Thesis (M.S.)--University of Wisconsin--Madison, 1952. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 155-167).

“Directing Rebecca Gilman’s Boy Gets Girl…” reviews the process of directing Boy Gets Girl by Rebecca Gilman, presented on October 26-29, 2017, in the Cristian H. Moe Laboratory Theater at Southern Illinois University in Carbondale, Illinois. This document chronologically details the year-long production process for the director, beginning with the preliminary research and discussing the development of a concept, through formulating designs, conducting rehearsals and observing performances, and concluding with a post production evaluation. This document begins with Chapter 1, exploring the preliminary research which developed into the director’s concept and vision for production. Chapter 2 explains the pre-production process, including design and production meetings, dramaturgy, and publicity. Chapter 3 details the production process, including auditions, callbacks, rehearsals, and performances. Chapter 4 is a personal reflection and committee evaluation of the overall production, including the recognition of opportunities for future growth as a director.

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This thesis explores the relationship between musical tastes and dance practices in a popular dance style known as breaking or b-boying/b-girling. It is based on a multi-sited ethnography involving the participation in and observation of the practices of breaking, as well as interviews with individual b-boys and b-girls, who often travelled between cities as part of their practices. Although there were many interesting and contradictory observations and participant responses provided by this multigenerational, multicultural scene, one theme emerged as central. 'Vernacular' or street dancers make consistent claims that "it's all about the music." This is to challenge assumptions in current academic writing on the relationship of music and dance. On one hand, many contemporary dance writers argue that musical tastes have little to do with choreographic practices and the meanings of dance performances. On the other hand, sociological accounts of musical tastes rarely consider dance practice in their analyses. The result is that musical tastes are under-theorised in accounts of dance performance, and vice versa. Hennion's (2007) assertion that taste is an activity provides a foundation for a new argument. I propose that taste is an activity that, when theorised in terms of music and dance practices, suggests new epistemological avenues for studies of popular dance. Put simply, I argue that, in breaking practices, dance is a performance of musical taste. This performance of taste has a variety of avenues - from hip hop theatre performances, to international battles, master class workshops, club nights and local events – and in each new context, the relationship between music and dance transforms. These shifts in selection reveal that the dance is not just “about the music,” but also about how tastes are mediated, negotiated and competed over.

Une activité pédagogique est un ensemble d’actions s’additionnant et se croisant en faveur d’un objectif déterminé au préalable et qui est au-delà d’un exercice ou d’une évaluation. C’est un processus qui, d’une part fait apparaître un produit unique tel que le nouvel apprentissage en termes de compétences et de savoir-faire et, d’autre part, amène une réorganisation de schèmes, connaissances et compétences en faveur d’une nouvelle strate de stabilité dans le sens piagétien du terme. La construction du savoir est une tâche individuelle effectuée par l’apprenant lui-même par le biais de l’enseignant qui doit jouer le rôle de médiateur pédagogique, cognitif et social. Ce rôle demande à l’enseignant des compétences professionnelles à la fois solides et délicates, solides parce qu’il doit se doter de connaissances suffisantes relatives à la matière enseignée et à la didactique de cette matière, et délicates parce que l’enseignement est un travail qui se base forcément sur les affects et les émotions. Ce travail dépend, d’une part, des représentations que se fait l’enseignant de l’élève dans ses trois statuts, à savoir en tant qu’élève comme statut social, apprenant comme statut didactique et enfant comme statut psychologique et d’autre part, il s’appuie sur l’ensemble des autres facteurs qui peuvent être opérationnels dans l’activité pédagogique tels que l’espace, au sens général du terme, et la planification.Les représentations que se fait l’enseignant de son élève s’inspirent, d’une façon consciente et/ou inconsciente, de maints facteurs qui ont servi (ou servent) à forger sa personnalité et l’orientation de ses propres choix, tels que les facteurs socio-économiques et culturels et la sphère politique. Ces facteurs forment ce qu’on a appelé les inputs des représentations de l’enseignant. Les outputs sont les différents choix relationnels et pédagogiques en termes de comportements et de décisions instantanées. L’activité pédagogique est un travail de communication et de relation. En effet, elle s’appuie, d’un côté sur les contenus scolaires, et d’un autre, sur les aspects comportementaux des personnes intervenantes tels que l’enseignant et les élèves en tant que groupe et individus. La nature des représentations que chaque partie se fait de l’autre contribue à orienter, d’une façon radicale, le processus de l’apprentissage et de l’appropriation. Ces représentations sont des facteurs déclencheurs dans toute action pédagogique. Dans ce travail, nous tentons d’approfondir l’idée que les représentations que l’enseignant se fait de son élève en tant que tel, en tant qu’apprenant et en tant qu’enfant, influencées par la sphère politique et les facteurs économico-socioculturels, orientent ses choix pédagogiques en termes de comportements relationnels et communicationnels. Il contient trois parties distinctes. Tout d’abord une partie théorique où nous avons tenté d’approfondir notre réflexion sur les différents concepts-clés et de tisser les éventuelles relations qui les lient. Une deuxième partie nous a servi à envisager successivement de mettre en lumière l’importance des principaux facteurs historiques, socio-économiques, anthropologiques et politiques qui déterminent les empreintes intrinsèques consciemment et ou inconsciemment de la personnalité de l’enseignant. Dans la troisième partie, la partie analytique, nous avons objectivement, quantitativement et qualitativement traité les données recueillies. Les résultats obtenus nous ont permis de valider l’hypothèse centrale et les quatre sous-réponses que nous avons proposées. Ces travaux de recherche servent à améliorer la réflexion sur le perfectionnement des relations qui se produisent au sein d’un groupe-classe. Cette amélioration vise, selon nous, le bien-être, le savoir-faire et le savoir-être de l’élève. Par conséquent, dans l’action d’apprendre, le rôle de l’école ne se limite plus aux apprentissages scolaires / An educational activity is a set of actions added and crossed for a specific purpose in advance and that is beyond a year of assessement. This process is, on the one hand shows a unique product such as a new learning in terms of skills and knowledge and, secondly, induces reorganization schemes, knowledge and skills in favor of another layer of stability in Piaget's sense. The construction of knowledge is an individual task performed by the learners themselves. however, the teacher plays the role of pedagogical, cognitive and social mediator. This role requires the professional skills of the teacher which should be sometimes both strong and delicate times, solid because it needs to have sufficient knowledge of the subject matter and the teaching of this material, and delicate because education is a work that is necessarily based on the affects and emotions. This work depends, on the one hand, on the representations that the teacher does on students in the three status, firstly, a student as a social status, secondly, a learner as a teaching status and thirdly, a child as a psychological status. From another perspective, he relies on all the other factors that may be operating in the educational activity such as space in a general sense and planning. The representations that the teacher has on his inspired pupils, consciously and / or unconsciously, have served many factors (or are serving) that forging his personality and directing his own choice, such as the socio- economic and cultural factors and political sphere. These factors consists of what is called the input representations of the teacher. The outputs are not only different in relational and educational terms of behavior but also on instant choice of decisions. The pedagogic activity is a communicative task and a set of relationships. Indeed, it relies on the one hand on the academic content, and on the other hand on the behavioral aspects of the intervening people such as teachers and students as a group and individuals. The nature of these representations, that each party has, which an influence on the other helps to direct, in a radical way, the process of learning and ownership. These representations are triggers in any teacher. In this activity, we try to develop the idea of the representations that the teacher has on his student, as a learner and as a child, influenced by politics and economic socio-cultural factors, guide its educational choices in terms of relationship and behavioral communication. It consists of three distinct parts .The first part is a theoretical part where we tried to reflect further on the different key concepts and build any relationships between them .In the second part, we used to consider successively highlight the significance of historical key, socio-economic, anthropological and political factors that determine the intrinsic fingerprints, consciously or unconsciously, the personality of the teacher. In the third part, the analytical part, we objectively analyse the quantitative and qualitative analyzed the collected data. The results allowed us to validate the central hypothesis and the four responses that we proposed. This research is used to improve the reflection on the development of relationships within a class group. This improvement is, in the well-being, the expertise and know- being of the student. Therefore, in the learning action, the role of the school is no longer limited to academic learning but will be a workshop where children learn how to build a real relationship into knowledge and life.