Thesis (M.A.)--Ohio University, June, 2008. / Title from PDF t.p. Includes bibliographical references.

Research Report required for the completion of Master of Arts – Applied Drama (MAAD) Drama for Life - Wits School of Arts - Wits University March 2015 / This study aims to explore ideas of liberation in relation to the present tendencies of gender representation in Tango. I argue that the traditional pedagogic model, observed in Johannesburg, tends to perpetuate hegemonic discourses mainly through terminology in which gender binaries, codes and subjectivities are normalized. Such representations reduce, or even reject, plurality and diversity by sustaining specific power dynamics, necessarily related to the role of men and women. Tango is characterized by certain aesthetic elements described in this thesis, and here I prioritize the analysis of its role as a social dance, in the category of couples’ dances. I argue that couples’ dances are embedded in historically and socially constructed stereotypes; thus, the dynamics observed in balls are not capable of reflecting present gender complexities and identities. To do so, I first present a critical reflection of the history of couples’ dances and Tango, along with my own lived experience as a movement facilitator. Then, I present descriptions of the first phase of the research, the Performance as Research (PAR) project in which I aimed to deconstruct hegemony by challenging gender fixities. The PAR included creative processes, interviews, performance, media and textual production, and the main outcome was related to the pedagogy of dance, presenting the DE-GENDERED MODEL of teaching-learning. In the second phase of research, or what I call the fieldwork, I engaged with different methods, such as dance meetings based on investigative approaches, body mapping, micro-performance, group discussions and questionnaires to collect data together with a group of 9 participants. I made sense of all the information collected during PAR, and, given by participants during fieldwork, by correlating theories of performance, critical pedagogy, gender and queer studies, with the purpose of including collaborative pathways of embodiment.

Thesis (Ph. D.)--University of California, San Diego, 1998. / Vita. Includes bibliographical references (leaves 149-151).

Orientador: Francisco Elinaldo Teixeira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T12:01:16Z (GMT). No. of bitstreams: 1 LopezGallucci_NatachaMuriel_D.pdf: 14025119 bytes, checksum: a406f32a4fbed8d6196a6b893086c00d (MD5) Previous issue date: 2014 / Resumo: Neste trabalho pretende-se pesquisar e refletir sobre o corpo performático do tango interveniente na evolução estilística e nos modelos de representação da cinematografia argentina. Tomando como paradigma o processo de criação do corpo gestual codificado do tango dança dentro do espaço fílmico, o estudo propõe-se a investigar, em perspectiva histórica, as dimensões axiológica e estética a que serviram sas representações da dança nos períodos mudo, clássico, moderno e contemporâneo na Argentina. Essas criações fílmicas constituem um locus, âmbito do intercâmbio de saberes e práticas corporais ritualizadas e espetaculares do povo, e no contexto sociocultural o tango opera como uma categoria de análise estética e de transmissão de valores que constitui um verdadeiro sistema de representação social. Esta pesquisa revelou, nas análises fílmicas e nos estudos fotográficos e coreográficos realizados, de maneira participante, o papel do tango dança na consolidação de uma linguagem cinematográfica característica, cuja dimensão tem sido sistematicamente ignorada pela historiografia. O corpus fílmico organizado neste recorte permite fundar e fundamentar, do ponto de vista imagético, uma discussão estética, mostrando a presença de operações próprias da linguagem cinematográfica, inerente à concepção coreográfica e à filosofia do corpo presentes no tango dança / Abstract: On this study it is intended to research and reflect about tango¿s performance body intervenient in the stylistic evolution and in the representation models from Argentina¿s cinematography. Having as a paradigm the process of creation of the gestural body coded from the tango dance within the film space, the study has the proposal to investigate, in a historical perspective, the axiological and aesthetic dimensions to which served in the representations of the mute, classic, modern and contemporary periods in Argentina. The film representations of the dance constitute a locus, scope of the exchange of corporal knowing and practices ritualized and spectaculars from the people, and tango operates as a category of aesthetic analysis and transmission of sociocultural values which constitutes a truly system of social representation. This research has revealed that, in the film analysis and photo and choreographic studies performed, from a participant manner, the role of tango dance in the consolidation of a characteristic cinematographic language, in which its dimension has been systematically ignored by the historiography; the film corpus organized on this essay allows us to establish and fundament, form the magnetic point of view, an aesthetic discussion, showing the presence of proper operations of the cinematographic language, inherent to the choreographic conception and body¿s philosophy present in the tango dance / Doutorado / Multimeios / Doutora em Multimeios