Culture and arts can be recognized as a major heritage of a country. Globalization tendency causes rapid exchanges between different cultures through innovated information technology. Culture and arts, therefore, becomes one of the best country- and city-marketing tools. Increasing cultural and arts activities also provide people living in this age extra options for nutrition of their body, mind and spirit. At the same time, it may create more working opportunities for professional arts workers and arts students. Many successful Taiwanese performing arts troupes are continuously performing various and diverse works on worldwide stages. They realize that performing arts workers need a mature working environment and also performing arts troupes need a government, which gives a high attention to the development of cultural and arts education. Despite of being highly dependant on policy and environmental changes, performing arts companies can endeavor to make organizational changes and variegate their productions. So that performing arts companies may develop a self-support arts environment for an eternal living. This research aims to discuss the strategy of developing an industrialized performing arts industry in Kaohsiung. As a performing artist, I recall my experiences and observations and find that there are many restrictions to the management and development of performing arts companies in Taiwan. To receive an effective practice for the industrialization of performing arts, I will use two successful case studies ¡V¡§Cloud-Gate Dance Theater of Taiwan¡¨ and ¡§Singapore Dance Theatre¡¨- and reflect their successful stories to ¡§Kaohsiung City Ballet.¡¨ In Chapter one, I will introduce the motivation and purpose of this research, applied methodology and research flow. Chapter two is Literature Review. In Chapter three of Case Study, I will focus on analyzing characteristics and managing strategies of Cloud-Gate Dance Theater of Taiwan¡¨ and ¡§Singapore Dance Theatre.¡¨ In Chapter four, according to the analyzing results in Chapter three, I will make an industrializing strategy for ¡§Kaohsiung City Ballet.¡¨ The plan will be issued from a complete study of developing history, organizational structure, SWOT analysis and industrialization plan. Chapter five will include a conclusion and recommendation.

Thesis (M. Arch.)--University of Hong Kong, 2002. / Includes special report study entitled: Theatre lighting. Includes bibliographical references.

Thesis (MPhil(R))--University of Glasgow, 2009. / MPhil(R) thesis submitted to the Faculty of Arts, Department of Theatre, Film and Television Studies, University of Glasgow, 2009. Includes bibliographical references. Print version also available.

Thesis (M.Arch.)--University of Hong Kong, 2000. / Includes special report study entitled : Identification of streetscape with performance space & identification of performance space with streetscape. Includes bibliographical references. Also available in print.

Thesis (M.Arch.)--University of Hong Kong, 2002. / Includes special report study entitled : Theatre lighting. Includes bibliographical references. Also available in print.

published_or_final_version / Business Administration / Master / Master of Business Administration

No description available.

<p>A live nude female performer can occupy a powerful identity equal to a man because she willingly places herself in front of an audience. She commits to this state of profound vulnerability as a means of gaining ownership of her body that men by virtue of their power in society take for granted. The female body occupies physical space, unlike how a body image seen on a television or in a magazine does. The actuality of the live female nude creates a transformation from the purely sexualized body to an authentic female nude body. This authentic female nude body, via her control of her physicality, is a &ldquo;loud&rdquo; and often rejected body. The acknowledgement of her authenticity is an acknowledgement of her power and this is common ground on which the female audience member and performer can relate intersubjectively. On the surface, it seems the most effective solution to eliminating objectification and this obstruction of the female body would be to take focus away from her body. Yet paradoxically, female subjects have altered these culturally shaped identity norms of objectification through nude performance, liberating the hyper-sexualized projections attached to the female body and replacing them with symbols of innocence, creativity and power. </p>

<p> This dissertation looks at critical interventions made by select San Francisco bay area choreographers and dance programmers interested in altering spectatorial norms for contemporary dance. Those selected have strategically employed food themes and materials in and as performance, simultaneously tapping into existing foodie ideology and redressing concerns about dwindling audiences for live dance performance in the twenty-first century. I argue that such efforts 1) bring to light subsumed race, class, and gender politics embedded in the trend towards "audience engagement," espoused by arts funders and dance makers alike as a necessary intervention for the survival of contemporary dance; and 2) open up discursive and experiential realms of possibility by favoring material, associative exchange, (re)awakening synesthetic sensory-perceptive capacities, inviting spectators to refigure themselves as co-creators in performance, and providing opportunities to reckon with exoticizing desires to enrich one's own culture by consuming another's. </p><p> In theoretically grouping these choreographies together I illustrate a spectrum of responses that clarify how food-oriented performance gatherings can operate not only as strategies for altering audience relations, but as sites for alternative knowledge production and fruitful commensal exchange. Such research draws from and intervenes in the overlapping fields of food studies, American studies, and performance and dance studies. This analysis is uniquely positioned amongst other work addressing the interstices between food and performance in its emphasis explicitly on Western concert dance. It also contributes significantly to the archives of an often overlooked San Francisco bay area dance community. </p><p> Methodologically I take a dance studies approach, generating choreographic analyses enabled through interviews with choreographers and dance programmers, my own work as witness/participant in the selected events, and archival research into feminist theories of performativity, anthropologies of the senses, contemporary theories of embodiment and select dance and theatre scholarship from the 1800s to the present. Throughout I prioritize the embodied experience of spectatorship, highlighting how contemporary corporeality is shaped by shifting inclusions and exclusions of various peoples and practices, capitalist economic models, the pervasive reach of readily-available digitized media, and both dominant and alternative systems of knowledge production. </p>

<p> Between 1958 and 2002, Italian composer Luciano Berio wrote fourteen compositions that have since become integral to the solo repertoire of the twentieth-century: the Sequenzas. A well-received body of works, the Sequenzas are most obviously defined by their virtuosity and timbral, technical experimentation. They are also marked by another feature, however&mdash;an analytically refractory nature. Indeed, the music of these pieces tends to resist applications of traditional analytic methods (especially those reliant on crisp category constructions), prompting a question&mdash;the question to which this dissertation responds: given the Sequenzas' resistance to mainstream tools, how might meaningful interpretations be generated for them? Or more specifically, how can form be supplied to the Sequenzas?</p><p> In this dissertation, I answer this question by proposing that formal sense can be generated for the Sequenzas by way of a traditional type of analysis referred to here as <i>associative formal analysis</i>. In this style of analysis, small-scale recurring units within the music&mdash;<i> patterns</i>&mdash;are appealed to in order to determine local-level form, each pattern's instantiation signaling a segment. The interaction and development of the patterns over time&mdash;both of which define the patterns' collective <i>temporal associative design</i>&mdash;are then consulted in order to supply shape to the music along more global lines. </p><p> I propose more than this, however, for were the proposition simply that associative formal analysis is useful in the Sequenzas' consideration, 1) this dissertation would be rehearsing an old argument and 2) such an assertion could not explain why set-class analysis (one type of associative formal analysis) is less effective. I thus specify that it is not merely associative formal analysis that is productive but a certain type of associative formal analysis. </p><p> Crucial to recognize about associative formal analysis, and what accounts for its various types, is the existence of two variables within the analytic strategy. The first variable concerns the patterns recognized: obviously, associative formal analysis involves the location of patterns, but what do (legitimate) patterns look like? The second variable concerns the evaluation of temporal associative design: which relationships, processes, etc. ought to be considered in assessments of pattern behavior? </p><p> Relative to the variable of pattern recognition, I propose that meaningful analytic results emerge in the Sequenzas' analysis when an orientation is adopted that incorporates both 1) a multiple-domain perspective (beyond pitch and pitch-related domains) and 2) a <i>flexible approach</i>&mdash;an approach to pattern recognition that allows for the variable use of multiple pattern-recognition strategies, many of which permit the recognition of less crisply defined patterns. This promotion of flexible-pattern recognition is central to this dissertation's methodology and, in some respects, is not new; but this dissertation renders the flexibility of its method in an uncommonly explicit fashion. Thereby, a direct answer is supplied to a question often neglected: if flexibility is beneficial, what does this flexibility look like? </p><p> Then, relative to the variable concerning temporal associative design, I propose that meaningful results emerge through a method that attends to both the development of patterns and the nature of their interaction, particularly as it concerns what is referred to here as <i>relative duration</i> and <i>relative position</i>. </p><p> So as to wage and substantiate both of these propositions, the dissertation proceeds in two parts. Part I outlines the dissertation's methodology, thereby introducing tools and discursive means that are apt to be of broad appeal. Notable among Part I's contributions are a set of terms and bases for the general evaluation and comparison of pattern types. Another prominent contribution is a newly formalized pattern type that consolidates previously marginalized work and a basic logic that permeates informal discourse: the <i>Mode of Activity</i>. Part II then features two extended, piece-long analyses of <i>Sequenza VIIa</i> and <i>Sequenza XI</i>. Through them, the dissertation demonstrates the power and potential of this dissertation's methodology, both of which are alluded to but not developed through Part I's small-scale analyses of music from <i>Sequenzas I, III, IV, V</i>, and <i>IXa</i>. Through the analyses, a message central to this project is also substantiated: patterns defined by low levels of associative specificity can be powerful objects of analytic inquiry, especially when they are responsibly defined and rigorously pursued. It is this author's hope that the communication of this message&mdash;combined with the general, pattern-based resources of this dissertation&mdash;will embolden others to be similarly adventurous in their association-making, helping to open up and expand analytic discourse on the Sequenzas and beyond.</p>