nÃo hà / A presente tese objetiva investigar os modos emergentes do fazer coreogrÃfico e suas implicaÃÃes artÃstico-pedagÃgicas. A palavra coreografia recobre, hoje, proposiÃÃes que podem versar sobre os mais minuciosos e especÃficos detalhes do gesto de um corpo ou, inversamente, sobre as mais abertas e genÃricas instruÃÃes de aÃÃo de mÃltiplos corpos; a coreografia escapa de sua vinculaÃÃo à danÃa para nomear configuraÃÃes de movimento as mais diversas, por vezes sequer ligadas a um fazer humano; deixa de implicar uma autoria Ãnica e nomeÃvel para, eventualmente, dissolver-se num fazer coletivo; enfim, parece reclamar por novas compreensÃes. Aqui tratamos portanto de uma pedagogia da danÃa que se complexifica a partir de um contexto no qual os modelos de processo criativo e os modos de mover se multiplicam. Em tal contexto, o criar e o performar convergem e qualquer corporeidade sà pode ser pensada a partir do projeto estÃtico a que se vincula. Para nossa investigaÃÃo, tomamos como base as proposiÃÃes coreogrÃficas de William Forsythe, artista que â alÃm de atuar em diferentes instÃncias de criaÃÃo (composiÃÃes cÃnicas, videogrÃficas, instalativas e expositivas) e multiplicar prÃticas colaborativas â desenvolveu os projetos em mÃdia digital Improvisation technologies: a tool for the analytical dance eye e Synchronous objects for One Flat Thing, reproduced, ambos de declarado cunho pedagÃgico e que sÃo utilizados correntemente em vÃrios contextos formativos no mundo. A abordagem de William Forsythe â principalmente quanto ao corpo balÃtico â emerge mesmo como um poderoso referencial para o estabelecimento de processos artÃsticos e pedagÃgicos de autonomizaÃÃo e invenÃÃo; a concepÃÃo de coreografia como proposiÃÃo abre espaÃo para a experimentaÃÃo de alteridades e para a emergÃncia de novas corporeidades.

“21” est la chorégraphie de Grupo Corpo (Minas Gerais – Brésil), qui annonce une nouvelle étape dans la réalisation chorégraphique de Rodrigo Pederneiras. La pièce a débuté en 1992, avec une bande-son spécialement composée par Marco Antonio Guimarães, exécuté par le groupe UAKTI. L’objectif est, autant que possible, de comprendre le chemin qui mène à la réalisation du processus chorégraphique de “21”. Diverses sources d’information (vidéos, photos, interviews, documents scientifiques, matériel multimédia) ont été analysés, pour finalement proposer un dévoilement. Avec la méthodologie ici utilisée – grounded theory – l’absence d’une proposition théorique précédante soulève sa construction à mesure qu’ils surviennent les découvertes. L’immersion dans l’analyse du vidéo original de “21” a occasionné 21 perceptions: la musique comme motivation fondamentale pour le chorégraphe, l’ingérence des danseurs et de sa longévité artistique sur le processus chorégraphique; éléments-clés de la chorégraphie; influences sur Rodrigo Pederneiras; l’analyse des 14 scènes, avec tous ses doutes, ses tempos et métriques surprennants; les costumes, l’éclairage et le scénario et, enfin le modus operandi de Rodrigo Pederneiras et les traces du travail dans d’autres travaux du groupe. Un ensemble de compétences et de procédures semble composer une théorie finale: la créativité, l’abstraction, essais et erreurs, travail en équipe, multiplications et dérivations . Après tout, “21” est presque élucidé. / “21” é a coreografia da companhia mineira de dança Grupo Corpo, que inaugura uma nova etapa no fazer coreográfico de Rodrigo Pederneiras. Estreou em 1992, com trilha sonora especialmente composta por Marco Antônio Guimarães e interpretada pelo grupo mineiro UAKTI. O objetivo aqui é, tanto quanto possível, entender o percurso que leva à efetivação do processo coreográfico de “21”. Variadas fontes de informação (vídeos, fotografias, entrevistas, documentos acadêmicos e material de mídia) foram analisadas para, enfim, propor-se um desvendamento. Assim o é na grounded theory, metodologia aqui utilizada que parte da ausência de uma proposta teórica prévia para construí-la à medida que surgem as descobertas. A imersão na análise da gravação original de “21” trouxe à sensibilidade 21 percepções: a música como motivação fundamental do coreógrafo; as interferências do elenco, sua longevidade artística e as rasuras do processo coreográfico; os elementos norteadores da coreografia; as influências sobre Rodrigo Pederneiras; a análise das 14 cenas, com todas as suas dúvidas, andamentos e contagens que surpreendem; figurinos, iluminação e cenário; e, por fim, as ponderações sobre o modus operandi do coreógrafo e os rastros da obra em outros trabalhos do grupo. Um conjunto de valências e procedimentos parece compor a teoria final: criatividade, abstração, tentativa e erro, detalhamento, equipe, multiplicações e derivações. Afinal, quase desvendamos “21”. / “21” is the one choreography of Grupo Corpo (Minas Gerais – Brasil), which heralds a new stage in the choreographing process of Rodrigo Pederneiras. This piece debuted in 1992, with a specially composed soundtrack by Marco Antônio Guimarães executed by group UAKTI. The goal is, as far as possible, to understand the path that leads to the full realization of “21.” Various sources of information (videos, photographs, interviews, academic documents, media materials) were analyzed to finally propose an unveiling form. This is the principle of the grounded theory, methodology used in this research, where there’s an absence of a previous theoretical proposal, as it arises with the discoveries. Immersion in the analysis of the original video of “21” vented 21 perceptions: the choreographer’s fundamental motivation by music; cast interferences and its artistic longevity; the guiding elements of choreography; influences on Rodrigo Pederneiras; the analysis of 14 scenes, with all its doubts, surprising tempos and counts; costumes, lighting and scenery, and finally bethinks about the modus operandi of the choreographer and the traces of this work in other pieces of the group. A set of skills and procedures seems to compose a final theory: creativity, abstraction, trial and error, detailing, team work, multiplications and derivations. After all, we almost got the key to “21”.

A Newfound Passion- Choreography analyzes the artistic process and life journey of creating choreography for musical theatre. My training as a dance minor at East Tennessee State University from 2011-2015 culminated in my final senior capstone experience as a choreographer for the ETSU Division of Theatre and Dance’s production of Oklahoma!. Composing a new musical theatre dance and analyzing the original choreography of Oklahoma! (and the art of choreography more generally) provided significant material for analysis, and the following research reflects what I learned and experienced. Overall, the experience of choreographing has changed the way I see myself as a dancer and has instilled in me a new sense of respect for choreographers around the world.

Le sacre du printemps, a ballet choreographed in 1913 by Vaslav Nijinsky, played an important part in changing the way the world thought about choreography. Since, modern choreographers such as Graham and Taylor have followed in the tradition of creating their own versions of Le sacre. This thesis outlines the significance of Le sacre. It also describes how Bates created a choreographic project using Nijinsky, Taylor, and Graham influences, and also combining modern dance floor techniques with aerial choreography.

There was a sea is the resultant piece of a creative research conducted about human relationships with the element water. The dance takes us on a trip through different states of the spectrum scarcity-abundance of water around the world.

Este trabalho apresenta uma autoetnografia em diálogo com os artistas que participaram da ópera coreográfica: \"Aniversário e Morte de Queen Mary II\", no NUO-Ópera Laboratório. Portanto, o objetivo desta investigação é descrever, narrar, contextualizar e situar o processo desta obra concebida especialmente para o NUO-Ópera Lab. Faremos isso, a partir das memórias dos artistas, que participaram, e de material audiovisual, trazendo as falas dos autores integrantes do NUO-Ópera Lab. que não são narradores/depoentes/produtores de dados/interlocutores da pesquisa, mas, assinam a autoria desse trabalho conosco. Os processos práticos/reflexivos desta obra artística e deste texto nos levam a acreditar que a ópera tem várias camadas. E são nessas muitas camadas que a riqueza da ópera habita. Não é nem o texto, nem a música, nem a dança, mas sim, a ação que está nesta amálgama. A ópera é o teatro da ação, na perspectiva do transgênero. Passamos a entender o que é ópera e como se dá a direção em ópera, através do processo transdisciplinar que acontece no NUO-Ópera Lab. Esse processo como um todo, artístico reflexivo, proporcionou turning points pessoais, ou seja, cada integrante envolvido no processo achou insights pessoais, dando sentidos e significados próprios; e turning points grupais, coisas que foram mais gerais e coletivas. / This Masters work introduces an autoethnography in connection to all artists who have participated on the opera choreography entitled \"Anniversary and Death of Queen Mary II\", which was performed at NUO-Opera Laboratory. Therefore, the aim of this research is to describe, narrate, contextualize and situate the process under the aforementioned opera work especially developed to NUO-Opera Lab. Herein, we will achieve this objective by bringing artists memories who were part of the personnel in the play and all audiovisual material enlightening all the author\'s lines who belonged to NUO-Opera Lab, who were not narrators / deponents / data producers / research interlocutors, but who share the authorship of this paper with us. The practical and reflexive processes of that artistic play and also this paper lead us to believe that opera has several layers. And it is in those many layers in where the opera\'s treasure lives. It is neither in the text, nor in the music or dance, but the action that is in this amalgam instead. An opera is the action of a theatrical play from the perspective of transgender. As a result, we start understanding what opera is and how the direction of an opera occurs at NUO-Opera Lab. This process as a whole, artistic reflexive, afforded personal turning points, i.e. each member of the play involved in this process had found personal insights, opening to self senses and meanings, while the group\'s turning points resulted into a more general and shared the ones.

My intentions for "In Passing" were to build the beginnings of an education philosophy through a richly varied choreographic process. I wanted my dancers to come away from this work with a heightened eagerness to explore the unfamiliar and an increased confidence in their ability to support one another and be supported, and I wanted to learn to more effectively and tenderly lead a group of many different personalities through a long-term creative experience. I think we have been successful.

In recent years, Web services had been widely used on the Internet. Thanks to the convenient communication technologies and their inexpensive cost, communications between organizations is much easier, and Web services have become a de-facto standard for organizations to provide information and services. There are two different perspectives to describe Web service composition: orchestration and choreography. Works that verify a choreography model so as to alleviating some correctness problem such as deadlock have also been proposed. However the verification of implementations based on a choreography model has not be addressed. In this thesis, we propose an approach to verify the conformance of a set of Web services to a given choreography model and prune some candidate Web services which do not comply with the choreography model to avoid discordance with the choreography model and run-time errors. The proposed approach is evaluated by simulating 10,000 execution sequences of composite Web services. The experimental results show that our proposed method improves the performance of success rate and space usage by pruning the unsuitable candidate Web services.

Nowadays, Web Services technology has become a standard to integrate business processes across organizations. In general, there are two approaches for web service composition: Orchestration and Choreography. Orchestration is used to develop a single process that integrates services within or across an organization to achieve a business goal. On the other hand, Choreography is often used for cross-organizational communication and serves as a specification for communication. In a choreographed environment, each Web service is an independent entity, and each service selects the partner services using its own selection policy without knowing all the other services in the choreography. In this thesis, we use £k-calculus for modeling the Web Services. Afterwards, we propose an approach for each constituent process to choose and invoke other processes using the limited information provided by its partners. In our method, each service proclaims the requirments of its potential service providers (or consumers) and itself and provides to its partners. Subsequently each service will generate a local view using the information provided by its service consumers and providers to guide the selection. We evaluate our method by simulating 100,000 executions with different degrees of service availability. The experimental results indicate that our proposed method can indeed improve the success rate of the entire choreography.

published_or_final_version / abstract / toc / Fine Arts / Master / Master of Philosophy