A primeira parte da tese investiga os deslocamentos da narrativa na obra de Luís Alberto de Abreu, em elementos de suas peças teatrais, em seus roteiros de cinema e nas implicações de processos em dinâmica coletiva de criação. Partindo de sua ideia de uma restauração da narrativa épica e com características orais no âmbito do teatro, este trabalho analisa a narratividade como criadora de imagens no personagem narrador, na \"imagem cheia\" dos roteiros e na configuração mais recente de um narrador em trânsito, distante da configuração de personagem como uma individualidade. Visando oferecer um campo teórico-prático de discussão às questões da narratividade e das relações criativas entre atores e dramaturgo em processo de criação teatral de dinâmica coletiva, a segunda parte da tese trata da realização de um laboratório de criação entre dramaturga e atores. Nele, foram desenvolvidos quatro eixos propositivos de criação dramatúrgica, de acordo com o ponto de partida e diferentes procedimentos: a lei do material, o território de criação dos atores, as composições da dramaturga e (Contra) dispositivos dramatúrgicos. Por fim, à luz das experiências do laboratório, configura uma ideia de cartografia que tem principalmente no dramaturgo aquele que rascunha e traceja mapas, aproximando sua ação criativa do gesto primordial do narrador. / The first part of the thesis investigates the narrative shifts in the work of Luis Alberto de Abreu, in elements of his plays and in his film scripts and the implications of the processes in the dynamics of the collective creation. Departing from his idea of restoration of the epic narrative and with oral characteristics of the theater, this part of the thesis analyzes the narrativity as the creator of images upon the narrator, in the \"full picture\" of the scripts and upon the newest configuration of a narrator in process, distant from the configuration of the character as an individual. Aiming at offering a theoretical and practical field of discussion to the questions of narrativity and the creative relationships between actors and playwright in a process of collective dynamics of theatrical creation, the second part of the thesis deals with the realization of a creative laboratory between playwright and actors. In this, four propositional axis for dramaturgical creation were developed according to the starting point and different procedures: the law of the material, the territory of creation of the actors, the compositions of the playwright and dramaturgical (counter) devices. Finally, in the light of the laboratory experiments, an idea of cartography begins to set up that has mainly playwright who drafts and outlines maps, bringing together his creative action of the primordial gesture of the narrator.

The diploma thesis deals with the field of musical theatre and specifies all the activities and competencies of a conductor throughout the process of preparation and subsequent realization of a musical performance. The text of the thesis consists of two parts. The theoretical part describes the characteristics of a musical, its brief world history and its integration into the Czech environment. It also maps the history of the Karlín Musical Theater and presents profiles of its current conductors. The aim of the theoretical part is to introduce the reader to the issues of this genre, to introduce its three basic components: music, drama and movement, and to point out the differences between classical musicals and those of a revue type. The second, practical part, focuses on the profession of conducting in the field of musical theatre. It demonstrates the specific activities of a conductor in two key genres of musical theatre: opera and musical. It also focuses on the means of expression a musical conductor works with, with a special emphasis on the tempo, which has been the subject of frequent discussions amongst members of different artistic components of the musical performance. In the following chapters, it introduces The Legend Called Holmes - The Musical, its script and its music genre. This...

No description available.

I have for as long as I can remember been interested and fascinated by theatre performances and their ability to create meaning, significance and understanding towards their audience. This has later on turned into a growing interest and curiosity for the rehearsal process, as it is within the rehearsals the meaning-making aspects of a performance are both created and produced. Moreover has this curiosity generated to be a somewhat basis for this research.  Through a lens of dramaturgy is this study seeking to investigate how meaning, significance and narrative are created and established within a rehearsal process, namely the rehearsal process of Mellanförskapet at Unga Dramaten. Explore the in-between-ness of the rehearsal process in relation to the upcoming theatrical event and moreover focus on the dramaturgical strategies within the rehearsal. By engaging with autoethnographic methods for observing the rehearsals, is the aim of this study to investigate how meaning making practices within the theatre can be understood in the eye of an observer. Semi-structured interviews with the creative team have further on contributed to additional knowledge and valuable information about the rehearsal process in general. Moreover serves the concept of making meaning as a basis for the theoretical framework, discussed in relation to meaning making practices within the theatre, namely dramaturgy and performative actions. Since Mellanförskapet aims toward teenagers as its primary audience, are aspects of theatre for a younger audience [TYA] discussed in relation to dramaturgical strategies within the rehearsal process. Moreover are themes and topics raised within Mellanförskapet such as intercultural identity, racism and bullying discussed in regards to TYA as well as dramaturgical strategies within the rehearsal process.

The field of machine learning currently draws massive attention due to ad- vancements and successful applications announced in the last few years. One of these applications is self-driving vehicles. A machine learning model can learn to drive through behavior cloning. Behavior cloning uses an expert’s behavioral traces as training data. However, the model’s steering predictions influence the succeeding input to the model and thus the model’s input data will vary depending on earlier predictions. Eventually the vehicle may de- viate from the expert’s behavioral traces and fail due to encountering data it has not been trained on. This is the problem of sequential predictions. DAG- GER and its improvement SafeDAGGER are algorithms that enable training models in the sequential prediction domain. Both algorithms iteratively col- lect new data, aggregate new and old data and retrain models on all data to avoid catastrophically forgetting previous knowledge. The aggregation of data leads to problems with increasing model training times, memory requirements and requires that previous data is maintained forever. This thesis’s purpose is investigate whether or not SafeDAGGER can be improved with continual learning to create a more scalable and flexible algorithm. This thesis presents an improved algorithm called EWC-SD that uses the continual learning algo- rithm EWC to protect a model’s previous knowledge and thereby only train on new data. Training only on new data allows EWC-SD to have lower training times, memory requirements and avoid storing old data forever compared to the original SafeDAGGER. The different algorithms are evaluated in the con- text of self-driving vehicles on three tracks in the VBS3 simulator. The results show EWC-SD when trained on new data only does not reach the performance of SafeDAGGER. Adding a rehearsal buffer containing only 23 training exam- ples to EWC-SD allows it to outperform SafeDAGGER by reaching the same performance in half as many iterations. The conclusion is that EWC-SD with rehearsal solves the problems of increasing model training times, memory re- quirements and requiring access to all previous data imposed by data aggre- gation. / Fältet för maskininlärning drar för närvarande massiv uppmärksamhet på grund av framsteg och framgångsrika applikationer som meddelats under de senaste åren. En av dessa applikationer är självkörande fordon. En maskininlärningsmodell kan lära sig att köra ett fordon genom beteendekloning. Beteendekloning använder en experts beteendespår som träningsdata. En modells styrförutsägelser påverkar emellertid efterföljande indata till modellen och således varierar modellens indata utifrån tidigare förutsägelser. Så småningom kan fordonet avvika från expertens beteendespår och misslyckas på grund av att modellen stöter på indata som den inte har tränats på. Det här är problemet med sekventiella förutsägelser. DAGGER och dess förbättring SafeDAGGER är algoritmer som möjliggör att träna modeller i domänen sekventiella förutsägelser. Båda algoritmerna samlar iterativt nya data, aggregerar nya och gamla data och tränar om modeller på alla data för att undvika att katastrofalt glömma tidigare kunskaper. Aggregeringen av data leder till problem med ökande träningstider, ökande minneskrav och kräver att man behåller åtkomst till all tidigare data för alltid. Avhandlingens syfte är att undersöka om SafeDAGGER kan förbättras med stegvis inlärning för att skapa en mer skalbar och flexibel algoritm. Avhandlingen presenterar en förbättrad algoritm som heter EWC-SD, som använder stegvis inlärningsalgoritmen EWC för att skydda en modells tidigare kunskaper och därigenom enbart träna på nya data. Att endast träna på nya data gör det möjligt för EWC-SD att ha lägre träningstider, ökande minneskrav och undvika att lagra gamla data för evigt jämfört med den ursprungliga SafeDAGGER. De olika algoritmerna utvärderas i kontexten självkörande fordon på tre banor i VBS3-simulatorn. Resultaten visar att EWC-SD tränad enbart på nya data inte uppnår prestanda likvärdig SafeDAGGER. Ifall en lägger till en repeteringsbuffert som innehåller enbart 23 träningsexemplar till EWC-SD kan den överträffa SafeDAGGER genom att uppnå likvärdig prestanda i hälften så många iterationer. Slutsatsen är att EWC-SD med repeteringsbuffert löser problemen med ökande träningstider, ökande minneskrav samt kravet att alla tidigare data ständigt är tillgängliga som påtvingas av dataaggregering.

In an attempt to investigate the impact of planning on second language (L2) oral production, an experimental study that contrasted the effects of two types of pre-task planning (strategic planning vs. rehearsal) on the L2 oral task performance of 64 Japanese university EFL learners under different modality (aural vs. written) and language (L1 vs. L2) conditions of pre-task input was conducted. The main aim was to determine whether strategic planning (i.e., silent preparation) and rehearsal (i.e., active practice) before L2 oral tasks differentially impact performance in terms of fluency, complexity, and accuracy. An additional aim was to examine the effects on performance of providing pre-task input to assist planning. Furthermore, I elicited the learners’ perceptions of the value of the pre-task input toward assisting their oral task performance via 5-point Likert scale post-task questionnaires. No difference was found between strategic planning and rehearsal in their effects on L2 oral task performance regarding fluency, complexity, or accuracy. This result suggests that, when it comes to pre-task planning, L2 teachers can generally have their learners engage in either strategic planning or rehearsal without differentially impacting their task performance. Concerning the provision of pre-task input, the L1 and L2 input induced commensurate levels of fluency and complexity. However, the L2 input led to significantly greater accuracy of oral production than did the L1 input. This finding is important as it suggests that L2 learners can possibly acquire something from the input provided to them in the course of pre-task planning. Moreover, the post-task questionnaire results corroborated this finding as the participants indicated that the L2 input significantly enhanced their accuracy and also helped them use a wider range of vocabulary during the tasks. Thus, if the aim of a teaching or testing situation is oriented toward fluency, the results indicate that it makes no difference whether pre-task input is in learners’ L1 or L2. In contrast, if the aim is oriented toward accuracy, then teachers and testers should provide L2 input in order to facilitate optimal performance. / Language Arts

The aim of this thesis is to undertake a comparative study of contemporary British and German-language playwriting, with an eye specifically towards possible reasons and solutions for the problematic situation of German-language playtexts in Britain. I will first conduct a stylistic analysis of a selection of British and German-language playwrights, focusing on the differences in representation of interiority through dialogue and narration. I will then introduce a phenomenological lens that will expand this literary analysis by looking at specific stagings of these texts, and at the use of gestures in particular. Tracing the performative implications of dialogue and narration in their relationship with gestures, I will suggest that while dialogue mostly requires metonymical gestures, the phenomenology of narration is better served by a more metaphoric use. This is followed by a chapter on translation, which will look at the specific problems and chances posed by narration and so-called ‘postdramatic’ plays in general. After these theoretical considerations, I will scrutinise my findings in a practical environment in two major steps. The first step is a comparative rehearsal observation of one German and one British director and their work with contemporary playtexts. My main question will be in how far the tendency towards dialogue in British plays and towards narration in German-language plays is matched by corresponding trends in the directors’ formal language. Furthermore, I will contextualise the work of these two directors in the larger field of directing in their respective countries. The second and final step of my practical investigation will be an implementation and testing of the previous theses in two directing projects of my own. I will again focus on rehearsal methodologies, attempting to find out which methodologies are particularly useful for the rehearsal of narrative playtexts and thereby hoping to formulate some first ideas for the specific requirements of German-language playtexts in a British context.

This thesis explains the acting method used by Caleigh Keith while portraying the role of Nancy Shedman in Romulus Linney’s Holy Ghosts. Included are chapters of historical research, character analysis, and a production report, which includes a scored script, rehearsal and performance journal, and a self-evaluation of the actor’s work. Holy Ghosts was produced by Theater UNO at the University of New Orleans in the Robert E. Nims Thrust Theater of the Performing Arts Center. It opened Tuesday, February seventh, and ran through Sunday, February twelfth, two thousand and twelve. Evening performances were at seven-thirty and Sunday’s matinee was at two o’clock in the afternoon.

O objetivo principal deste trabalho é estudar os processos de desenvolvimento da escuta melódica de adultos, sem formação musical, integrados a coros vocacionais, com o intuito de poder melhorar a performance vocal do grupo. Tendo como objeto o processo de formação do Coral Oficina Comunicantus, grupo integrado ao Comunicantus: Laboratório Coral do Departamento de Música da Escola de Comunicações e Artes da Universidade de São Paulo. Nosso método de coleta de dados foi baseado nas observações dos ensaios e nas análises das avaliações (relatórios) feitas pelos monitores integrados ao Comunicantus: Laboratório Coral, através dos quais procuramos vislumbrar as necessidades de aprendizagem dos coralistas do coro supracitado. Por se tratar de uma pesquisa ora de observação ora interativa, atuamos combinando tais ações e orientando o desenvolvimento das habilidades inerentes à escuta melódica em aspectos pré-definidos. Durante o processo investigativo, utilizamos como método referencial de análise, dos conteúdos musicais, os trabalhos do Prof. Dr. Marco Antonio da Silva Ramos e do Prof. Paulo Rubens Morais Costa e, por outro lado, a produção bibliográfica de educadores como César Coll e Teresa Mauri, que atuaram na reforma escolar espanhola, de forma a subsidiar nossas escolhas pedagógicas e didáticas para atuar junto aos coralistas. Como resultado desse processo, pudemos desenvolver algumas atividades que contribuíram para a resolução de certas necessidades de aprendizagem momentâneas deste grupo e também suscitaram a criação de outras que foram utilizadas oportunamente, após o término do prazo definido de observação e interação a que este trabalho se refere. / This dissertation aims mainly at studying the processes of development of melodic hearing by adults who do not have any musical formation and yet join vocational choirs in order to improve the vocal performance of the group. Its object is the process of formation of the Educational Lab-Choir Comunicantus, which belongs to the Comunicantus Choral Office of the Department of Music of the School of Communication and Arts of the University of São Paulo. The method of data collection was based on rehearsal observations and on the analysis of evaluations (reports) made by student trainees integrated in the Comunicantus Choir Office, through which we trie to identify the gaps in learning of the choir singers. As the research is partly made up of observations and partly interactive, action was taken so as to combine these actions and give advice on the development of skills innate to melodic hearing in predefined aspects. Along the process of investigation, the Referencial de Análises of the musical contents by Professor D. Marco Antonio da Silva Ramos and Professor Paulo Rubens Morais Costa were used as a method. On the other hand, the works by educators as César Coll and Teresa Mauri, who worked in the Spanish school reform, were used to provide pedagogical and didactic choices for us to act with the choral singers. As a result of this process, some activities were developed that contributed to offer solution to some specific learning needs of this group and also made possible the creation of others that were used, whenever suitable, after the period of observation and interaction.

O objetivo principal deste trabalho é estudar os processos de desenvolvimento da escuta melódica de adultos, sem formação musical, integrados a coros vocacionais, com o intuito de poder melhorar a performance vocal do grupo. Tendo como objeto o processo de formação do Coral Oficina Comunicantus, grupo integrado ao Comunicantus: Laboratório Coral do Departamento de Música da Escola de Comunicações e Artes da Universidade de São Paulo. Nosso método de coleta de dados foi baseado nas observações dos ensaios e nas análises das avaliações (relatórios) feitas pelos monitores integrados ao Comunicantus: Laboratório Coral, através dos quais procuramos vislumbrar as necessidades de aprendizagem dos coralistas do coro supracitado. Por se tratar de uma pesquisa ora de observação ora interativa, atuamos combinando tais ações e orientando o desenvolvimento das habilidades inerentes à escuta melódica em aspectos pré-definidos. Durante o processo investigativo, utilizamos como método referencial de análise, dos conteúdos musicais, os trabalhos do Prof. Dr. Marco Antonio da Silva Ramos e do Prof. Paulo Rubens Morais Costa e, por outro lado, a produção bibliográfica de educadores como César Coll e Teresa Mauri, que atuaram na reforma escolar espanhola, de forma a subsidiar nossas escolhas pedagógicas e didáticas para atuar junto aos coralistas. Como resultado desse processo, pudemos desenvolver algumas atividades que contribuíram para a resolução de certas necessidades de aprendizagem momentâneas deste grupo e também suscitaram a criação de outras que foram utilizadas oportunamente, após o término do prazo definido de observação e interação a que este trabalho se refere. / This dissertation aims mainly at studying the processes of development of melodic hearing by adults who do not have any musical formation and yet join vocational choirs in order to improve the vocal performance of the group. Its object is the process of formation of the Educational Lab-Choir Comunicantus, which belongs to the Comunicantus Choral Office of the Department of Music of the School of Communication and Arts of the University of São Paulo. The method of data collection was based on rehearsal observations and on the analysis of evaluations (reports) made by student trainees integrated in the Comunicantus Choir Office, through which we trie to identify the gaps in learning of the choir singers. As the research is partly made up of observations and partly interactive, action was taken so as to combine these actions and give advice on the development of skills innate to melodic hearing in predefined aspects. Along the process of investigation, the Referencial de Análises of the musical contents by Professor D. Marco Antonio da Silva Ramos and Professor Paulo Rubens Morais Costa were used as a method. On the other hand, the works by educators as César Coll and Teresa Mauri, who worked in the Spanish school reform, were used to provide pedagogical and didactic choices for us to act with the choral singers. As a result of this process, some activities were developed that contributed to offer solution to some specific learning needs of this group and also made possible the creation of others that were used, whenever suitable, after the period of observation and interaction.