance, based on awareness of the mind-body connections involved in performance.

Konstantino Stanislavskio sistema remiasi daugelis režisierių, pedagogų, aktorių, dainininkų. Ši sistema labai stipriai paveikė teatro ir pedagogikos vystymąsi. Sistema sudaryta iš dviejų dalių: „Aktoriaus darbu su savimi“ ir „Aktoriaus darbu su vaidmeniu“. Įvaldžius abi sistemos dalis organiškai susijungia atlikėjas su vaidmeniu. Sistema apima didelį skaičių elementų, kurie nagrinėjami mokslo darbe. Stanislavskio sistemos elementai - dainininko - aktoriaus darbo įrankiai. Darbe siekta išskirti pagrindinius Stanislavskio sistemos elementus, atskleisti šių elementų taikymo galimybes atlikime ir atlikėjų rengime. Tyrimo objektas: Konstantino Stanislavskio sistemos elementų taikymas atlikėjų rengime. Tyrimo tikslas: atskleisti Konstantino Stanislavskio sistemos elementus, jų taikymą ir šiuolaikinį aktualumą. Tyrimo tikslui pasiekti, iškelti šie uždaviniai: • Pristatyti Konstantino Stanislavskio aktorių rengimo sistemą ir jos elementus; • Atskleisti Konstantino Stanislavskio sistemos elementų taikymo galimybes atlikėjų rengime. Tyrimo metodai: • Mokslinės literatūros analizė; • Interviu. Dainininko - aktoriaus kūrybiškumo elementai - jo vidiniai (psichiniai) ir išoriniai (fiziniai) duomenys. Valdant visus psichofizinių duomenų elementus įmanomas profesionalus sceninis veiksmas. Pagrindinis Stanislavsio sistemos principas - gyvenimiška tiesa. Visi Stanislavskio sistemos elementai, yra sceninio veiksmo sudėtines dalys. Kiekviena iš elementų reikia vystyti, tik tai padeda... [toliau žr. visą tekstą] / Many of produsers, pedagogues, actors and performers bases on Stanislavski's system. The development of theater and pedagogy was strongly affected by the system. It is grounded on two parts: „Actors work with himself“ and „Actors work with role“. After getting mastered in this parts, the actor is joined with role in natural way. The system includes a big amount of elements which are investigated in this study. The elements of Stanislavski's system are the tools for actors and performers. The goal of the study is to discover the main elements of Stanislavski's system and to reveal the usibilty of this elements in action and in preparation of the performers. Study object: application of Konstantin Stanislavski's system elements in preparation of performers. Study goal: to discover the main elements of Stanislavski's system, it's usibility and modern actuality. Study objectives: • Introduce the Konstantin Stanislavski's actor preparation system and elements; • To reveal the usibilty of the elements in action and in preparation of the performers. Study methods: • Analisis of a sience literature; • Interview. Study object: application of Konstantin Stanislavski's system elements in preparation of performers. Performer - actor elements of creativity - his internal psychical and external physical qualities. In management of psychophysical qualities. The professional scene action may be achieved by managing the elements of psychophysical qualities. The main principle of... [to full text]

Master of Music (Music Education) / This thesis documents an investigation of the selection procedures relating to Australian vocal repertoire for mid-adolescent and Higher School Certificate (New South Wales) performers, as used by private singing teachers, school music teachers and singing students. It explores the similarities and differences in the criteria employed in these selections. Semi-structured interviews were the source of data and were conducted with participants from these three categories as well as two composers. The participants evinced highly disparate views. The private singing teachers believed that repertoire should be dictated by the technical ability and physiological constraints of mid-adolescent students and that their role in selecting repertoire was related to the long term vocal growth of each individual. They felt that the school music teachers vetted their repertoire choices with no useful explanation of their reasoning, while the school music teachers noted that students frequently presented repertoire that was too difficult or that was not readily communicated with the audience. The ability of mid-adolescent singers to communicate with and engage an audience was the prime concern of the school music teachers. The students wanted to impress their examiners and believed that infrequently heard repertoire was the best choice, though this was not endorsed by the teachers. There was a perception that the students would perform at their best when they chose repertoire to which they could relate emotionally. Many private singing teachers and school music teachers are not aware of the very broad range of contemporary Australian music and its divergent characteristics. However, there is a shortage of appropriate Australian repertoire that addresses the physiological and emotional needs of mid-adolescent singers.

Orientador: Erminia Silva / Banca: Alexandre Luiz Mate / Banca: Daniele Pimenta / Acompanha anexo com transcrição das entrevistas / Resumo: Por meio do levantamento de reportagens da mídia impressa, da bibliografia existente e de entrevistas com pessoas que participaram do processo, este trabalho investiga o processo de constituição das primeiras escolas de circo da cidade de São Paulo, a Academia Piolim de Artes Circenses em 1978 e o Circo-Escola Picadeiro em 1984 e as transformações, internas e externas ao modo de organização do trabalho circense, que contribuíram para as distintas formas de produção da linguagem circense, em particular do circo paulistano e brasileiro. A partir dessas escolas, levantamos os grupos que surgiram, formados e fundados por alunos ou ex-alunos, com o intuito de explorar o conhecimento circense adquirido nas escolas e suas estéticas, propondo alterações nos modos de produção e constituição dos espetáculos circenses, assim como do próprio modo de organização do trabalho e do modo de formação e aprendizagem do circo. Esse levantamento permite discutir os conceitos "representação" (DELEUZE e GUATTARI, 1992, p. 19-20), ou seja, generalizações, resultando nos rótulos "universais" que surgiram para definir os circos no século XX, a maior parte dos quais associados a essa produção pós-escolas de circo, como Circo Contemporâneo, Circo Tradicional e Circo Novo, todos resultantes de uma disputa de poderes e saberes entre os atores históricos e sua relação entre si, com o poder público e com a mídia. Na parte final, apresenta-se um levantamento da trajetória artística do Circo Mínimo, o seu ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Through a research amongst reports on printed media, the existing literature and interviews with some of the people who took part in the process, this work investigates the process of constitution of the first circus schools in the city of São Paulo: Piolim Academy of Circus Arts in 1978, and the Circo-Escola Picadeiro, in 1984. It also investigates the changes and transformations, both internal and external to the "method of organizing the circus work", which contributed to the different forms of production in circus language, particularly in São Paulo. From those schools we point the groups that emerged, formed and founded by students or former students in order to explore the circus knowledge acquired in the schools and their aesthetics, proposing changes in the modes of production and creation of circus shows, as well as the method of organizing work and the way of training and learning circus. This survey allows us to discuss the concepts "representation" (DELEUZE and GUATTARI, 1992, p. 19-20) or generalizations, resulting into the "universal" labels that were created to define the circus diversity in the twentieth century, most of which related to this circus schools post-production, such as Contemporary, Traditional and New Circus, all emerging from the power and knowledge disputes between historical actors and their relationship with each other, the government and the general media. This survey allows us to discuss the concepts-representation linked to universal la... (Complete abstract click electronic access below) / Mestre

Western intellectual property frameworks have at least one feature in common: performers are less protected than authors. This situation knows many justifications, although all but one have been dismissed by the literature: performers are simply less creative than authors. As a result, the legal protection covering their work has been proportionally reduced compared to that of their authorial peers. This thesis investigates this phenomenon that it calls the 'author-performer divide'. It uncovers the culturally-rooted principles and legal reasoning that policy-makers and judges of Australia, France, the United Kingdom and the United States have developed to create in the legal narrative a hierarchy between authors and performers. It reveals that those intellectual property systems, though continuously reformed, still contain outdated conceptions of creativity based on the belief in ex nihilo creation and over-intellectualised representations of the creative process. Those two precepts combined have led legal discourse to portray performers as their authors' puppets, thus underserving of authorship themselves. This thesis reviews arguments raised against improving the performers' regime to challenge the preconception of performers as uncreative agents and questions the divide it supports. To this end, it seeks to update the representations of creativity currently conveyed in the law by drawing on the findings of other academic disciplines such as creativity research, performance theories as well as music, theatre and dance studies. This comparative inter-disciplinary study aims to move current legal debates on performers' rights away from the recurring themes and repeated arguments in the scholarship such as issues of fixation or of competing claims, all of which have made conversations stagnate. By including disciplines beyond the law, this analysis seeks to advance the legal literature on the question of performers' intellectual property protection and shift thinking about performative forms of creativity.

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