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En reflekterande text utiifrån frågeställningen "hur gör man en sammanhängade design för en föreställning när akterna skiljer sig markant i sin form?". Texten utgår från reflektioner gällande processen av att arbeta som en av två maskörer i en produktionsprocess där de två akterna skrivits av olika dramatiker och regisserats av två olika regissörer och hur det praktiska och konstnärliga arbetet formats av dessa förutsättningar.

This is Not Not My Dance is a practice‐based research project that advances processes of choreographic re-enactment through a method of choreographic re-documentation. I propose a means of re‐documenting choreography to make it a digital resource for new creation. This thesis presents a renegotiation of notions of performance and documentation, emphasises aspects of alteration in processes of preservation, and re‐evaluates ideas of exclusive ownership rights of dance works. Lepecki’s claim that choreography is an inconclusive ghostly matter ‐ derived from Derrida’s philosophical use of the terms ghostly and haunting, together with Schneider’s notion of cross‐temporality ‐ theoretically support an understanding of choreography constituted by a process of re‐documentation.

Ett undersökande i hur skådespelarnas kroppar kan användas i en designprocess för att fördjupa kostymdesignen och karaktärsgestalltningen.

<p>The purpose of this study was to explore the union of technical and imagery-based instruction (hereinafter, T-I instruction) in two phases. Phase one: The researcher (1) explored T-I instruction&rsquo;s influences on aspiring performing artists&rsquo; acquisition of learning and performing newly composed pieces and improvisation, and; (2) observed aspiring performing artists&rsquo; feelings of learning with T-I instruction versus technical instruction. Phase two: The researcher investigated (1) listeners&rsquo; perceived expressivity of aspiring performing artists&rsquo; performances that were either influenced by T-I instruction or technical instruction; (2) listeners&rsquo; perceived expressivity of aspiring performing artists&rsquo; performances of newly composed pieces versus improvisations; (3) whether there was a statistical significant difference of T-I instructions&rsquo; influence on the progressive differences in the means of listeners&rsquo; perceived expressivity between the aspiring performing artists across the time frame of the study; (4) the explanations for their ratings, and; (5) information that helps listeners perceive music as expressive using the <i> Perceived Expressivity Questionnaire</i> (PEQ). </p><p> Results for Phase one: 60 sub-themes and 13 themes emerged from the data relating to two meta-themes: <i>Learning</i> and <i>Quality of Life</i>. Results for Phase two: Cronbach&rsquo;s alpha statistical procedure revealed an unacceptably low internal consistency for listeners&rsquo; perceived expressivity of aspiring performing artists&rsquo; performances (&alpha; = .02). Hence, no further statistical analysis was implemented to answer research questions one through three. Explanations for their ratings dealt primarily with aspiring performing artists&rsquo; use of 11 musical components. The Brief Essay Responses from the <i>Perceived Expressivity Questionnaire</i> (PEQ) provided possible explanations for the low internal consistency and insight on what kind of information help listeners&rsquo; perceive music as expressive. Further discussion on the finding and implications for performing artists and educators&rsquo; use of T-I instruction are offered in this document. </p>

Zheng Bo. / Thesis (M.F.A.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 20-21). / Accompanying disc in DVD format. / Abstracts in English and Chinese.

As Taiwanese performing arts environment changes, some performing arts groups begin to co-operate with business companies and share marketing resources aggressively. On the other hand, since National Culture and Arts Foundation has launched Performing Arts Marketing Platform project in 2006, which has promoted several platforms to co-market with business companies and to gain benefits. However, this business model has not been developed throughly. The purposes of this study are to explore the theories of co-marketing alliances; to understand the influence of the marketing platforms during co-marketing alliances as arts intermediaries; to compare four cases of co-marketing alliances; to modify the co-marketing alliances models and to conclude some suggestions for business companies and Performing Arts Marketing Platforms to improve their cooperation. This study is based on four co-marketing alliances case studies, with observation and in-deep interviews to collect research data. The study concludes that except marketing concern and brand awareness, social responsibility, which helps performing arts organizations to gain more trusts from business companies, becomes another important motivation to form alliances. These motivations affect business companies for choosing their partners, managing the alliances, and evaluating the results. Furthermore, ¡§complementary possibilities¡¨ and ¡§alliance promoters¡¨ are two advantages for Performing Arts Marketing Platforms to built relationships with business companies. Since customers¡¦ cognitions and attitude are not easy to be evaluated, business companies can only measure the outcomes of the alliances through number of consumers, advertisement impression, overall revenue and return questionnaires, which are also difficult to distinguish from normal situations. Therefore, most of the business companies prefer to evaluate the alliance by managers¡¦ subjective judgments. In order to establish a steady alliance, a business company has to familiar with the diversity of performing arts and alternative alliance models beforehand. A Performing Arts Marketing Platform has to consider the needs of business companies, performing arts organizations and itself. The study also suggests a Performing Arts Marketing Platform should increase its advantages and emphasize equal partnerships. It can connect the resource from all the performing arts organizations it helps, and enhance alliance promoter¡¦s professional ability.

The Municipal cultural center plays the major role for culture promotion in every city/county in Taiwan. It has great influence on performing arts industry in the past 20 years. Facing the environment change, a municipal cultural center should know how to adjust its functions to meet the needs of the theater in the future. The researcher studied the cultural centers in the seven cities/counties of southern Taiwan before of the merger of 2011, analyzed the development of performing arts, arts activities, audience participation, and the utilization of these cultural centers. The staffs of seven cultural centers, fourteen performing arts groups, and four experts¡¦ opinions are asked in order to know the strength and weakness of cultural center. To accomplish these purposes, the researcher applied the case study method of qualitative research in this study. The study also adopted questionnaire survey and interview to collect data. On the part of the cultural centers, it showed that: 1. Cultural centers usually meet the demands of performing arts groups and provide venue. 2. Cultural centers make their own application schedules, twice a year. 3. Most of the cultural centers have middle-sized theaters. 4. The renting cost of the venue depends on each center. 5. The performances of the cultural centers usually come from domestic groups. The programs directly sponsored by the cultural centers are rare. On the part of performing arts groups, most of them are satisfied with the assistance of the cultural centers. However, they still raise some issues which cultural centers should improve, such as the application schedule, the usage time of the venue, the venues staffs¡¦ collaboration, the provision and improvement of the theaters¡¦ equipments, promotion method and higher subsidy. The study concluded that the cultural centers should adjust their policies, redefine their positions, raise the budget, cultivate the professional talent of the workers, develop self-characteristic, cooperate with other centers, improve the quality of programs, give clear channel of the information, enhance the relationships with the communities and develop the audience.