This is an empirical study of myself as a present, and non-present, performer with the aim to study in what ways can the connectivity and communication start, evolve and progress within sensory theatre performance for disabled and diverse young audiences. I have examined the areas of performative; space, play, awe, curiosity, anticipation, action, listening and responding. The opportunity of finding my own methodology has included stepping out of my role to embrace failure and disorder, which has been very stimulating and exciting. The challenges have been many but some of them were concerned with how to analyze and evaluate human connection, when the experience is a felt experience, from my perspective as an actor/performer, and not an intellectual proposition. In the results I present a methodological model of performative connection which consists of steps that can loop in different intervals and are correlated and dependent on the others. The conclusion states that the core is found in the one-to-one encounters and the deep human connection between performer and audience participant. The underlining aim of my project and this essay is a theatre practice where all humans are welcomed and celebrated, which promotes a more accepting and inclusive society that embraces disability and challenges traditional conceptions of what theatre should be. / <p>In this essay I have a film of the sea and a sound recording. These are not availiable in the Diva form. </p>

This study contains a formative part in the shape of a musical preformance developed for preschool. The preformance was created with a pedagogical mindset where we wanted to convey emotions to children trough music. Accordning to the curriclum for Swedish preschool (SKOLFS 2010:50), every child must be given the opportunity to learn how to express themsleves through music, and the preschool teatchers have to use the music as both a goal and a means in their teatching.  There is a lack of previous reaserch in the subject of formative/musical preformance developed for preschool. Current reaserch is from the perspective of professional musicians and artists visiting preschools with their acts. No reaserch has been made from the perspctice of the pedagogue who practices music in preschool and theri experiences and troughts about musical preforming arts in preschool practices. The aim of this study is, from a musical didactical perspective, to investigate and analyze hot the conversation about identities as artist and/or pedagogues int the making and implementation of a musical act for preschool. The method of the study is A/R/Tography which means thah I step into the active roles as an artist, reasearcher, and teacher. The musical preformance was preformed at two different preschools for children ages 3-5. I also did two semi-structured interviews with my co-creators. Nielsen`s (1998) music didactic theory and the educational philosopher Biesta`s (2011; 2021) theory of art as an teaching method has been uses in this study to analyze the results. The results showed that the participants to begin with didn`t see themselves as artists but that they in practical terms should be. During the work with the musical preformance the two identities became more and more as one by combining musical and pedagogic experiences. The results also showed that the musical didactical choices we made probably has been influenced by the choice of musical-profiled preschool teatcher education programme.

Text in Afrikaans / In the performing arts (music, dance and drama) affective factors do not only play a role during the performance of a work, but are present from the moment when a work is selected up to the completion of the performance. In order to analyse the continuous presence of affective factors in the performing arts, a literature study was undertaken in which the affective requirements of music, dance and drama works in different style periods were identified. The affective implications of adolescent development in a performing arts context were also researched. The most important affective factors which can influence the arts learner seem to be motivation, stress, anxiety and self-concept. A questionnaire was developed to measure these factors in a music, dance and drama context. An empirical investigation was carried out involving 297 learners. With the data obtained from the empirical investigation the reliability and validity of the questionnaire could be determined. Norms were also developed for the questionnaire. Hypotheses on the role of affective factors in the performing arts were tested statistically. The hypotheses dealt with the underlying relationship between the different affective factors, the role of affective factors in the different performing arts, the development of affective factors during the secondary school years, the relationship between affective factors and achievement in an art field as well as the role of other variables such as gender, social relations and home circumstances. Recommendations were made to teachers, parents and learners. The recommendations are aimed at the enhancement of motivation and self-concept as well as the reduction of anxiety and stress. / Teacher Education / D.Ed.

二○○三年百老匯音樂劇CATS來台演出，造成一股不小的風潮，包括媒體效應、周邊商品的大量熱賣以及觀眾的人次等等都造成不小的話題，且，民國九十三年外國人來台演出的活動個數為878個，相較於民國八十三年的461個，十一年來亦成長了90%，可見國內仲介外國團體來台演出的表演藝術經紀公司，在這十一年來也是蓬勃發展。但是由於藝術推廣公司手邊的節目長年不斷，而國內表演團體畢竟相當有限，加上藝術推廣公司都進口了不少國外節目，這不免影響了國內表演團體的演出機會，有專家擔心國內表演團體難以匹敵國外節目。 因此本研究從國內藝文環境著手，探討表演藝術經紀公司對於國內表演藝術環境的影響，根據觀眾的成長，演出內容對國內團隊的影響，行銷模式的改變，幾個角度切入，深度探討表演藝術經紀公司的過去與未來，希望從研究中找出對於國內藝文環境的影響因素，並對表演藝術進入文化創意產業找到方法，進而使國內藝文環境獲得良好的發展條件。 為了了解國外節目對國內藝文生態的影響，本研究分別以內容分析法與深度訪談法分別進行量化與質化的分析，量化的部份以國內直轄市經常演出的六個表演場地90-94年的演出紀錄進行資料蒐集整理分析。包括台北國家戲劇院、國家音樂廳、國父紀念館、城市舞台、新舞台，以及高雄的至德堂。質化的部份以國內知名的專家學者以及重要藝術經紀公司負責人進行深度訪談，藉由專家的經驗檢驗表演藝術經紀公司對國內藝文環境的影響。 近五年來，國外節目場次最多的是音樂類節目，其次是舞蹈類，現代戲劇類每檔節目演出的場次最多，其次是傳統戲劇類；演出場地部份國父紀念館演出國外節目的比例最高，其次是國家戲劇院；表演場地自辦國外演出比例最高的是國家音樂廳，其次是新舞台；演出場次最多的是93年在城市舞台演出的「貓」劇共演出30場，演出座位數最多的是93年在國父紀念館演出的「真善美」座位數共有55,308個座位。 未來希望表演藝術經紀公司除了引進國外節目外也可以將國內團體推廣出去，而希望政府在法令政策上對於國內團體與國外團體能有一些區隔，也期許表演場地在管理上能更有效率，在政府、表演場地、民間經紀公司與國內表演團體的共同努力下，為台灣的表演藝術開創美好的未來。 關鍵字：表演藝術、表演藝術經紀、表演藝術仲介、兩廳院 / In 2003 the famous Broadway musical “CATS” came to Taiwan, generating high ticket sales and product merchandizing, gaining major media coverage and creating considerable discussion. In fact, a total of 878 international performances were staged in Taiwan in 2004; a 90 percent increase of the 461 foreign performances of 1994. This helped create a major growth industry in local Entertainment/Performance Booking Agencies specializing in the importing of international entertainment act into Taiwan. In fact, experts are concerned that the large number of overseas performances Agencies/Promoters have available to import into Taiwan is considerably higher than what can be produced locally. This could result in the local market being overwhelmed by international performances, greatly hurting the long-term competitiveness of Taiwan’s Cultural and Arts industry. 　　This research looks at Taiwanese Performance Arts Industry and the impact of Agencies/Promoters on Taiwan’s Culture and Arts environment. Methodology used is an evaluation of the Taiwan market, the impact of the content of foreign performances on Taiwanese groups and the ensuring changes to local promotional techniques. This paper will also look in detail at the past and future of Agencies/Promoters specializing on introducimg foreign cultural and arts entities and performances. It is the objective of this report to identify the impact of these entities on Taiwan’s Culture and Arts industry and propose a roadmap for the successful development Taiwan’s local Culture and Arts industry and its eventual development into a Creative Cultural Industry. 　　Method used for this research project is content analysis coupled with interviews to obtain qualitative and quantitative analysis. 　　Quantitative analysis consists of records collection and analysis of Taipei and Kaohsiung’s six major performance venues for 2001-2005. These six venues are: National Theater、National Concert Hall、National Dr. Sun Yat-sen Memorial Hall、Taipei City Stage、Novel Hall and Kaohsiung’s Chih-Teh Hall. 　　Qualitative analysis consists of interviews with Taiwanese scholars and key executives of Entertainment/Performance Booking Agencies. Through this methodology the author hopes to clarify the impact of Promotors on Taiwan’s Artistic environment. 　　Over the past five years, the most common foreign programs have been musicals followed by modern dance . The greatest number of performance have been staged by contemporary theater followed by traditional theater. The National Dr. Sun Yat-sen Memorial Hall had the highest percentage of foreign vs. local performances followed by the National Theater. The National Concert Hall sponsored in the highest percentage of overseas performances followed by The Novel Hall. The overseas performance with the longest stage run in Taiwan was the 2004 performance at the Taipei City Stage of “CATS” with 30 performances. The highest potential seats sold for a foreign program was the 55,308 sold for the 2004 performance of “The Sound of Music” at the National Dr. Sun Yat-sen Memorial Hall. 　　It is hoped that in the future, Agencies/Promotors will not only introduce foreign programs but will facilitate the export of Taiwanese performing art program and entities to overseas audience. It is also hoped that the Taiwanese government will amend laws to differentiate between local performance . It is also hoped that there will be an improvement in the management of local venues resulting in more efficiencies. And through the joint efforts of the government, the venues, Entertainment/Performance Booking Agencies and local performance groups, Taiwan’s Arts and Cultural environment will see positive future growth. Key Terms: Performing Arts, Performing Arts Agents, Artist Management Companies, Performing Arts Promotors, CKS Cultural Center.

Text in Afrikaans / In the performing arts (music, dance and drama) affective factors do not only play a role during the performance of a work, but are present from the moment when a work is selected up to the completion of the performance. In order to analyse the continuous presence of affective factors in the performing arts, a literature study was undertaken in which the affective requirements of music, dance and drama works in different style periods were identified. The affective implications of adolescent development in a performing arts context were also researched. The most important affective factors which can influence the arts learner seem to be motivation, stress, anxiety and self-concept. A questionnaire was developed to measure these factors in a music, dance and drama context. An empirical investigation was carried out involving 297 learners. With the data obtained from the empirical investigation the reliability and validity of the questionnaire could be determined. Norms were also developed for the questionnaire. Hypotheses on the role of affective factors in the performing arts were tested statistically. The hypotheses dealt with the underlying relationship between the different affective factors, the role of affective factors in the different performing arts, the development of affective factors during the secondary school years, the relationship between affective factors and achievement in an art field as well as the role of other variables such as gender, social relations and home circumstances. Recommendations were made to teachers, parents and learners. The recommendations are aimed at the enhancement of motivation and self-concept as well as the reduction of anxiety and stress. / Teacher Education / D.Ed.

Thesis (MPhil)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The Performing Arts Councils (PACs) have been the primary recipients of national public funding for the performing arts, accounting for nearly half of the arts and culture budget of the Department of Arts, Culture, Science and Technology (DACST). They had to be restructured in order to free public resources for allocation to other disciplines and areas in need of redress. The four PACs addressed in this study are The Playhouse Company (Durban), Artscape (Cape Town), PACOFS (Bloemfontein), and the Spoornet State Theatre (Pretoria). The purpose of the study was to determine whether or not the PACs had achieved the transformation goals as defined by DACST. The research was approached from a qualitative perspective to ensure that as much nuanced information as possible was collected within a limited timeframe and financial constraints. Where necessary, as in analysis of staff and expenditure, quantitative analyses were undertaken. The study found that the process of converting PACs to playhouses had been inconsistently implemented, although some of the PACs had come a long way in transforming themselves. Funding was obtained from government subsidies, NAC funding for specific projects, sponsorships, and other minor sources of income such as box office sales. Traditional forms of the performing arts, specifically opera and ballet, still accounted for a large portion of the total expenditure. PACs have had considerable difficulty in obtaining provincial and local government support, or adequate business sector support to make them viable as stand-alone entities. None of the PACs has been able to secure sustainable funding on a reliable basis to meet their requirements. DACST regards the implementation of a Community Arts Development (CAD) component and the establishment of the NAC as essential for an equitable arts dispensation in the country. CAD is meant to provide education and empowerment of people from previously disadvantaged communities, access to PAC venues and NAC funding, and awareness and outreach programmes. The CAD component varies substantially from PAC to PAC. The White Paper on Arts, Culture and Heritage recognises that the future of arts and cultural expression lies in the development of new audiences and markets. Audience development and facilitating access to venues has been left to the PACs, with little effect in some cases. The transformation of the staff profile of PACs to reflect the demographics of their provinces has been achieved. As the resultsof the study show each PAC took it upon itself to transform itself in its own way. As a result, transformation by the various PACs was found not always to be in line with the imperatives contained in the White Paper on Arts, Culture and Heritage (DACST, 1996). / AFRIKAANSE OPSOMMING: Die Rade vir Uitvoerende Kunste (RUK) was tot op hede die vernaamste ontvangers van nasionale staatsbefondsing vir die uitvoerende kunste, en het bykans vyftig persent van die Departement van Kuns, Kultuur, Wetenskap en Tegnologie (DKKWT) se begroting vir kuns en kultuur verteenwoordig. Hierdie Rade moes herstruktureer word sodat staatshulpbronne wat vir ander dissiplines en gebiede wat regstelling nodig gehad het, aangewend kon word. In hierdie studie is die vier Rade vir Uitvoerende Kunste "The Playhouse" (Durban), "Artseape" (Kaapstad), RUKOVS (Bloemfontein) en die Spoornet-staatsteater (Pretoria) bestudeer. Die doel van die studie was om te bepaal of die Rade vir Uitvoerende Kunste 'n transformasie, soos gedefinieer deur die DKKWT, ondergaan het. Die navorsing is vanuit 'n kwalitatiewe perspektief benader om te verseker dat so veel moontlik genuanseerde inligting binne 'n beperkte tydsbestek en te midde van finansiele beperkinge ingesamel is. Waar nodig, soos in die analise van personeel en uitgawes, is 'n kwantitatiewe benadering gevolg. Daar is bevind dat daar deurgaans uitvoering gegee is aan die omskepping van die Uitvoerende Kunsterade in skouburgteaters, hoewel sommige Rade reeds 'n ver pad met betrekking tot selftransformasie geloop het. Befondsing was afkomstig van staatsubsidies, NUK-befondsing vir spesifieke projekte, borge en ander minder beduidende bronne, byvoorbeeld inkomste uit kaartjieverkope. Tradisionele vorms van die uitvoerende kunste, veralopera en ballet, het steeds 'n beduidende deel van totale uitgawes uitgemaak, en Rade vir Uitvoerende Kunste het groot probleme ondervind om genoegsame steun van provinsiale regerings, plaaslike owerhede en die besigheidsektor te werf om hulle in staat te stelom as lewensvatbare en onafhanklike entiteite te funksioneer. Nie een van die Rade vir Uitvoerende Kunste kon daarin slaag om befondsing van 'n standhoudende aard te bekom waarop hulle kon reken om aan hul vereistes te voldoen nie. Die DKKWT beskou die implementering van 'n Gemeenskapskunsontwikkelingkomponent (GKO) en die stigting van die NUK as onontbeerlik vir 'n regverdige kunste-bedeling in die land. GKO beoog om voorsiening te maak vir die opvoeding en bemagtiging van mense III die voorheen agtergeblewe gemeenskappe, toegang tot plekke waar GKO-optredes gehou word, NUKbefondsing, asook bewustheids- en uitreikprogramme. Die GKO-komponent wissel aansienlik van RUK tot RUK. Die Witskrif oor Kuns, Kultuur en Erfenis erken dat die toekoms van kuns- en kulturele uitdrukking in die ontwikkeling van nuwe gehore en markte opgesluit lê. Die ontwikkeling van gehore en makliker toegang tot plekke waar optredes aangebied word is in die hande van Kunsterade gelaat; in sommige gevalle met weinig effek. Die transformasie van die Rade vir Uitvoerende Kunste se personeelprofiel ten einde die demografiese werklikheid van elke provinsie te weerspieel was suksesvol. Soos duidelik uit die studie blyk, het elke Raad vir Uitvoerende Kunste onderneem om die transformasie op sy eie manier te implementeer. Die gevolg is dat die transformasie in die verskillende Rade vir Uitvoerende Kunste nie altyd tred hou met die bindende opdragte wat in die Witskrif oor Kuns, Kultuur en Erfenis (DKKWT, 1996) vervat is nie.

The popular culture of the past three decades owes a great deal to the creativity and musical impact of the artists featured in Retro-Respect. The project's objective was to carefully select ten of this generation's most influential recording artists and, as a musical tribute, produce and record unique arrangements of songs by each of them for an audio CD. Each featured artist has at least a 30 year history of influence and recognition as being among the industry's best, and all remain musically active today. Included are Aerosmith, Chaka Khan, Stevie Wonder, Steely Dan, Bonnie Raitt, Sting, The Eagles, Eric Clapton, Elton John and David Bowie. Retro-Respect was produced and arranged by Kam Falk. Each of the eight vocal and two instrumental songs features a different ensemble with Falk performing on six-string bass, fretless four-string bass, keyboards, vocals and drum/ percussion programming. / by Kam Allen Falk. / Vita. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representation, and also look at figures within popular music culture. Within band culture I look into how the band can be used as a vehicle to disseminate ideas wider audience. Art and music culture have fed off of each other for generations and can provide valuable strategies within each context for thinking beyond social norms. The remix can be used as a tactic to decode forms and narratives in popular culture. This can be used to investigate representations of identity within a space that is in a constant state of flux. This is particularly useful as a parafeminist strategy because it allows a context in which to question, rather than answer. As a result of this study I have found that there are no concrete answers when it comes to identity and sexuality, but can conclude that conventional gender representations and signifiers of identity can be remixed into different scenarios and narratives that can challenge social norms.

The picnic blanket, as a textile object, is infused with meaning by its colonial history and its inherent use. Its purpose goes beyond providing a soft and dry surface to sit on. By putting down your picnic blanket you can temporarily stake your claim on that piece of land. We might consider the picnic blanket as a private haven in a public space. The cross-over between private and public space is a dynamic environment that is established by continually interacting and adapting. By collaborating with others in a space everyone can gain some ownership of that space. Using the picnic blanket as vehicle for investigation, I explore the boundaries of private and public space. Through linking the history of picnicking with the Sublime and particularly the Female Sublime, I establish its significance and the fact that it provides a gendered space. With the help of Marcuse’s ideas on the ‘natural state’ I define the private sphere as a state of mind. I then look at that notion in relation to public space. The appropriation of public pace as described by De Certeau and the appropriation of mind space as described by Foucault set up a dynamic field by which private space is surrounded. The social navigation of our environment is the constant consideration of willingness to collaborate. It is something we are all part of, some readily, some trying to resist. Returning to Marcuse, I examine ways in which the private mind space can be preserved. It is the notion of innocence, a state of mind from before ‘the fall’, that Marcuse and others indicate as providing a barrier against surplus repression of societal judgement. The question is how to maintain this innocence. My personal investigation of innocence, which is presented in this exegesis through narrative, runs parallel to my practice.

published_or_final_version / Architecture / Master / Master of Architecture