Les anciens combattants qui reviennent de mission sont fréquemment sujets à avoir des cauchemars récurrents, et ce, durant de nombreuses années. Au moyen d'une expérimentation auprès d'un ancien combattant souffrant de cauchemars récurrents et présentant un état de stress post-traumatique, la présente étude de cas vise à évaluer l'efficacité d'un traitement propre à ce type de cauchemar, soit la thérapie par révision et répétition d'imagerie. L'évaluation avant, pendant et suivant le traitement psychologique porte sur la fréquence, l'intensité et le contenu des cauchemars. De plus, à l'aide de mesures polysomnographiques et actigraphiques, la qualité du sommeil est évaluée, de manière objective. Les symptômes de dépression et d'anxiété ainsi que la qualité de vie du participant sont également évalués avant et après traitement. Les résultats indiquent une diminution de la fréquence et de l'intensité des cauchemars ainsi que des symptômes de dépression, en plus d'une augmentation de la qualité de vie. La thérapie n'a pas eu d'effet significatif sur les données subjectives et objectives du sommeil, à l'exception du nombre d'éveils, qui a diminué d'un point de vue subjectif. Pour ce qui est du contenu des rêves, on observe une tendance vers la diversification du contenu onirique, moins axé sur les combats militaires.

This text is partial record and narrative of the process and productions of Orphans by Lyle Kessler that opened on March 29th 2007 for a four day run ending on April 1st, The Pillowman by Martin McDonagh that opened October 28th 2007 for a three day run ending on October 30th, and Terra Nova by Ted Tally that opened on February 21st 2008 for a four day run ending on February 24th. The majority of the text follows the three shows from Spring 2007, Fall 2007, to Spring 2008, focusing on the process of direction of each production. Incorporated in the writing are the experiences, lessons, and complications that arose while directing the three shows. The text contains several notes on directing, acting, collaboration, choreography, casting, rehearsal and different perspectives on the creative process of the productions: all combined create an aesthetic inherent in the author's three years of study at the Virginia Commonwealth University Theatre Pedagogy Program with an emphasis in Acting and Directing.

Made available in DSpace on 2016-07-27T14:20:21Z (GMT). No. of bitstreams: 1 MARCOS PAULO GOMES DE ARAUJO.pdf: 1260442 bytes, checksum: 955ac57258629e7d5991a3817f55a8ac (MD5) Previous issue date: 2014-03-14 / Among several motor skills training techniques, covert rehearsal (or covert practice, mental training, symbolic repetition, mental practice, mental rehearsal, imagined execution, visualization, mentalizing ) has been used to improve sportive performance. From a radical behaviorism perspective, imagining is conceived as covert behavior. To imagine is see something in the absence of the thing being seen, with this seeing in the absence analogous in nature to the seeing when the thing saw is present. Who is imagining, are not doing two different things in these two different situations, but the same thing. In this sense, imagining is behavior. The effect of covert rehearsal upon motor skills executions depends of variables such as the mode and/or context in which the technique is used. The objective of the present study was to verify the effect of training procedures composed by instructional variables and covert rehearsal technique upon the motor execution of the volleyball overhand serve. Eight (8) teenagers, both sexes (six [6] men), with ages between 13 and 15 years, regular basic level apprentices in a volleyball initiation course, served as experimental participants. Randomly distributed into three groups, all participants were exposed to four experimental conditions: Baseline (BL), Regular Training (RT), Instructed Covert Rehearsal Training (ICR) and Covert Rehearsal Training with a Model (CRM). Groups differ in the order of exposition to the conditions from the second one, with the BL as the first condition for all groups. In each condition, participants executed ten (10) overhand serves, everyone filmed by the experimenter. Thirteen (13) volleyball experts (judges) evaluated the last three (3) BL serves and the first three (3) serves executed after exposition to RT, ICR and CRM conditions. Executions filmed were presented randomly and judges used a specific protocol to evaluate and quantify serve adequacy, considering serves in four main components (initial position, ball throwing, ball attack and finalization). Statistical analyses to verify order effects showed that the different order expositions to the experimental conditions did not affect executions, with no significant differences observed between the three groups. Friedman variance analysis, with the experimental conditions data taken together, showed that, for 31,25% comparisons, significant differences were observed between BL executions and that after covert rehearsal conditions (specially, in the ICR condition, but in the CRM condition too), but in a minor percent between these conditions. Results were interpreted in terms of: 1) the developmental level of self-perceptive, verbal and motor repertoires of the apprentices trained, 2) the nature of the control that can be exerted by the instructional components in the covert rehearsal conditions and 3) the interrelation between verbal (speaker and listening behaviors) and perceptual (imagining) variables as related with motor performance. / Dentre as várias técnicas de treinamento de habilidades motoras, o ensaio encoberto (ou prática encoberta, treino mental, repetição simbólica, prática mental, ensaio mental, execução imaginada, visualização, mentalização) tem sido usada com o objetivo de melhorar o desempenho esportivo. Na perspectiva do behaviorismo radical, o imaginar é entendido como comportamento encoberto. Imaginar é ver algo na ausência da coisa vista, sendo este ver na ausência análogo em natureza ao ver quando o que se vê está presente. Quem imagina, não está fazendo duas coisas diferentes nas duas situações, mas a mesma coisa. Nesse sentido, imaginar é um comportamento. O efeito do ensaio encoberto sobre a execução de habilidades motoras depende de variáveis tais como o modo e/ou o contexto em que a técnica é utilizada. O objetivo do presente estudo foi verificar o efeito de treinamento composto por variáveis instrucionais e técnica de ensaio encoberto sobre a execução motora do saque por cima do voleibol. Oito (8) adolescentes, de ambos os sexos (6 homens), com idade variando entre 13 e 15 anos, alunos regulares de iniciação ao voleibol, serviram como participantes do experimento. Distribuídos aleatoriamente em três grupos, todos os participantes foram expostos a quatro condições experimentais: Linha de Base (LB), Treinamento Padrão (TP), Treinamento com Ensaio Encoberto Instruído (TEI) e Treinamento com Ensaio Encoberto com Modelo (TEM). Os grupos diferiram quanto à ordem de exposição às condições a partir da segunda, sendo a LB a primeira para todos os grupos. Em cada condição, os participantes executaram dez (10) saques, todos eles tendo sido filmados pelo experimentador. Treze (13) avaliadores peritos em voleibol avaliaram, assistindo aos filmes, a execução dos três (3) últimos saques da condição LB e a execução dos três (3) primeiros após a exposição às condições TP, TEI e TEM. Nos filmes, as execuções foram apresentadas em ordem aleatória e a avaliação foi feita a partir de protocolo específico para dimensionar a adequação do saque, a partir dos seus quatro componentes principais (posição inicial, lançamento da bola, ataque à bola e finalização). Análise estatística dos dados para verificar efeito de ordem de exposição às condições mostrou que tal efeito não ocorreu, não sendo significativas as diferenças entre os três grupos. Tomados os dados em conjunto por condição experimental, análise de variância de Friedman mostrou que, em 31,25% das comparações, diferenças significativas ocorreram entre as execuções em LB e aquelas pós-ensaios encobertos (em especial no TEI, mas também no TEM), mas em número bem menor entre as condições. Os resultados foram interpretados quanto: 1) ao nível de desenvolvimento dos repertórios auto perceptivo, verbal e motor dos aprendizes expostos aos treinamentos, 2) a natureza do controle que pode ser exercido pelos componentes instrucionais nas condições com ensaio encoberto e 3) a inter-relação entre variáveis verbais (comportamentos de falante e ouvinte) e perceptuais (imaginação) na relação com o desempenho motor.

American composer Christopher Theofanidis’s choral-orchestral work The Here and Now (2005) is a setting of Jalal ad-Din Rumi’s thirteenth-century poetry as translated by Coleman Barks. Theofanidis employs a cappella sonic contrasts, silence, rhythmic text setting, and a libretto based on fragments of Rumi’s poems to tell a story about the search for love, longing, joy, and gratitude. While rooted in traditional Western composition methods, this twenty-first-century work uses musical elements like color chords (bichords), cluster chords, changing meters, and modality, as well as imitative polyphony and unifying motifs within a new, tonal American aesthetic espoused by the Atlanta School of Composers, of which Theofanidis is a founding member. This DMA project presents warmups, rehearsal strategies, and teaching methods to guide the choir and conductor through the challenges of rhythmic text setting and dense harmonic language so that learning and performing The Here and Now is a rewarding endeavor.

Studien utforskar hur min livsvärld påverkades och förändrades då jag undersökte mina strategier för saxofonövning. Utgångspunkten för studien utgår från instuderingen som gjordes av Paul Bonneaus stycke Suiet pour saxophone alto et piano och de loggboksanteckningar som skrevs i samband med varje övningspass. Denna kvalitativa studie genomfördes utifrån ett livsvärldsperspektiv som kommer ur den fenomenologiska filosofin. Analysen av instuderingsprocessen kretsade kring mina reflektioner över hur jag ser på övning utifrån min livsvärld. I resultatet framkommer ett mönster som visar en övergång från negativt tänkande till mer positivt tänkande. Resultatet visar hur min livsvärld förändrades då jag undersökte de strategier som användes under instuderingen. Resultatet visar också hur jag med hjälp av forskning och litteratur har öppnat upp min livsvärld och ändrat mina tankegångar under skrivprocessen. Slutligen diskuterar jag resultatet i förhållande till litteratur och tidigare forskning inom området. / The study explores how my life-world was affected and changed when I examined my strategies for practicing saxophone. The starting point for the study is how I learned to play Paul Bonneaus piece Suiet pour saxophone alto et piano, and the logbook notes connected to each exercise session. This qualitative study is based on a life-world perspective coming from the phenomenological philosophy. The analysis of the rehearsal process revolved around my reflections on how I, in my life-world, perceived the exercises. The result shows a pattern of a transition from negative thinking to more positive thinking, and how my life world changed when I examined the strategies used during my practice. The result also shows how the research and literature opened up my life-world and changed my way of thinking during the writing process. Finally, I discuss the results in relation to literature and previous research within the field.

Au cours du XXème siècle jusqu’à aujourd’hui, des artistes d’horizons divers ont revendiqué comme oeuvres des gestes banals, effectués dans l’espace public. Réalisées au sein de la foule des grandes villes, aucune de ces actions n’a pourtant eu lieu en présence d’un spectateur. En raison de leur indiscernabilité artistique lors de leur effectuation, nous les nommons des « actions furtives ». Considérant que l’adjectif furtif qualifie ce qui cherche « à échapper au regard, à passer inaperçu », comment ces actions deviennent-elles oeuvres ? Notre travail s’attache à étudier ce paradoxe à travers notamment l’oeuvre de Vito Acconci, Adrian Piper, Jiří Kovanda ou Francis Alÿs. Nous cherchons à saisir l’élan qui a mené ces artistes à quitter les lieux traditionnellement consacrés à l’art pour embrasser la foule des grandes villes et faisons l’hypothèse d’une « attitude de la modernité » ; l’artiste s’engage activement dans le monde et son élaboration. Nous étudions ensuite la façon dont l’action furtive devient oeuvre et la structure qui se dessine, entre dissimulation et révélation. Les publications permettent à l’action furtive de faire oeuvre et fonctionnent comme des « écrans » qui désignent l’acte passé et le cachent à la fois, orientant la perception du spectateur à rebours. Enfin nous analysons la réception de l’action furtive devenue oeuvre, dont le délai instaure une relation dialogique et contribue à transformer le public. L’oeuvre affirme ainsi sa valeur d’exemplarité et invite le spectateur à agir. / Throughout the XXth century and still today, artists of diverse horizons have claimed for ordinary acts done out in public spaces the status of artworks. Created amidst big city crowd, none of these acts, however, took place in the presence of a spectator. Due to artistic indiscernibility during their effectuation, we name them “furtive actions”. Considering the adjective “furtive” to qualify which seeks to “to escape the look, to go unnoticed”, how might such actions become artworks? Our task is to study this paradox, notably through the works of Vito Acconci, Adrian Piper, Jiří Kovanda or Francis Alÿs.We aim to apprehend the energy that led these artists to leave the sites traditionally dedicated to art in order to embrace the metropolitan crowds. We propose as hypothesis an “attitude of the modern”; the artist engages actively within the world and its elaboration. We then study the way furtive action becomes art work and the structure that takes shape, between dissimulation and revelation. These publications enable the furtive action to become art and to function as “screens” that indicate the past act and at the same time conceal it, orienting in reverse the perception by the spectator. Finally, we analyze reception of the furtive action become art work, wherein the time-lapse sets up a dialogic relationship and contributes to a transformation of the public. The art work thus asserts its value of exemplarity and invites the spectator toward action.

It is a feature of present-day schooling, in South Africa and abroad, that music teachers are expected to organise and direct vocal ensemble activities, for example, yet adequate preparation provided in higher education courses for this role that the school music teacher has to fulfil, seems lacking. The purpose of this study is to compile a knowledge base that will enable the planning and development of a choral conducting curriculum, for use in South African tertiary institutions. The curriculum should be aimed at aspirant teachers in primary and secondary schools and community leaders who are culturally aware and who have a responsibility and interest in the choral field. Choral conducting as a recognised subject of an undergraduate study package is a relatively new academic field in South Africa. The envisaged curriculum needs to enhance the proficiency of choral conducting students within an educational context. The thesis is presented in five chapters of which Chapter 1 represents the background to the study, Chapter 5 summarises the study with recommendations and a conclusion, whilst Chapters 2 – 4 constitute the greater part of the research. Chapter 2 – Towards a definition of an effective conductor, offers a perspective on the various roles of conductors and investigates the nature of the art of choral conducting in order to move towards a definition of an effective conductor. In Chapter 3 – Current choral conducting curricula, the present situation with regards to choral conducting curricula in Australia, Austria, Canada, Czech Republic, Estonia, Finland, Germany, Hungary, Norway, Philippines, Russia, Slovenia, South Africa, Sweden, the Netherlands, the United Kingdom and the United States of America is discussed. Chapter 4 – Choral conducting skills, examines the knowledge and skills that ought to be part of a choral conductor's proficiency. The meaning of each component and its characteristics are discussed. The primary method of research was the review of literature in order to acquire an in-depth understanding of the theme under investigation. The researcher also used the Internet as source of information on national and international choral conducting curricula. / Dissertation (DMus)--University of Pretoria / Music / unrestricted

The purpose of this project was to observe and analyze Takis Muzenidis' methods of casting, rehearsal procedures and philosophy of directing as illustrated.in his production of The Libation Bearers at North Texas State University. Chapter I is an introduction to Muzenidis' background, qualifications and purpose for being at North Texas. Chapter II is a subjective description of Muzenidis' methods of casting, style of directing and relationship with the cast and crew. Chapter III discusses problems that occurred in the production. Chapter IV examines the production results through an audience analysis and interviews with the cast and crew. Chapter V is a summary of the thesis with a personal evaluation of the production and the director.

Communication, in its most basic sense, is foundational for any personal, human interaction and relationship. As theatre artists, we are charged with communicating complex story lines, conceptual ideas, and emotion to an audience. Sound communication is paramount to every aspect of a musical production, be it communication between actors/characters, actor and director, amongst the production team, and arguable the most important, between the actors and the audience. My years of education as a Masters in Fine Arts candidate in Musical Theatre have been spent polishing my ability to communicate physical and emotional choices with greater accuracy, depth, and truth. By staging Jason Robert Brown‟s musical The Last Five Years and performing the role of Jamie, this performance thesis will explore, develop, and examine my mastery of the aforementioned varied forms of communication, all of which are necessary in building a successful musical production. Research will be conducted to gather information on relevant topics, including the history of The Last Five Years, the life of Jason Robert Brown, and his musical and theatrical influences. By further understanding Brown, his life, and his ideas about his works, I hope to more fully understand and communicate the message of the musical itself. A dramatic and musical structural analysis will provide further depth and insight into the piece, with the hopes of informing my production and individual performance. A thorough character analysis will provide connective tissue that will allow myself, as the actor, to more effectively communicate the psychological and emotional make up of the character Jamie. Lastly, the thesis document will culminate with a production journal, documenting the pre-production, rehearsal, and performance process. Through the journaling process, I will document and address the iii journey that I have experienced with the production, giving focus and attention to its many obstacles and discoveries, successes and failures, all of which have contributed to my personal growth as a young theatre artist.

La simulation clinique peut causer un sentiment d’anxiété chez les participants, pouvant affecter, entre autres, leur capacité à intégrer des apprentissages. Des stratégies efficaces, mais non suffisantes, sont utilisées durant le prébriefing par les formateurs afin de diminuer ce sentiment d’anxiété. Une stratégie intéressante, mais peu étudiée dans un contexte de simulation clinique est la visualisation de type répétition mentale. Le but de ce mémoire était d’évaluer, auprès d’étudiants en sciences infirmières, l’effet d’une intervention de répétition mentale sur le sentiment d’anxiété et sur la perception de la performance en contexte de simulation clinique. La théorie de moyenne portée sur la simulation de la NLN/Jeffries et al. (2015) et les facteurs identifiés dans les écrits comme pouvant causer un sentiment d’anxiété ont encadré cette étude. L’intervention, d’une durée de 30 minutes, consistait en quatre étapes adaptées de la méthode d’Ignacio et al. (2016) : introduction à la répétition mentale, activité d’orientation interactive en ligne, activité de relaxation et activité de répétition mentale guidée. L’intervention a été proposée en prébriefing d’une simulation clinique en soins critiques auprès de 121 étudiants en sciences infirmières. Post-intervention, un questionnaire anonyme et autoadministré a été rempli par des participants sur une base volontaire (n=45 ; taux de réponse de 37 %). Les réponses ont été analysées selon l’approche inductive de Elo et Kyngäs (2008). Les résultats de l’analyse ont permis d’identifier trois catégories : effets positifs et négatifs sur le sentiment d’anxiété et sur la perception de la performance, et facteurs ayant diminué l’efficacité de l’intervention. / Clinical simulation can elicit a feeling of anxiety to participants. This feeling can have negative impacts on the capacity to retain knowledge, among others. Even though most educator-driven strategies used in prebriefing seem effective, they can be insufficient to mitigate the feeling of anxiety for some participants. Mental rehearsal is a strategy that has not been studied much in a nursing clinical simulation. The aim of this memoir was to evaluate the effects of a mental rehearsal intervention on the feeling of anxiety and on the perception of performance of undergraduate nursing students in a context of clinical simulation. The mid-range simulation theory by NLN/ Jeffries et al. (2015) and the factors identified in the literature as contributors to a feeling of anxiety in a simulation were the framework for this study. The 30 minutes intervention consisted of four phases, adapted from the method proposed by Ignacio et al. (2016): an introduction to mental rehearsal, an interactive online activity, a relaxation activity, and a guided mental rehearsal activity. The intervention was offered to 121 undergraduate nursing students during the prebriefing of a clinical simulation in critical care. After the intervention, an anonymous self-administered survey has been completed by participants on a voluntary basis (n=45; 37 % answering rate). The data analysis process followed the inductive approach proposed by Elo et Kyngäs (2008). Three categories were identified as results of the analysis: positive and negative effects on the perception of anxiety and performance, and factors that decreased the effectiveness of the intervention.