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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

A sonification is a nonverbal speech act and might sound like “wa-UM-eii”, or “wooosh!” The purpose of this study was to investigate a choreographer’s use of sonification in dance instructions, to see if there are different types of sonifications and if the use of these might differ with a change in context. Video material capturing the rehearsals of a noted dance company was analyzed using a cognitive ethnography-based approach. Nine different types of sonifications were identified and described according to purpose, and a context-based analysis showed that certain kinds of sonifications occurred more frequently in some contexts than others. The results suggest that sonification used in dance instruction can serve multiple different purposes – the three main purposes described here are these: to communicate the quality of a movement, to facilitate communication between choreographer and dancers, and to coordinate the dancers as a group.

Process Metamorphosis, My Choreographic Journey describes the journey from my initial interest in choreography to where I find myself as a choreographic artist today. Throughout the paper I look at different productions I have worked on, both professionally and within an educational setting, and different people I have collaborated with. Included will be thoughts from peers and mentors as well as my own observations from rehearsals and meetings. I will also be pulling information from my notes and journals while working on shows over the last twelve years.

A sonification is a nonverbal speech act and might sound like “wa-UM-eii”, or “wooosh!” The purpose of this study was to investigate a choreographer’s use of sonification in dance instructions, to see if there are different types of sonifications and if the use of these might differ with a change in context. Video material capturing the rehearsals of a noted dance company was analyzed using a cognitive ethnography-based approach. Nine different types of sonifications were identified and described according to purpose, and a context-based analysis showed that certain kinds of sonifications occurred more frequently in some contexts than others. The results suggest that sonification used in dance instruction can serve multiple different purposes – the three main purposes described here are these: to communicate the quality of a movement, to facilitate communication between choreographer and dancers, and to coordinate the dancers as a group.

A pesquisa reflete sobre criação e colaboração nos processos do Grupo Experimental de Dança de Porto Alegre. Neste sentido, foram observadas as relações entre o coreógrafo e os dançarinos no processo de elaboração de espetáculos de dança contemporânea, buscando a compreensão do papel que cada um destes artistas desempenha na criação. O foco da investigação concentra-se nos percursos de trabalho dos espetáculos “Eu Me Faço Simples Por Você” (2008) e “Alguma Coisa Acontece” (2009), caracterizados pela experimentação. O primeiro, permeado por um intenso convívio entre os integrantes e por uma trajetória que possibilitou a (re)criação no processo em diversas instâncias e o segundo, desenvolvido através de improvisação constante, sendo esta, inclusive, definida como a forma final para ser levada à cena. Através de observação participante e entrevistas com o coreógrafo Airton Tomazzoni e com os dançarinos Alessandro Rivellino, Joana Vieira, Juliana Rutkowski e Stefânia Ferreira, que participaram de ambos os espetáculos, puderam ser percebidas as singularidades das relações nos processos de criação estudados, dentre as quais, destacam-se: dançarinos com diferentes experiências corporais, abertos para uma nova experiência em dança e um coreógrafo disposto a perceber o que a diversidade de corpos poderia contribuir para o trabalho de criação; e um encontro de criação entre dançarinos co-criadores e um coreógrafo provocador marcado pela disponibilidade, liberdade e colaboração. O conceito de polifonia, de Bakhtin, foi utilizado para justificar o formato de apresentação desta pesquisa. As entrevistas estão dispostas no trabalho juntamente com a produção textual da autora, a fim de proporcionar uma visão ampla com divergências e convergências de opiniões. Os autores citados também contribuem amplamente para o desenvolvimento de uma dissertação que se pretende polifônica. / The research reflects upon creation and collaboration inside the process of the Grupo Experimental de Dança de Porto Alegre. In that sense, it was observed the relation between the choreographer and the dancers during the elaboration of contemporary dance pieces, seeking to the understandment of the role that each artist develops in creation. The focus of the investigation is concentrated in the work process of the pieces “Eu Me Faço Simples Por Você” (2008), and “Alguma Coisa Acontece” (2009), characterized by experimentation. The first one, permeate through an intense socializing process between the participants and a trajectory that allow the recreation during the process in many instances. The second, developed by a constant improvisation and being defined as a final form to be performed on the stage. Through participant observation and interviews with the choreographer Airton Tomazzoni and the dancers Alessandro Rivellino, Joana Vieira, Juliana Rutkowski e Stefânia Ferreira, who participate in both dance pieces, it was noticed the singularity of the relations during the process that was studied, among which stand out: dancers with different bodily experiences, opened to a new experience in dance and a choreographer willing to realize what the bodies diversity could contribute to a creative work; and a meeting of creation between dancers co-creators and a challenger choreographer, characterized by availability, freedom and collaboration. The concept of polyphony from Bakhtin was used to justify the format of the research presentation. The interviews are distributed alongside with the writings from the author, with the intent to offer a broad view with convergences and divergences of opinions. The authors named above also contribute to the development of this thesis that intent to be polyphonic.

A pesquisa reflete sobre criação e colaboração nos processos do Grupo Experimental de Dança de Porto Alegre. Neste sentido, foram observadas as relações entre o coreógrafo e os dançarinos no processo de elaboração de espetáculos de dança contemporânea, buscando a compreensão do papel que cada um destes artistas desempenha na criação. O foco da investigação concentra-se nos percursos de trabalho dos espetáculos “Eu Me Faço Simples Por Você” (2008) e “Alguma Coisa Acontece” (2009), caracterizados pela experimentação. O primeiro, permeado por um intenso convívio entre os integrantes e por uma trajetória que possibilitou a (re)criação no processo em diversas instâncias e o segundo, desenvolvido através de improvisação constante, sendo esta, inclusive, definida como a forma final para ser levada à cena. Através de observação participante e entrevistas com o coreógrafo Airton Tomazzoni e com os dançarinos Alessandro Rivellino, Joana Vieira, Juliana Rutkowski e Stefânia Ferreira, que participaram de ambos os espetáculos, puderam ser percebidas as singularidades das relações nos processos de criação estudados, dentre as quais, destacam-se: dançarinos com diferentes experiências corporais, abertos para uma nova experiência em dança e um coreógrafo disposto a perceber o que a diversidade de corpos poderia contribuir para o trabalho de criação; e um encontro de criação entre dançarinos co-criadores e um coreógrafo provocador marcado pela disponibilidade, liberdade e colaboração. O conceito de polifonia, de Bakhtin, foi utilizado para justificar o formato de apresentação desta pesquisa. As entrevistas estão dispostas no trabalho juntamente com a produção textual da autora, a fim de proporcionar uma visão ampla com divergências e convergências de opiniões. Os autores citados também contribuem amplamente para o desenvolvimento de uma dissertação que se pretende polifônica. / The research reflects upon creation and collaboration inside the process of the Grupo Experimental de Dança de Porto Alegre. In that sense, it was observed the relation between the choreographer and the dancers during the elaboration of contemporary dance pieces, seeking to the understandment of the role that each artist develops in creation. The focus of the investigation is concentrated in the work process of the pieces “Eu Me Faço Simples Por Você” (2008), and “Alguma Coisa Acontece” (2009), characterized by experimentation. The first one, permeate through an intense socializing process between the participants and a trajectory that allow the recreation during the process in many instances. The second, developed by a constant improvisation and being defined as a final form to be performed on the stage. Through participant observation and interviews with the choreographer Airton Tomazzoni and the dancers Alessandro Rivellino, Joana Vieira, Juliana Rutkowski e Stefânia Ferreira, who participate in both dance pieces, it was noticed the singularity of the relations during the process that was studied, among which stand out: dancers with different bodily experiences, opened to a new experience in dance and a choreographer willing to realize what the bodies diversity could contribute to a creative work; and a meeting of creation between dancers co-creators and a challenger choreographer, characterized by availability, freedom and collaboration. The concept of polyphony from Bakhtin was used to justify the format of the research presentation. The interviews are distributed alongside with the writings from the author, with the intent to offer a broad view with convergences and divergences of opinions. The authors named above also contribute to the development of this thesis that intent to be polyphonic.

A pesquisa reflete sobre criação e colaboração nos processos do Grupo Experimental de Dança de Porto Alegre. Neste sentido, foram observadas as relações entre o coreógrafo e os dançarinos no processo de elaboração de espetáculos de dança contemporânea, buscando a compreensão do papel que cada um destes artistas desempenha na criação. O foco da investigação concentra-se nos percursos de trabalho dos espetáculos “Eu Me Faço Simples Por Você” (2008) e “Alguma Coisa Acontece” (2009), caracterizados pela experimentação. O primeiro, permeado por um intenso convívio entre os integrantes e por uma trajetória que possibilitou a (re)criação no processo em diversas instâncias e o segundo, desenvolvido através de improvisação constante, sendo esta, inclusive, definida como a forma final para ser levada à cena. Através de observação participante e entrevistas com o coreógrafo Airton Tomazzoni e com os dançarinos Alessandro Rivellino, Joana Vieira, Juliana Rutkowski e Stefânia Ferreira, que participaram de ambos os espetáculos, puderam ser percebidas as singularidades das relações nos processos de criação estudados, dentre as quais, destacam-se: dançarinos com diferentes experiências corporais, abertos para uma nova experiência em dança e um coreógrafo disposto a perceber o que a diversidade de corpos poderia contribuir para o trabalho de criação; e um encontro de criação entre dançarinos co-criadores e um coreógrafo provocador marcado pela disponibilidade, liberdade e colaboração. O conceito de polifonia, de Bakhtin, foi utilizado para justificar o formato de apresentação desta pesquisa. As entrevistas estão dispostas no trabalho juntamente com a produção textual da autora, a fim de proporcionar uma visão ampla com divergências e convergências de opiniões. Os autores citados também contribuem amplamente para o desenvolvimento de uma dissertação que se pretende polifônica. / The research reflects upon creation and collaboration inside the process of the Grupo Experimental de Dança de Porto Alegre. In that sense, it was observed the relation between the choreographer and the dancers during the elaboration of contemporary dance pieces, seeking to the understandment of the role that each artist develops in creation. The focus of the investigation is concentrated in the work process of the pieces “Eu Me Faço Simples Por Você” (2008), and “Alguma Coisa Acontece” (2009), characterized by experimentation. The first one, permeate through an intense socializing process between the participants and a trajectory that allow the recreation during the process in many instances. The second, developed by a constant improvisation and being defined as a final form to be performed on the stage. Through participant observation and interviews with the choreographer Airton Tomazzoni and the dancers Alessandro Rivellino, Joana Vieira, Juliana Rutkowski e Stefânia Ferreira, who participate in both dance pieces, it was noticed the singularity of the relations during the process that was studied, among which stand out: dancers with different bodily experiences, opened to a new experience in dance and a choreographer willing to realize what the bodies diversity could contribute to a creative work; and a meeting of creation between dancers co-creators and a challenger choreographer, characterized by availability, freedom and collaboration. The concept of polyphony from Bakhtin was used to justify the format of the research presentation. The interviews are distributed alongside with the writings from the author, with the intent to offer a broad view with convergences and divergences of opinions. The authors named above also contribute to the development of this thesis that intent to be polyphonic.

Der französische Choreograph Jérôme Bel setzt in seinem biographischen Zyklus von 2004-2009 das Verhältnis von Werk und Autor, von Choreographie und Choreograph in Szene, vor deren Hintergrund die Geschichten und Namen des Tanzes anders lesbar werden: Die Stücke Bels tragen als Titel die Namen der Tänzer, die in ihnen auftreten. Die Geschichte der Namensgebung in der Arbeit Bels ist auch eine Geschichte, in der sein Name als Choreograph und Autor verschwindet, wenn er erscheint und erscheint, wenn er verschwindet. Von diesem Grenz-Ort aus wäre jene Geste zu befragen, die Jérome Bel vollzieht, wenn er den Stücken, für die sein Name steht, als Titel den Namen der Tänzer gibt, die in ihnen auftreten.

Si la danse a partie liée avec la littérature c’est parce que cet art du mouvement a longtemps eu besoin d’une narration pour exister. En ce sens, lorsqu’au XXe siècle la danse s’affranchit du texte, elle s’affirme comme un art à part entière pouvant exister pour lui-même et par lui-même. Dans ce cas, pourquoi des chorégraphes contemporains français se tournent-ils de nouveau vers la littérature pour créer certaines de leurs œuvres chorégraphiques ? Face à une démarche qui pourrait s’apparenter à un simple retour en arrière, l’étude menée s’efforce non seulement de comprendre les enjeux de différents processus de création chorégraphique à partir d’une matière littéraire, elle-même interrogée, mais aussi de mettre en évidence les modalités de traitement du texte de son ébauche à sa finalisation. De la sorte, il est possible de percevoir à la fois ce qui persiste et ce qui change dans la mise en œuvre de ce dialogue renoué où littérature et danse s’enrichissent mutuellement. / If dance is linked to literature, it is because this art of movement has long been in need of a narration to exist. In this sense, when dance freed itself from texts during the 20th century, it became an art in its own right, ready to exist for itself and by itself. Why, then, do some French contemporary choreographers revert to literature in order to create their choreographic works? Faced with a phenomenon that could be interpreted as a simple regression, this study will not only endeavour to understand the stakes at play in processes of choreographic creation based on literary materials (which will also be examined), but it will also emphasise the processes of textual treatment from creation to completion. Thus, we will be able to discern both what persists and what changes in this renewed and mutually enriching dialogue between literature and dance.