В работе рассмотрены условия для развития креативности у спортсменов, занимающихся хип-хопом, являющейся одним из главных элементов в постановке соревновательной программы в фитнес-аэробике. / This paper considers the conditions for the development of creativity among the athletes involved in hip-hop, which is one of the key elements in the formulation of competitive programs in fitness aerobics.

Актуальность исследования обусловлена недостаточным вниманием к сценографии театра современного танца в России. Объектом данной работы являются особенности художественного решения пространства contemporary dance. Предметом – анализ элементов структурирования пространства постановки на примере Екатеринбургского театра Провинциальные танцы, одного из наиболее профессиональных и интересных коллективов в области современной хореографии в России. Неоднозначность трактовок сценографии различных форм dance-театра обусловлена изменением характеристик взаимодействия со зрителем, многовариантностью постановочных пространств, особенностями пластического языка танца, обращающегося к до-рациональному, до-вербальному началу человека. Изменение понимания телесности актера и объектно-субъектных связей постановки, а также сложность и нерасчленимость составляющих элементов постановок contemporary dance позволяют проследить линию соответствия скульптуры и пластического танца, а также особенности взаимодействия этого направления dance-театра с другими формами искусства, объекты которых часто являются неотъемлемой составляющей постановки. / The research is relevant due to the lack of attention to the scenography of Russian contemporary dance. The subject matter of the study are specifics of the art and design of contemporary dance spaces. The scope of the study is an analysis of elements of space structuring in performances by the example of Provincial Dances Theatre (Ekaterinburg) as one of the most professional and interesting groups of contemporary choreography in Russia. Scenography of different forms of dance theatres is interpreted ambiguously due to change of characteristics of arrangement with viewers, multivariance of performance spaces, specific of dance language that appeals to prerational, preverbal human nature. Understanding of artist corporality changes, as well as relations between actors and objects in performance. The elements of contemporary dance performances are complex and indivisible. All of these allows tracing the interactions between sculpture and dance, also the interactions between contemporary dance and other art forms that are often integral to a performance.

‘The Expression of a Familiar Vessel’ is an investigation into the affective potential of emotional expression. Through the interdisciplinary composition of voice and dance, I am going on a journey through many expressions of varied affective states. By playing with the vastly contrasted physical qualities of voice and dance, there is the opportunity to inspect the latent qualities of emotive meaning within performance. The conceptual framework of Affect theory offered valuable insights into experience, emotion, and expression. The value systems of affective discourse favour the varied spheres of experience by rejecting linguistics and challenging the traditional academic convention by enforcing that language is not our primary way of understanding the world. I utilised and elaborated upon Tomkins’ list of categorical affective expressions in my performative works, using them as a performance score and building upon them. Therefore, this text is a behind-the-scenes insight into the creation of an affective toolkit of expression and the corresponding performance work that utilises those tools. Writing about the non-linguistic enactment of emotion is somewhat contradictory, yet it reinforces the notion of porousness whereby the alternate rationalities of feeling, creating, writing and performing merge through the body’s approach and experience. Still, bodily experience and expression is paramount, and will never be fully captured through text.

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This study aims to present an alternative framework with which to view the phenomenon of parental divorce and its perceived consequences for adult children of divorce in committed relationships. Research done within the traditional Newtonian framework is reviewed and its limitations explicated. The epistemological presuppositions of the new epistemology are presented along with their implications for conducting research. The importance of description as research methodology is emphasised. Written descriptions from various adult children of divorce are presented. Metadescriptions, by the author, are presented. These metadescriptions, based on the presuppositions of the new epistemology, highlight the value of describing the patterns of organisation which characterise the committed relationships of adult children of divorce. It is concluded that an alternative approach, based on the new epistemology, enlarges our understanding of the adult child of divorce within the context of a committed relationship. / Psychology / M.A. (Psychology)

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU). / Le programme de composition de musiques de film et multimédia de la Faculté de musique à l'Université de Montréal encourage la création de trois musiques de nature différente: acoustique, électroacoustique et mixte. Ces dernières supportent chacune une oeuvre visuelle. Pour mieux explorer les possibilités, trois projets de nature visuelle différents, soit une chorégraphie, deux court-métrages cinématographiques et une oeuvre dramatique, ont été créées en collaboration avec d'autres artistes. Pour la chorégraphie, X/Y, une trame sonore a été créée pour être jouée sur place par un petit ensemble acoustique. La musique des films, Mi Feng et Motel Pluton, est un mélange d'échantillonneurs et d'instruments acoustiques et a été enregistrée en studio. Quand à l'oeuvre dramatique, L'Araignée, la trame sonore est de nature entièrement électronique, avec des échantillonneurs et de la manipulation électroacoustique. / Université de Montréal's Film and Multimedia Music Composition program encourages the creation of three compositions in differing styles: acoustic, electro-acoustic, and mixed. These compositions each support a visual project. A choreography, two short films and a theatrical piece were created in a collaborative effort to explore the range and diversity of visual media. An acoustic score played by a small ensemble was used for the choreography X/Y. Both acoustic and digital instruments were used in recording sessions for the score of the two short films Mi Feng and Motel Pluton. The score for L'Araignée, the theatrical piece, is electro-acoustic, using samples, audio files, and digital signal processing (DSP).

Cette dissertation traite la danse comme une catégorie d’analyse permettant de réorienter ou de ré-chorégraphier les théories postcoloniales du corps. Mon étude montre qu’ Edward Said, par exemple, décrit la danse seulement à travers le regard impérial, et que Homi Bhabha et Gayatri Spivak négligent complètement le rôle de la dance dans la construction de la subjectivité postcoloniale. Mon étude explique que Stavros Karayanni récemment explore la danse masculine et féminine comme espaces de résistance contre la domination coloniale. Toutefois, l’analyse de Karayanni met l’accent seulement sur le caractère insaisissable de la danse qui produit une ambigüité et une ambivalence dans le regard du sujet impériale. Contrairement aux approches de Said et de Karayanni, ma dissertation explore la danse comme un espace ou le corps du sujet colonisé chorégraphie son histoire collective que l’amnésie coloniale ne cesse de défigurer au moyen de l’acculturation et de marchandisation. Je soutiens que la danse nous offre la possibilité de concevoir le corps colonisé non seulement dans son ambiguïté, comme le souligne Karayanni, mais aussi dans son potentiel de raconter corporellement sa mémoire collective de l’intérieur de la domination impériale. Ma dissertation soutient que les catégories de l’ambiguïté et de l’insaisissabilité mystifient et fétichisent le corps dansant en le décrivant comme un élément évasif et évanescent. Ma dissertation inclut plusieurs traditions culturelles de manière à réorienter la recherche ethnographique qui décrit la dance comme articulation codée par une culture postcoloniale spécifique. Mon étude montre comment le corps colonisé produit un savoir culturel à partir de sa différence. Cette forme de savoir corporelle présente le corps colonisé en tant que sujet et non seulement objet du désir colonial. Méthodologiquement, cette dissertation rassemble des théories occidentales et autochtones de la danse. Mon étude considère aussi les théories postcoloniales du corps dansant à partir des perspectives hétérosexuelles et homosexuelles. En outre, mon étude examine les manières dont les quelles les théories contemporaines de la danse, postulées par Susan Foster et André Lepecki par exemple, peuvent être pertinentes dans le contexte postcolonial. Mon étude explore également le potentiel politique de l’érotique dans la danse à travers des représentations textuelles et cinématographiques du corps. L’introduction de ma dissertation a trois objectifs. Premièrement, elle offre un aperçu sur les théories postcoloniales du corps. Deuxièmement, elle explique les manières dans lesquelles on peut appliquer des philosophies contemporaines de la danse dans le contexte postcoloniale. Troisièmement, l’introduction analyse le rôle de la dance dans les œuvres des écrivains postcoloniales célèbres tels que Frantz Fanon, Wole Soyinka, Arundhati Roy, et Wilson Harris. Le Chapitre un remet en question les théories de l’ambiguïté et de l’insaisissabilité de la danse à partir de la théorie de l’érotique postulé par Audre Lorde. Ce chapitre examine le concept de l’érotique dans le film Dunia de Jocelyne Saab. Le Chapitre deux ouvre un dialogue entre les théories occidentales et autochtones de la danse à partir d’une étude d’un roman de Tomson Highway. Le Chapitre trois examine comment l’écrivain Trinidadien Earl Lovelace utilise la danse de carnaval comme espace culturel qui reflète l’homogénéité raciale et l’idéologie nationaliste à Trinidad et en les remettant également en question. / Classical texts of postcolonial theory rarely address the embodied expression of dance as they examine the colonial body only through the imperial discourses about the Orient (Said), the construction of the Subaltern subject (Spivak), and the ambivalent desire of the colonial gaze (Bhabha). The Cyprian theorist and dancer Stavros Stavrou Karayanni has emphasised the centrality of dance as a key category of analysis through which discourses of resistance can be articulated from the perspective of the colonial heterosexual and queer body. However, Karayanni adopts the psychoanalytic method according to which the dancing body of the colonised subject has an ambivalent effect upon the Western traveller and / or coloniser who both desires and derides this body. In contrast to this approach, my study examines dance as a space in which the colonial body choreographs its collective history which colonial amnesia suppresses so as to de-historicise colonised subjects and disfigure their cultures. Departing from Frantz Fanon’s emphasis on the relevance of dance in colonial studies, I argue that the colonial body choreographs its collective memories in dance and prompts us to rethink hegemonic discourses of postcolonial identity formation that revolve around ambivalence and elusiveness. I borrow the notion of “choreographing history” from the Western contemporary discipline of dance studies which has integrated cultural studies since mid 1980s and influenced postcolonial inquiry of dance over the last decade. I include various cultural traditions in my project so as to re-direct today’s predominantly ethnographic research which describes dance as an encoded articulation of culture in specific postcolonial societies. I also include different cultural traditions to show that while choreographing silenced memories in various historical experiences of colonial violence, the dancing body allows us to construct discourses of resistance in ways that postcolonial theory has not addressed before. The re-choreography of postcolonial theories of the body, as developed in this dissertation, articulates an ethical imperative because it shows how the subaltern body not only choreographs memories that colonial amnesia silences but also produces cultural knowledge with a difference. Methodologically, this study brings together Western and indigenous theories of dance as well as postcolonial theories of the dancing body from both heterosexual and queer perspectives. My study discusses Susan Foster and André Lepecki’s contemporary theories of dance and the body in the context of postcolonial theories of Oriental dance and eroticism. It also examines the socially and politically transformative potential of the erotic in dance through textual and cinematic representations of the body. My study equally opens a dialogue between Western and indigenous theories of dance in the context of Canadian indigenous literary work of Tomson Highway. A critical examination of Trinidad Carnival and Calypso in a novel by Earl Lovelace demonstrates that dance is a central paradigm of analysis for a postcolonial critique of the body and the categories of identity that inscribe it.

The aim of this study is to understand how dance is becoming through the subject. What agents are entangled in the process of becoming, and what hierarchies are at work within my practice. I want to find out how they figurate and see if it´s possible for these hierarchies to reach positions that are more anti- essential. The study wants to assist with the understanding of this multilayer of relationships that are ongoing in the becoming of dance. The study moves in relation to posthumanist theories, with emphasis on materialists such as Rosi Braidotti and her nomadic subject. The nomadic subject is significant and fundamental to the study because it uses materialistic understandings of the world while not renouncing the subject's previously situational experience and embodied knowledge and takes special considerations to both the external and internal complexity of the subjects becoming. In posthumanist theories, or materialism, material and non-material things as well as humans and non-humans have agency. It is the relationship between different kinds of matter that creates the understanding of what is in the process of becoming. Through diffractive readings, the understanding of intra-action, and with the nomadic subject as a theoretical base, this thesis wants to make visible the different aspects and relations that are active in the becoming of dance through the subject. In addition, linked to the research topic choreography, the study wants to contribute with knowledge about the expanded field of choreography by understanding how internal and external factors contribute to how dance is becoming through the subject. The study also wants to provide and develop understandings for didactical and pedagogical contexts. My own practice is the material on which this study is based and through it I seek understanding for my questions.

Cette dissertation traite la danse comme une catégorie d’analyse permettant de réorienter ou de ré-chorégraphier les théories postcoloniales du corps. Mon étude montre qu’ Edward Said, par exemple, décrit la danse seulement à travers le regard impérial, et que Homi Bhabha et Gayatri Spivak négligent complètement le rôle de la dance dans la construction de la subjectivité postcoloniale. Mon étude explique que Stavros Karayanni récemment explore la danse masculine et féminine comme espaces de résistance contre la domination coloniale. Toutefois, l’analyse de Karayanni met l’accent seulement sur le caractère insaisissable de la danse qui produit une ambigüité et une ambivalence dans le regard du sujet impériale. Contrairement aux approches de Said et de Karayanni, ma dissertation explore la danse comme un espace ou le corps du sujet colonisé chorégraphie son histoire collective que l’amnésie coloniale ne cesse de défigurer au moyen de l’acculturation et de marchandisation. Je soutiens que la danse nous offre la possibilité de concevoir le corps colonisé non seulement dans son ambiguïté, comme le souligne Karayanni, mais aussi dans son potentiel de raconter corporellement sa mémoire collective de l’intérieur de la domination impériale. Ma dissertation soutient que les catégories de l’ambiguïté et de l’insaisissabilité mystifient et fétichisent le corps dansant en le décrivant comme un élément évasif et évanescent. Ma dissertation inclut plusieurs traditions culturelles de manière à réorienter la recherche ethnographique qui décrit la dance comme articulation codée par une culture postcoloniale spécifique. Mon étude montre comment le corps colonisé produit un savoir culturel à partir de sa différence. Cette forme de savoir corporelle présente le corps colonisé en tant que sujet et non seulement objet du désir colonial. Méthodologiquement, cette dissertation rassemble des théories occidentales et autochtones de la danse. Mon étude considère aussi les théories postcoloniales du corps dansant à partir des perspectives hétérosexuelles et homosexuelles. En outre, mon étude examine les manières dont les quelles les théories contemporaines de la danse, postulées par Susan Foster et André Lepecki par exemple, peuvent être pertinentes dans le contexte postcolonial. Mon étude explore également le potentiel politique de l’érotique dans la danse à travers des représentations textuelles et cinématographiques du corps. L’introduction de ma dissertation a trois objectifs. Premièrement, elle offre un aperçu sur les théories postcoloniales du corps. Deuxièmement, elle explique les manières dans lesquelles on peut appliquer des philosophies contemporaines de la danse dans le contexte postcoloniale. Troisièmement, l’introduction analyse le rôle de la dance dans les œuvres des écrivains postcoloniales célèbres tels que Frantz Fanon, Wole Soyinka, Arundhati Roy, et Wilson Harris. Le Chapitre un remet en question les théories de l’ambiguïté et de l’insaisissabilité de la danse à partir de la théorie de l’érotique postulé par Audre Lorde. Ce chapitre examine le concept de l’érotique dans le film Dunia de Jocelyne Saab. Le Chapitre deux ouvre un dialogue entre les théories occidentales et autochtones de la danse à partir d’une étude d’un roman de Tomson Highway. Le Chapitre trois examine comment l’écrivain Trinidadien Earl Lovelace utilise la danse de carnaval comme espace culturel qui reflète l’homogénéité raciale et l’idéologie nationaliste à Trinidad et en les remettant également en question. / Classical texts of postcolonial theory rarely address the embodied expression of dance as they examine the colonial body only through the imperial discourses about the Orient (Said), the construction of the Subaltern subject (Spivak), and the ambivalent desire of the colonial gaze (Bhabha). The Cyprian theorist and dancer Stavros Stavrou Karayanni has emphasised the centrality of dance as a key category of analysis through which discourses of resistance can be articulated from the perspective of the colonial heterosexual and queer body. However, Karayanni adopts the psychoanalytic method according to which the dancing body of the colonised subject has an ambivalent effect upon the Western traveller and / or coloniser who both desires and derides this body. In contrast to this approach, my study examines dance as a space in which the colonial body choreographs its collective history which colonial amnesia suppresses so as to de-historicise colonised subjects and disfigure their cultures. Departing from Frantz Fanon’s emphasis on the relevance of dance in colonial studies, I argue that the colonial body choreographs its collective memories in dance and prompts us to rethink hegemonic discourses of postcolonial identity formation that revolve around ambivalence and elusiveness. I borrow the notion of “choreographing history” from the Western contemporary discipline of dance studies which has integrated cultural studies since mid 1980s and influenced postcolonial inquiry of dance over the last decade. I include various cultural traditions in my project so as to re-direct today’s predominantly ethnographic research which describes dance as an encoded articulation of culture in specific postcolonial societies. I also include different cultural traditions to show that while choreographing silenced memories in various historical experiences of colonial violence, the dancing body allows us to construct discourses of resistance in ways that postcolonial theory has not addressed before. The re-choreography of postcolonial theories of the body, as developed in this dissertation, articulates an ethical imperative because it shows how the subaltern body not only choreographs memories that colonial amnesia silences but also produces cultural knowledge with a difference. Methodologically, this study brings together Western and indigenous theories of dance as well as postcolonial theories of the dancing body from both heterosexual and queer perspectives. My study discusses Susan Foster and André Lepecki’s contemporary theories of dance and the body in the context of postcolonial theories of Oriental dance and eroticism. It also examines the socially and politically transformative potential of the erotic in dance through textual and cinematic representations of the body. My study equally opens a dialogue between Western and indigenous theories of dance in the context of Canadian indigenous literary work of Tomson Highway. A critical examination of Trinidad Carnival and Calypso in a novel by Earl Lovelace demonstrates that dance is a central paradigm of analysis for a postcolonial critique of the body and the categories of identity that inscribe it.