This thesis presents Mirella Freni as pedagogue and focuses on her educational projects, from short-term pedagogical activities to the founding of the CUBEC institute, an international center for belcanto singing in Modena, Italy. The work presents a detailed account of the founding of CUBEC, and analyses its methods of auditioning and teaching students. The final part of the work confronts knowledge of Mirella Freni´s pedagogical qualities with author´s personal experience. The work also contains chapters on the life of Mirella Freni, capturing pivotal moments in her life, from childhood to the end of her Professional singing career. The conclusion of the work presents Mirella Freni´s personal contribution to the author of the thesis.

The intent of this thesis is to study a variety of vocal techniques and identify how to solve different vocal challenges in the musical theatre song, "The Girl in 14G." In order to be successful in the entertainment business, it is imperative that a singer performs healthily and in a variety of music styles. Through an exploration of Lessac Kinesensic Training, Estill Voice Training Systems and Bel Canto techniques, a singer can gain a holistic perspective about voice. I will study with three voice teachers, each of whom specializes in one of the aforementioned techniques. This thesis will reveal how each voice teacher brought her expertise to the lesson. It is a singer’s responsibility to ensure she is well rounded and knowledgeable about her voice, and the different approaches to teaching voice. Solutions that reflect different techniques will be analyzed. Observations and discoveries made in private voice lessons will also be described. Documentation of lessons with each teacher will provide insight about the distinctions and similarities in vocal techniques. This thesis is intended to serve as a starting point for students and teachers to satisfy their own vocal curiosity and exploration.

En esta investigación se profundiza en la analogía existente entre el concepto de teatro posdramático y el movimiento no danza con el fin de desarrollar una metodología para examinar las propuestas coreográficas que se circunscriben dentro del denominado movimiento no danza. Para construir esta herramienta de estudio, se partirá del esquema tipológico presentado por el filósofo inglés Peter Osborne para definir la negación en el arte conceptual que se da a través de cuatro características: la negación de la objetividad material, la negación de la especificidad del medio, la negación de la significación visual y la negación de la autonomía de la obra de arte. Dicho esquema nos servirá para verificar el vínculo entre lo posdramático y la no danza, pero mediante la idea de ausencia, no como negación. Luego, este instrumento se aplicará a través del análisis de cuatro elementos de la estética posdramática como son el texto, el cuerpo, el espacio y el tiempo con la finalidad de explorar la forma en que se manifiestan dichos aspectos en las cuatro primeras piezas dancísticas del coreógrafo francés Jérôme Bel, quien es considerado uno de los líderes del movimiento no danza. Los montajes de Bel a analizar serán Nom donné par l’auteur (1994), Jérôme Bel (1995), Shirtologie (1997) y Le dernier spectacle (1998). De este modo se explicará cómo es que, a través del concepto de ausencia como recurso estético, no sólo se reflexiona sobre la danza misma, sino que también se manifiesta el discurso posdramático de crítica a la representación escénica en general. / This research delves into the existing analogy between the concept of postdramatic theater and the non-dance movement in order to develop a methodology to examine the choreographic proposals that are circumscribed within the so-called non-dance movement. To build this study tool, we will start from the typological scheme presented by English philosopher Peter Osborne to define the negation in conceptual art that occurs through four characteristics: the denial of material objectivity, the denial of the specificity of the medium, the negation of visual significance and denial of the autonomy of the artwork. This scheme will help us to verify the link between the postdramatic and non-dance, but through the idea of absence, not as negation. Then, this instrument will be applied through the analysis of four elements of postdramatic aesthetics such as text, body, space and time in order to explore the way in which these aspects are manifested in the first four dance pieces of the French choreographer Jérôme Bel, who is considered one of the leaders of the non-dance movement. The montages of Bel to be analyzed are Nom donné par l’auteur (1994), Jérôme Bel (1995), Shirtologie (1997) y Le dernier spectacle (1998). In this way, it will be explained how, through the concept of absence as an aesthetic resource, not only is it reflected on dance itself, but also the postdramatic discourse of criticism of stage representation in general is manifested.

The purpose of this treatise is to investigate the efficacy of vocal warm-ups/vocalises and their role in teaching vocal technique and health for the solo singer. In addition, it will provide a brief history of vocalises and methods of the “Bel Canto” era. Current literature addresses warm-ups for choral ensembles and choral singers. It does not adequately address solo/individual warm-ups and their impact on vocal technique, health and performances. Laryngologists and voice professionals were interviewed to better understand the role of vocalises in the study of voice and professional performance. These interviews were conducted in person, by telephone and via electronic mail correspondence. Voice teachers and singers were surveyed on their current vocal warm-up practices both in the voice studio and in performance. Surveys are to be administered in three ways: 1) hard copy surveys delivered at the National Association of Teachers of Singing National Conference 2008; 2) selected nationally known teachers and singers received via ground mail a copy of the survey; 3) an online survey. This study was directed to obtain answers to the following questions: 1) Is there a standard methodology for vocal warm-ups?; 2) If so, how has this methodology evolved over time?; 3) What is the current use of vocal warm-ups and vocalises by voice instructors and professional voice users?; 4) How does the use of vocal warm-ups and vocalises influence the effectiveness of vocal performance?; 5) Does the use of vocal warm-ups or vocalises contribute to the health of the singer, thus resulting in an excellent vocal performance?; 6) Does practicing vocal warm-ups or vocalises have a positive effect on overall vocal health? This study aims to broaden the current understanding of vocalises and their impact on the teaching and performing of classical voice. / text

This dissertation investigates the modern American stadium from the late 1940s to the early 1980s, examining the ideologies that shaped these monumental buildings and the meanings people affixed to them. Stadiums were significant components of the modern landscape, frequently hosting massive audiences, costing tens of millions of public dollars, and uniquely symbolizing cities and their citizens’ civic spirit. Through interpretations of these stadiums’ architectural expression, spatial constitution, discursive construction, and visual representation, this study explores the ideological landscape of the modern United States, expands understandings of modern space, and examines what it meant to be “modern” throughout this period. A response to the old stadiums they replaced—largely masculine, inter-class, inter-racial, rambunctious places locked into run-down neighborhoods—new stadiums eliminated traditional and iconic sites of urban diversity, reconstituting sports spaces as modern, suburban, and technological. They re-gendered stadium space, integrating women into it as consumers and service workers. They re-classed stadium space, outfitting it with exclusive restaurants and private luxury boxes. They technologized stadium space, conspicuously loading it with exploding scoreboards and massive video screens. They re-racialized stadium space, relocating it from old ballparks adjacent dense African-American neighborhoods to open sites along freeways convenient to booming white suburbs or as anchors to clean-sweep downtown redevelopment. They fundamentally altered stadium experience, shifting emphasis from games on the field to entertainments and consumption opportunities around it. In doing all these things, modern stadiums materialized an ideological apparatus privileging a range of values and practices including gender distinction in mixed-gender settings, socio-economic and racial segregation, technological scientism, and consumption-oriented stimulation. Roy Hofheinz, the force behind the iconic Houston Astrodome’s planning and execution, fully understood the relationship of the material and the ideological; as he put it, “You’ve got to have tangibles to sell intangibles.” To illustrate these points, this dissertation engages postwar plans for futuristic new stadiums from designers like Norman Bel Geddes and Buckminster Fuller; the construction of new stadiums in the mid-1960s in New York, Houston, and St. Louis; and the increasingly routinized modern stadium of the 1970s—a controversial expression of modern progress for some, modern artificiality for others. / text

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

The diploma thesis maps the operation of the Bel Mondo lifestylu magazine, which was being published on the Czech market from October 2012 to December 2013. The authors' intentions were to bring a new type of magazine to the Czech market, inspired by foreign print publications such as Intelligent Life, which would combine entertainment with intelligence and present its readers with both original texts and licensed translations from foreign magazines. The thesis introduces the Bel Mondo magazine, puts it into the context of Czech magazine market, describes its operation and searches for reasons that led to its early termination. The theoretical bases for the thesis are gained from expert texts focused on print publishing and magazines. The research part of the thesis focuses on the analysis of thematic and advertising coverage, public response and comments by the editorial staff. The researched data helps to understand the incentive for creation of a new magazine and critically evaluate, whether Bel Mondo really was a unique concept capable of surviving in the Czech media market and whether it had a viable economic model. As the magazine operated under the auspices on the weekly magazine Respekt, the thesis also looks at the degree of interconnection between the two magazines.

Le thème des inégalités et ses corollaires, telles la pauvreté, la précarité, l’exclusion ou encore la ségrégation, se posent de plus en plus d’un point de vue de la justice et concerne à la fois les enjeux spatiaux et environnementaux. Comme pour marquer le paroxysme des inégalités, la question de la justice environnementale vient relancer le débat autour de l’accès aux ressources au sein des catégories sociales et spatiales, ainsi que le débat autour de l’inégale répartition et répercussion des externalités, causées entre autres par l’usage de ces dernières d’un point de vue environnemental.De New York à Dakar, malgré les différences de contextes socio-culturels et économiques, les mêmes phénomènes d’inégalités face aux conditions environnementales s’observent avec cependant des nuances dans les formes de manifestations et d’interprétations.Ce travail vise à réfléchir sur les déclinaisons que peuvent avoir les injustices environnementales dans la ville de Dakar à partir d’une approche élaborée dans les villes américaines, berceau des mouvements de revendications. Deux localités situées dans la baie de Hann sont choisies en raison des pollutions industrielles dont elles souffrent. Il s’agit de Hann-Bel-Air et de Thiaroye-Sur-mer.Partant de l’analyse des nuisances environnementales liées à la pollution industrielle, il s’agit de montrer l’importance de la « contextualisation » dans l’étude des injustices environnementales au regard des dynamiques socio-spatiales, mais aussi des perceptions face aux situations dites d’injustice. / The theme of inequality and its corollaries, such as poverty, insecurity, exclusion or segregation, comes more and more from a perspective of justice and concern at the same time the spatial and environmental issues. As to mark the paroxysm of inequalities, the issue of environmental justice comes revive the debate over access to resources within the social and spatial categories, as well as the debate about the unequal distribution and impact of externalities caused by the use of these resources from an environmental point of view.From New York to Dakar, despite the differences in socio-cultural and economic contexts, the same phenomena of inequality to environmental conditions are observed with some differences in the forms of manifestations and interpretations. This work aims to reflect on the variations that can have these phenomena of environmental injustice in the city of Dakar from an approach developed in American cities, the cradle of the protest movements. This work aims to reflect on the variations that can have these phenomena of environmental injustice in the city of Dakar from an approach developed in American cities, the cradle of the protest movements.Thus, based on the analysis of environmental pollution linked to industrial pollution, it is to show the importance of "contextualization" in the study of environmental injustice in terms of socio-spatial dynamics but also perceptions of the said situations of injustice .

Cette recherche vise à étudier les processus de transformation du « sale boulot » en « bel ouvrage » et ce en privilégiant la problématique de la reconnaissance de soi au travail, entendue comme résultant d’une tension entre les « usages de soi ». La division morale du travail à l'hôpital ordonne les tâches, mais aussi les métiers autour d’une répartition clivant les activités au service de la vie et les activités au service de l’épuration des traces de la mort. L’ investigation part de la notion de « sale boulot » et analyse les traces de cette division morale et psychologique du travail, ici celles qui se réfèrent à des activités de confrontation à la mort.Le cadre théorique retenu articule l’éclairage anthropologique et historique du traitement de la mort dans la société et dans l’hôpital, le concept de négatif psychosocial comme analyseur de la hiérarchisation morale du travail et la reconnaissance de soi, discutée par les théories de la clinique du travail. Ici, l’activité est l’unité d’analyse fondamentale et le collectif de travail est conceptualisé comme espace transitionnel où les usages de soi sont dialectalisés. Les activités analysées et comparées sont les Interruptions Médicales de Grossesse (IMG) et les Interruptions Volontaires de Grossesse (IVG) dans une unité de gynécologie ainsi que celles d’accompagnement de la fin de vie en équipe mobile de soins palliatifs. La méthodologie s’inscrit dans la tradition de la recherche action et s’appuie sur l’observation-participante et la conduite d’entretiens semi-structurés auprès de soignants et de leur encadrement. Les résultats de cette recherche sont présentés selon trois axes : la hiérarchisation morale des unités, des professionnels et des activités est articulée aux stratégies défensives collectives, aux idéologies de métier: elles contribuent à la définition et à la délégation du « sale boulot » dans l’organisation du travail. Le deuxième axe présente les différentes configurations groupales en fonction de la sollicitation d’affects archaïques dans les activités, liant ou déliant les collectifs de travail. Des stratégies de dégagement ont été identifiées : elles ouvrent la voie à la construction des trames symboliques qui permettent de domestiquer les résonances fantasmatiques de la confrontation avec « l’objet » de travail, la mort et ses équivalents symboliques, la maladie, la vieillesse, la déficience, la perte, le manque ... La capacité d’instituer de nouvelles normes et de se reconnaître dans son travail puise dans des configurations collectives fondées sur des règles partagées. Dans les cas de défaillances du collectif de travail, le recours aux ressources trans-individuelles permet de subvertir le négatif en travail estimable : elles renvoient au travail de civilisation, dans ses différentes dimensions. / This research aimed at studying the process of transformation of “dirty work” into “commendable work”. This was done by highlighting self-recognition at work, understood as the result of self-agency tensions. Work moral division at the hospital organizes tasks as well as careers through the separation of life-preserving related activities from death-reminiscence related ones. The research focuses on the notion of “dirty work” and analyzes, through death-related activities, work’s moral and psychological division.The theoretical framework used articulates anthropological and historical views on how modern society and thereby, the hospital deals with death; intertwining theories derived from “work’s clinical psychology” with the concept of psychosocial negative, analyzer of both work’s moral hierarchy and self-recognition. Herein, activity is the fundamental unit of analysis and the “collective work arrangements” are conceptualized as transitional space for the emergence of self-agency dialectics. The activities analyzed and compared are medical termination of pregnancy, abortion at the gynecological unit and accompanying the dying at the palliative care mobile team. The method subscribes to the action-research tradition, whereby participant-observation and semi-structured interviews with healthcare workers as well as chief-nurses were used. The results of this research are presented under three main axes: Firstly, the moral hierarchization of the medical units, of the professions and of the activities is articulated to the collective defense strategies as well as to professional ideology, which contribute to the definition and to the banishment of “dirty work”, thus structuring the organization of work itself. Secondly, the different group configurations are a function of archaic affects emerging from dealing with death-related activities. These may involve, but also encumber healthcare professionals, thus disorganizing the “collective work arrangements”. Strategies to disengage were identified: they open up to symbolic resources which allow restraining fantasmatic resonance induced by the confrontation of the object of their work, i.e. death, and its symbolic equivalents, disease, old-age, deficiency, loss… Moreover, the capacity to institute new norms and to recognize oneself while working has its bearing on collective configuration founded upon shared norms. Finally, should “collective work arrangements” fail to be created, trans-individual resources are called upon to subvert negative into estimable work, based on the different dimensions of “Civilization work”.

[pt] Essa tese investiga a relação entre o espectador e a cena a partir de algumas experiências de dança contemporânea. Procura-se entender como os artistas trabalhados criam, cenicamente, novos modos de fazer circular afetos e sentidos convidando o espectador a se despir das posições a que tradicionalmente está atrelado, seja como alienado, seja como hermeneuta. A trajetória da coreógrafa e cineasta Yvonne Rainer é o ponto de partida para a reflexão sobre a complexa relação entre a cena e o espectador, na qual as dimensões política, afetiva e imaginária da experiência artítica se tensionam. Rainer pesquisa, desde os anos 60, formas do corpo em cena resistir à captura do olhar do espectador, através da valorização de sua materialidade. A tese procura pensar, portanto, a partir da trilha aberta pela coreógrafa, como essa noção de materialidade não se entende como uma forma que possa ser significada, mas como uma força que desestabiliza a ordem das representações e impele a novos modos de produzir e refletir acerca do sentido do mundo. A partir dos trabalhos de Rainer, Jérôme Bel e Ann Teresa de Keersmaeker, Lia Rodrigues e Israel Galván, em diálogo com o pensamento contemporâneo a respeito da relação entre arte, corpo e política, a tese se propõe a pensar, por fim, como a exposição cênica da vulnerabilidade pode ser concebida como uma estratégia de criação potente. / [en] The present thesis investigates the connections between the spectator and the scene through some experiences of contemporary dance, trying to understand how the artists here studied create, scenically, new modes of circulation of affects and senses. Thus, the spectator is invited to abandon its traditional positions in which he appears either as an alienated participant either as hermeneutist interpreting the codes of the scene. The trajectory of the choreograph and film maker Yvonne Rainer is the starting point to question the complex relationship between the scene and the spectator in wich the political, affective and imaginary aspects of the artistic experience are in permanent tension. Rainer searches since de 60 s ways to make the body resist to the capture of the spectator s gaze, by valuing it s intrinsic materiality. Trough the path opened by Rainer, the thesis wishes to understand materiality not as a form that can be signified but as a force that destabilizes the logic of representation and impele in the direction of new forms of producing and thinking about the sense of the world. Through the works of the performers Yvonne Rainer, Jérôme Bel, Ann Teresa de Keersmaeker, Lia Rodrigues and Israel Galván in dialogue with contemporary thinking about the connections between arts, politics and body the thesis intends, finally, to think of how the scenic exposure of vulnerability can be conceived as a powerful strategy of artistic creation.