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An experimental stage and workshop for dramaChan, Mei-ling, Vera, January 1997 (has links)
Thesis (M.Arch.)--University of Hong Kong, 1997. / Includes special report study entitled : Edge park in an urban environment. Added title page title : Stages and workshops for amateur drama. Includes bibliographical references. Also available in print.
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Live! Nude! Girls! representations of female nudity in the Fluffgirls Burlesque, Girls Gone Wild, and Suicidegirls /McConnell, George D. Dahl, Mary Karen, January 2006 (has links)
Thesis (M. A.)--Florida State University, 2006. / Advisor: Mary Karen Dahl, Florida State University, College of Visual Arts, Theatre and Dance, School of Theatre. Title and description from dissertation home page (viewed June 14, 2006). Document formatted into pages; contains iv, 93 pages. Includes bibliographical references.
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The wounded storyteller in performanceLove, N. Eric, January 2004 (has links)
Thesis (Ph.D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 230-241). Also available on the Internet.
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Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'Allegro, il Penseroso ed il ModeratoRadwan Dana, Mireille 09 June 2018 (has links)
<p> This thesis analyzes Mark Morris' choreography for pedagogical purposes. It explores Morris' technique and style by investigating one of his most acclaimed works: <i>L'Allegro, il Penseroso ed il Moderato</i>. Because this evening length piece offers a large selection of sections, a total of thirty-two, it provides many possibilities to investigate Morris' musicality, creative process, and style. The musical aspect of Morris' work is examined by focusing on how he often molds the dance to the musical score involving specific rhythms, canons and counterpoints. Analysis of his creative process investigates his use of individual and group work, with the implementation of complex choreographic systems. These contain intricate spatial and movement patterns and can reflect the musical structure of a specific composition or are created directly by Morris. Finally, the analysis of his style explores some of his characteristic forms utilized in <i>L'Allegro</i> with particular attention to detailed shapes and gestures, in addition to torso and foot work. For a greater insight, this thesis also includes interviews with Mark Morris, and some of his former company members who were part of the original production. These are Tina Fehlandt, June Omura, and Megan Williams. A second part of the thesis explores the pedagogical potential of <i>L’Allegro</i>’s material. The investigation is first conducted through the lens of Laban Movement Analysis (LMA), and then through the lens of LMA adaptations for younger student populations, as utilized in the dance education field, by the New York City based Dance Education Laboratory and Seattle based dance educator Anne Green Gilbert.</p><p>
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Horn Outside the Concert Hall| Nontraditional Implementation of the HornKnechtel, J. Beaumont 20 June 2018 (has links)
<p> The horn is renowned for its contributions to traditional orchestral repertoire and concert hall performances. Since its induction into the symphony, its uses outside the concert hall have been diverse albeit comparatively sparse. However rare, its implementation still spans from the high arts, to world of pop, and to the avant-garde. In 1976, the haunting, sonorous timbre of Peter Gordon's legendary solo horn would inspire Jaco Pastorius to feature it on his titular album. This paper will analyze and define key nontraditional uses of the horn, discuss the effects of non-notated performance practice on the hornist, provide method studies for improving non-notated performance, and demonstrate how the horn's employment as a compositional, improvisational, and accompanimental instrument, independent of strictly notated music, will help hornists to best perform Jaco Pastorius's <i>Okonkole y Trompa</i>. </p><p>
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Blueprints for Outreach| Educational Concerts for the Solo ViolinistSahely, Megan 07 September 2018 (has links)
<p> This treatise explores the historical background of instrumental educational outreach concerts, and provides an overview of current educational outreach programming. The closing section discusses educational outreach concerts presented by a solo violinist, and provides a blueprint for a teaching performance which explores the storytelling power of music. Newly commissioned works for solo violin are included which are especially suited for outreach performances for children.</p><p>
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I Went to the End of Time, and This is What I Found: A Look into the Making of a Solo PerformanceJanuary 2014 (has links)
abstract: I'll go to the end of time for you (and you don't even know my name) is an evening-length solo performance created and performed by Kristopher K.Q. Pourzal. It premiered November 8-10, 2013 in the Margaret Gisolo Dance Theatre of Arizona State University. The solo was the culmination (suspension, really) of a wild creative journey, the distillation of a process that initially involved several collaborators. Through a series of neurotically/erotically repetitive episodes of self-composed song, text, and dance, the work mines questions of the desire to be seen and the desire to feel alive. The conventions and constructs of the proscenium stage are both utilized and subverted in examining this platform as uniquely suited for revealing the nature of these experiences and their potential relationship. This document is primarily an account of the show's process--its before and after--and serves as a site of exploration, explanation, analysis, reflection, questioning, and ultimately furtherance of the practice-based research made manifest in the performances. / Dissertation/Thesis / M.F.A. Dance 2014
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Grupo Lokito : a practice-based investigation into contemporary links between Congolese and Cuban popular musicMcGuinness, Sara E. January 2012 (has links)
There is a longstanding historical and cultural relationship between Congo and Cuba via the slave trade and the ‘return’ of Cuban music to Africa, a relationship that has apparently been very scantily documented. It is acknowledged that Congolese roots are present in Cuban music but there is little musical analysis of the actual elements concerned. This thesis addresses this imbalance. Using a performance-as-research methodology, it charts the formation and experience of the fusion band Grupo Lokito. Through bringing Congolese and Latin musicians together in a performance situation, I explore the ways in which musicians from the two traditions recognise and assimilate each other’s groove. This dissertation investigates whether the historic connections enable contemporary musicians from both worlds to recognise similarities in each other’s music. Also included is a historical overview of the Congolese arrival on Cuba, how Congolese musical practices were preserved and assimilated into Cuban music as well as an overview of the evolution of twentieth-century Congolese music. Existing research has focused on issues such as the return of Cuban music to Congo (Topp Fargion 2004), the emergence of rumba Lingala in the 1950s and 1960s (Kazadi 1970; Stewart 2000), and the subsequent development in the 1970s and 1980s of Congolese music away from the Cuban era (Stewart 2000; Ewens 1994). However, this thesis argues that, rather than diverging from the 1970s onwards as is frequently thought, Congolese and Cuban music retained commonalities that can be recognised by musicians immersed in the two styles. An analysis of the musical structure and instrumentation of well-known Cuban and Congolese songs is included, as well as original compositions by Grupo Lokito, with further audio and video available on the separate CD and video. The accompanying CD Rom details the process of creation of material and outlines relevant musical structures.
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Theater's Nostalgic Connection| Nostalgia's Impact on the Entertainment Industry and Strategies to Solve an Age-Old ProblemKoenig, Nicole 10 May 2018 (has links)
<p> Non-profit theater companies around the United States struggle to attract younger audience members, which becomes a bigger problem with each passing year as their current consumer base is dying from old age. This paper discusses using nostalgia as a method of attracting the millennial generation to attend the theater. The paper first analyzes the middle class millennial and the reasons that they choose to not attend the theater. The paper continues by defining nostalgia, its history, and its effects on the individual and on consumer behavior. The paper lists examples in other forms of entertainment that compete with theater and in retail that have used strategies with nostalgia that have proven to be successful with the millennial generation. The paper ends by observing how nostalgia has been successful in theater and provides tactics and strategies for theater companies as possible solutions to the lack of younger audience members.</p><p>
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Han Opera as a Public Institution in Modern WuhanLong, Lingqian 08 August 2017 (has links)
<p> Wuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT’s recent designation as a <i>public institution</i> under China’s neoliberal creative economy initiative to enter the global market has necessitated its transformation from a <i>cultural institution</i> (<i> wenhua jigou</i>) into a <i>creative industry</i> (<i> wehua chanye</i>). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class (“talent”) in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.</p><p>
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