Global ETD Search

1	Persuasive Performance: Articulating a Space Between the Disciplines of Rhetoric and Performance Studies McKinney, Joshua Evans 01 June 2016 (has links) This work explores persuasive performances, or performances which are wrought in order to affect changes in the thoughts, attitudes, emotions, ideas, beliefs, and opinions of others. Such performances are located in a space between the disciplines of performance studies and rhetoric. This work offers one way in which such performances might be better understood by proposing a model of negotiation comprised of the techniques of rhetorical dramatism and performance studies. A political debate and parts of Shakespeare's The Tempest are analyzed as examples using the model. This work represents an invitation to scholars of the disciplines of rhetoric and performance studies to act together -- to consubstantiate-- in order to better explore the space between their disciplines. rhetoric performance studies persuasion Kenneth Burke Richard Schechner Theatre and Performance Studies
2	Performance art jako hraniční forma uměleckého projevu / Performance Art as a Border Form of Artistic Expression Vatulíková, Andrea Unknown Date (has links) While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis of physical trainings that work with the zero point in theater, dance and performance arts. Primary output of this work is then analysis of physicality as culturally encoded construct and the practical part of disseration is focused on the realisation of the point zero symposium.
3	Vigselgudstjänstens teologi i praktiken : Fallstudier av vigselgudstjänster i Svenska kyrkan utifrån liturgisk teologi, performanceteori och ritteori / Wedding Service Theology in Practice : Case Studies of Wedding Services in the Church of Sweden from the perspective of Liturgical Theology, Performance Theory and Ritual Theory Ingrid, Dahlström January 2021 (has links) In this essay I have studied wedding services in the Church of Sweden, as they are actually performed. I do this from a liturgical-theological perspective, a performance- perspective and from the perspective of ritual studies. According to the performance- perspective the wedding service can be seen as consisting of different scripts, for example, the normative script of the handbook, the script of the wedding-couple and the script of the minister. The main question is: What is constructed when these three scripts meet in a wedding service? I first study each script. I give an account for the script of the handbook and analyse it by placing it in a historical, liturgical and theological context. The script of the wedding couple and the minister I uncover by participant observations of three wedding services and interviews with the couples and ministers acting in these services. Thereafter I analyse the scripts of the couples and the minsters looking at themes that appear to be important in these scripts and in the handbook. Such themes are the wedding service as a service of blessing, the legal aspect of the service, the construction of family through marriage, love, the service as a ritual, the setting of the wedding, the role of the minister, the importance of participation and the role of the music. I conclude that the three scripts are indeed three very different scripts, but when they are juxtaposed a new meaning is constructed. This can occur even if the script are not correlating or even to some extent collides. One important factor for meaning to be constructed is the ritualization, acts that make the service a ritual. This seems to be more important than the fact that the scripts correlate. Another important factor for meaning to be constructed is that the scripts actually meet, that they actually are juxtaposed together. For this to happen the minister has to clarify his/her own script and be responsive to the couple’s script. Then the minister can relate their script to blessing, prayer and scripture. Normatively, I conclude that the wedding service becomes a meaningful wedding service when the couple’s scripts are related to the greater, transcendent Script Practical theology liturgical studies wedding service Church of Sweden liturgical theology performance theory ritual theory Alexander Schmemann Aidan Kavanagh Gordon Lathrop Richard Schechner Catherine Bell Praktisk teologi liturgivetenskap vigselgudstjänst Svenska kyrkan liturgisk teologi performanceteori ritteori Alexander Schmemann Aidan Kavanagh Gordon Lathrop Richard Schechner Catherine Bell Religious Studies Religionsvetenskap
4	Le "pour de vrai" et le "vrai" en art performance : fiction vs trace / The "Like true" and the"True" in performance art : Fiction Vs Trace Lagouarde, Clément 04 July 2018 (has links) L’art performance est un art contemporain difficile à définir. Néanmoins il peut se décrire par l’action d’un artiste de performance qui, à la différence du théâtre traditionnel, se présente lui-même devant un public, s’infligeant parfois de véritable blessure. Cet art questionne le « pour de vrai » et le « vrai ». En le comparant au théâtre il semble moins fictif car les blessures est le sang sont « vrais », et sa trace (captations vidéos, captations sonores, photographies, objets, croquis, écrits, etc.) le prouve. La fiction et la trace paraissent opposées, là où la première est une invention (le « pour de vrai ») l’autre est un élément pérenne d’une action vécue (le « vrai »), l’art performance permettrait alors de penser ces deux notions non plus comme opposés mais comme corrélatives. L’art performance présente sa trace comme un élément pérenne d’une action plus ou moins inventée : le « vrai » dont la frontière avec le « pour de vrai » peut être questionné. Cette thèse argumente ces hypothèses à travers une première partie comparative entre l’art performance et l’art théâtral, avec comme problématique la fiction qui semble opposée au « vrai ». Et une seconde partie corrélative sur le possible « pour de vrai » de la trace, qui permet l’étude de trois traces épistémologiques : la mémoire, l’écriture et l’indice à travers des exemples respectifs d’artistes de performance. / Performance art is a contemporary art is hard to define but which can be described as an action made an audience by a performance artist who, in contrast to the traditional theater, is the artist himself is inflicting sometimes real physical injuries. This art questions the 'like true' and the 'true' and seems less fictitious than traditional theater because blood’s physical injuries is 'true' and that he uses his trace as evidence (video recordings, sound recordings, photographs, objects, sketches, written, etc.). If the fiction and the trace seem opposed, because the first is an invention (the "like true") the other is a sustainable living action (the ' true') element, performance art then would think these two concepts not as opposites but as Horn related. As performance art, object of study here, presents his trail as a perennial element of a more or less invented action: as the 'true' including the border with the "like true" can be questioned. This thesis argues its assumptions through a comparative part between performance art and theatrical art, with as problematic fiction that seems opposite to 'true'. And a second consequential part on the possible "like true" of the trace, which allows the study of three epistemological traces : memory, writing, and trifle through respective examples of performance artists. Art performance Performance Performeur Fiction Pour de vrai Trace Vrai Théâtre Art scénique Mimèsis Jean-Marie Schaeffer Imitation Représentation Connaissance Public Richard Schechner Alexandre Serres Paul Ricœur Mémoire Marina Abramovic Jacques Derrida Ecriture HP Process Carlo Ginzburg Indice Mike Kelley Performance Art Performance Performer Fiction Like true Trace True Theater Scenic art Mimesis Jean-Marie Schaeffer Imitation Representation Knowledge Public Richard Schechner Alexandre Serres Paul Ricœur Memory Marina Abramovic Jacques Derrida Writing HP Process Carlo Ginzburg Trifle Mike Kelley
5	Evangelistic Performance in New Zealand: The Word and What is Not Said Bond, Greta Jane January 2008 (has links) In 1518, Martin Luther is reputed to have nailed his 95 theses to the door of the Castle Church at Wittenberg, an act that sparked the Protestant Reformation. Luther sought change in the Catholic Church: a return to an unmediated relationship with God based on a closer understanding of the Word. Since then, Protestant evangelism has been a force for social change: and this is particularly true in New Zealand, where evangelism has gone hand in hand with the colonisation of the country. This thesis proposes that it is not, in fact, the literal understanding of the Word that gives these services meaning, and that such an understanding is problematic and perhaps even impossible: the Word is always a translation. Instead, it is through what is not said - the performative aspects of evangelistic services, including the use of space, the actions of the evangelist, and pre-existing cultural “horizons of expectation” - that meanings are produced. Taking as material Samuel Marsden’s first service in New Zealand in 1814, in which the Word was preached in English to a congregation who primarily spoke only Maori, the more contemporary example of televangelist Benny Hinn, who performs miracles to television cameras, and the religious and political performances of Destiny Church’s Brian Tamaki, this thesis uses the tools of performance studies to undertake an ethnographic study of evangelistic services. This brings into focus the ways in which evangelists may create congregations and produce meanings in their services through different modes of performance and the ways in which these ulterior meanings impact, and have impacted, on New Zealand society. Performance Studies Performance Theatre New Zealand Maori Colonisation Protestantism Catholicism Reformation God performance New Zealand Richard Schechner Remake Falkenberg evangelism Brian Tamaki Benny Hinn Samuel Marsden Ruatara First Service Martin Luther Wittgenstein John Calvin Drama Religious performance Religion Political Performance Aesthetics Language Translation The Bible The Word Space Healing Miracle Crusade Rangihoua Christchurch Wellington

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