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The term "Psychological ballet" has been used in reference to Antony Tudor's ballets dating from John Martin's January 16, 1940, review of "Lilac Garden" in The New York Times. Until this thesis, the psychological ballet as a genre has been overlooked and left undefined. The Psychological Ballet can be defined by: (1) using Antony Tudor's "Pillar of Fire" as a model example and (2) analyzing the term "psychological ballet" into its two components "Psychological," and "Ballet," respectively. The contribution of drama, with attention to character, is explored. Those dance works which do not fall under the category of Psychological Ballet but are works whose themes "have mental origin or are affected by mental conflicts and/or states" will be defined as Psychogenic Works.

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Practice and modeling are common approaches to teaching motor skills. Qualitative and quantitative feedback have also been used to improve complex skill learning. The purpose of this study is to determine if providing real-time kinematic feedback in addition to traditional training will enhance skill acquisition of unskilled dancers when compared to traditional dance instruction alone. Two groups of dancers participate in testing and training protocols including a traditional group and a biofeedback training group to examine differences between the two teaching methods. Significant differences were found due to time for knee flexion and hip rotation. Significant differences due to training group were found at one time point for knee flexion. The main finding of this study was that the addition of biofeedback had a limited effect on skill acquisition on beginning level dancers. / School of Physical Education, Sport, and Exercise Science

This document is a written report that reviews and examines aspects of production involved in the presentation of a full-length ballet based on J.M. Barrie's classic adventure tale Peter Pan presented by Ballet Victoria at the MacPherson Playhouse in Victoria on February 5, 6 and 7, 2004, for which I was commissioned to compose an original musical score and co-direct the stage. This report reviews directorial, compositional, and choreographic strategies and techniques that were empolyed in the process of production. The different methods of collaboration between composer and choreographer are also examined, and a scene-by-scene synopsis, accompanied by details of problems that arose and the manner in which they were solved, is given. The report closes with a section that details the response of cast, critics, and audience that the production elicited. / Graduate

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Thesis (Ph. D.)--University of Florida, 2006. / Title from title page of source document. Document formatted into pages; contains 168 pages. Includes vita. Includes bibliographical references.

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Dr. Tricia Young, Florida State University, College of Arts and Sciences, Interdisciplinary Program in the Humanities. Title and description from dissertation home page (viewed June 9, 2005). Document formatted into pages; contains vii, 209 pages. Includes bibliographical references.

Thesis (Ph. D.)--University of California, Los Angeles, 1997. / Thesis prepared for Dept. of Musicology. "Bibliography"-leaves 397-422.

Inaug.-Diss.--Leipzig. / Processed. Lebenslauf. "Anmerkungen" (Bibliographical): p. 209-224.