O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.

O presente estudo aborda o processo de criação do ator pelo viés da busca da organicidade das ações do ator em cena, organicidade esta ligada a uma ação real promovida pelo contato entre o ator e demais sujeitos e elementos da cena. Através de uma investigação empírica com grupos de atores, buscou-se pesquisar de que forma o Contato Improvisação pode contribuir para a prática do ator. Partindo da noção de contato como propulsor do impulso criador, buscou-se descortinar procedimentos que contribuem para o desenvolvimento de competências técnicas do ator levando à ascese de um comportamento orgânico em cena. Constituiu-se como material de análise o diário de campo da pesquisadora, os diários de campo dos atores, assim como registros em vídeo do processo, contendo atividades e depoimentos dos atores envolvidos. Para a concretização da pesquisa em questão também foi realizada revisão bibliográfica acerca do Contato Improvisação, incluindo materiais de Steve Paxton, criador desta dança. Como referenciais para a abordagem das peculiaridades do trabalho do ator, são utilizados os estudos de Jerzy Grotowski, de quem partem as principais terminologias que serviram como base para a pesquisa, Constantin Stanislavski e Augusto Boal, escolhidos por trazerem em seus estudos o contato como competência primordial à criação. Complementam a pesquisa teorias de Gaston Bachelard, José Gil, dentre outros estudos relevantes para a investigação em questão, como proposições da fenomenologia experimental. / This study investigates the actor's creative process through the point of view of the organicity of actor‟s actions. This organicity is linked to a real action caused by contact between the actor and other people and elements of the scene/stage. Through an empirical research with groups formed by actors, we sought to find how the Contact Improvisation can contribute to the actor‟s practice. Following the concept of contact as the creative impulse propellant, we sought to present procedures that contribute to the development of actor's technical skills that can induce the emergence of an organic behavior in the scene. Constituted as material for analysis: the researcher‟s field diary, field diaries of actors as well as video recordings of the proceedings, containing activities and testimonies of those involved. For the realization of this research, literature review was also performed in Contact Improvisation, including materials of Steve Paxton, the creator of this dance. As theoretical references to approach the peculiarities of the actor's work, we use studies of Jerzy Grotowski, who gives the main terminologies that served as the basis for research, Constantin Stanislavski and Augusto Boal, chosen because they present in their studies the contact as a primordial skill of creation. Theories of Gaston Bachelard, José Gil, and others relevant studies, as propositions of experimental phenomenology, complement the research.

This thesis studies the phenomenon "physical contact in dance" through two perspectives: how dance students experience it and the norms that exist around it in a dance context. The research has been carried out via half-structured lifeworld interviews of four dance students in Sweden. The interviews have been analyzed with the help of thematic analysis. The results have then been discussed together with existing literature about the subject. The conclusions have been that the participants generally appreciated physical contact but that some factors such as its association with sexuality or the non-respect of personal boundaries led to discomfort. The interaction with another person has been deemed an important component of the experience of touch, which led to the devising of an interpretation of physical contact as the intersection between the dancer and the private individual. The norms regarding touch that have appeared are that dancers are expected to be comfortable touching each other, that the topic is seldom discussed in dance and that physical contact is associated with sexuality in dance in the same way as in the rest of society.

The aim of this study is to contribute to the understanding of intergenerational touch within dance education in upper secondary schools in Sweden, focusing on contact improvisation. In this study, interviews with dance teachers in four upper secondary schools have been used to examine teachers' ideas and choices regarding intergenerational touch in contact improvisation through idea analysis. This study explores how teachers relate to the no-touch discourse and the domain-specific ideology within the contact improvisation movement. It also examines what an ethical approach to intergenerational touch in contact improvisation within upper secondary education could be. The study shows that some strategies teachers use in relation to intergenerational touch could function to downplay or adapt to the no-touch discourse, but no causality can be proven. There is also a proximity between some strategies and the domain-specific ideology within the contact improvisation movement. An ethical approach to intergenerational touch requires teachers to be aware of influences from different idea systems and to be reflexive regarding their own history and basic assumptions. It also requires teachers to get to know their students well and be sensitive to them in every moment.

Dance figure skating – A comparison between a score executed on ice and on floor This work derives from a curiosity of how figure skating and contemporary dance as two different art formscould work together. In what ways can different techniques within the fields of contemporary dance and figureskating inspire and develop each other? Video analysis together with introspection are used as methods. A scorewith different techniques from each field is recorded on the ice and on the floor. This material together with awritten introspection contains the base for the analysis and discussion together with relevant literature from thetwo fields. There are both similarities and clashes when analysing the results of the scores. Gliding and being onedges are fundamentals in figure skating and they are not transferable to floor. Falling and catching the fall issomething that turns out to be restricted to the floor since the skates makes edges while leaning and glidinginstead of falling. There are more explorations to be done when it comes to merging the two art forms together,hopefully this essay will give some inspiration to further work within contemporary skating.

Influenced by an ever-growing sense of alienation with my homeland, I have been determined to discover through my art practice an ability to challenge conventional notions of home, identity, communication and miscommunication. Exploring these themes, I became increasingly aware of the parallels between everyday life and art practice. By creatively connecting with a diverse amount of local people and their communities, I fulfilled desires to discover a sense of belonging and generated opportunities for others to break through traditional social boundaries and roles.

[EN] SUMMARY Title: The Plural Body. Integrated Dance and Inclusion. A renewal of the look Submitted by MARIA LUISA BRUGAROLAS ALARCON Directed by GEMA HOYAS FRONTERA This research deals with theory and practice of inclusion of people with functional diversity in dance creative processes and the role it represents in the changing aesthetic paradigm of contemporary art. From a critical, artistic, social and cultural perspective our purpose is to demonstrate how the access of people with disabilities to the professional world of theatre and dance brings a renewal to contemporary art, thus the rethinking of body image and the diversity of identities represented. We developed three broad objectives: to connect the importance our culture gives to the body as a place of control and legitimizing instrument of power with the absence of bodies with disabilities in the artistic discourse; to analyse how the inclusion of bodies traditionally known as unable in the Performing Arts can undermine the normalising role they have regarding the body models; and to demonstrate how the Integrated Dance, with the participation of people with and without disabilities from an inclusive paradigm, can cooperate in the deconstruction of a uniform body standard and offer a new vision of the Performing Arts. In our interdisciplinary methodology, different areas of knowledge are used from a critical approach: Visual Arts, Dance, Education, Philosophy and Aesthetics, Sociology and Cultural Studies. This research is theoretical, biographical with empirical work, using dialectical tools from a qualitative approach and the action-research model. As our main conclusions, we highlight the location of Integrated Dance as an Inclusive Art, showing how it has pioneered good practices that encourage the inclusive model in the Arts and Education fields. We have placed Integrated Dance in the expanded field of Art, on the basis of the displacement of Contemporary Art, the performative dimension of Art and the fluid identities paradigm. It is an artistic practice that nourish itself from a conscious construction of reality through the practice of difference, away from therapy or exclusively social spheres. We have established that there is a direct relation between learning processes and artistic work, introducing Improvisation, Contact-Improvisation and Somatic Education as inclusive methodologies applied to Integrated Dance, allowing diverse people to be a part in the learning processes, strengthen each person skills and developing new ones with the support of group diversity. New interdependent skills are created this way, widening the artistic discourse richness, offering performances that show fluid identities and making of dance a space for transformation. We have analysed several artists and companies, verifying that not all the Integrated Dance productions contribute to deconstruct the classic and standardised models of human body. We have come to the conclusion that artists that use difference and inclusive methodologies, transforming their reality trough a performative gesture, create a type of dance capable of destabilize the idea of people and bodies as a fixed place. And from there we argue about the necessity of an artistic public education within inclusive systems that allow people with functional diversity to engage in the study of dance and Performing Arts. Keywords: Integrated Dance, Inclusive Dance, Diversity, Performing Arts, Identity, Disability, Contact-Improvisation, Somatic Movement. / [ES] RESUMEN Titulo El Cuerpo Plural. Danza Integrada en la Inclusión. Una renovación de la mirada. Presentada por MARIA LUISA BRUGAROLAS ALARCÓN Dirigida por GEMA HOYAS FRONTERA Esta investigación versa sobre la teoría y la práctica de la inclusión de personas con diversidad en el ámbito de la creación en danza y el cambio de paradigma estético que ello representa en el arte actual. Desde un análisis crítico, artístico, social y cultural, nuestro propósito es demostrar cómo la entrada de personas con diversidad funcional en el mundo profesional de la escena y la danza, aporta una renovación al arte contemporáneo, tanto por el replanteamiento de la imagen del cuerpo como por la diversidad de las identidades representadas. Así desarrollamos tres objetivos generales: conectar la importancia que nuestra cultura otorga al cuerpo como lugar de control e instrumento legitimador del poder con la ausencia de cuerpos con diversidad funcional en los discursos artísticos; analizar cómo la inclusión en las artes escénicas de cuerpos tradicionalmente nombrados discapaces puede subvertir el carácter normalizador y sublimatorio que éstas han tenido con respecto a los modelos de cuerpo y demostrar cómo la Danza Integrada en la que participan personas con y sin diversidad funcional, desde un paradigma inclusivo, colabora en la deconstrucción del cuerpo homogéneo y en la renovación de la mirada sobre el arte escénico. Para ello seguimos una metodología de carácter interdisciplinar donde los ámbitos de conocimiento utilizados, desde un enfoque crítico, son: Artes Visuales, Danza, Educación, Filosofía y Estética, Sociología y Estudios Culturales. Es una investigación teórico-biográfica de carácter empírico, en la que se emplean herramientas dialécticas, desde una aproximación cualitativa, utilizando el método investigación-acción. Como resultados destacamos la localización de la Danza Integrada dentro de las Artes Inclusivas, demostrando cómo ha sido pionera en las prácticas que activan los modelos de inclusión en el ámbito artístico y educativo. Hemos inscrito la Danza Integrada en el campo expandido del arte a partir del descentramiento de las prácticas artísticas, en la dimensión performativa del arte y en el paradigma de identidades móviles, situándola como una práctica artística que nutre sus producciones desde un acto consciente de construir la realidad a través del ejercicio de la diferencia, alejándola de los ámbitos terapéuticos o exclusivamente sociales. Hemos constatado que los procesos formativos van en directa relación con la obra, presentando la Improvisación, Contact Improvisación, y la Educación Somática como metodologías inclusivas que aplicadas en la Danza Integrada dan cabida en los procesos de aprendizaje a personas muy diferentes, potenciando al máximo las capacidades de cada una y desarrollando otras nuevas que se derivan de la heterogeneidad de los grupos. Se crean así nuevas capacidades interdependientes, ampliando la riqueza del discurso artístico, ofreciendo creaciones escénicas que muestran identidades en flujo y haciendo de la danza un espacio de transformación. Hemos analizado varios artistas y compañías, constatando que no toda la producción realizada en Danza Inclusiva/Integrada ayuda a deconstruir los modelos clásicos y homogéneos del cuerpo. Concluimos que los artistas que desde metodologías inclusivas utilizan los marcadores de la diferencia para crear, transformando su realidad en un gesto performativo, son productores de una danza capaz de desestabilizar las miradas que confinan al cuerpo y a las personas en lugares fijos. Y desde aquí planteamos la necesidad de una educación pública de las artes en sistemas inclusivos que permita a las personas con diversidad optar al estudio de la danza y artes escénicas. Palabras clave: Danza Integrada, Danza Inclusiva, Diversidad, Artes Escénicas, Identidad, Discapacidad, Contact Improvisaci / [CA] RESUM (Valencià) Títol:El Cos Plural. Dansa Integrada en la Inclusió. Una renovació de la mirada. Presentada per: MARIA LUISA BRUGAROLAS ALARCON Dirigida per: GEMA HOYAS FRONTERA Aquesta recerca versa sobre la teoria i la pràctica de la inclusió de persones amb diversitat en l'àmbit de la creació en dansa i el canvi de paradigma estètic que això representa en l'art actual. Des d'una anàlisi crítica, artístic, social i cultural, el nostre propòsit és demostrar com l'entrada de persones amb diversitat funcional al món professional de l'escena i la dansa, aporta una renovació a l'art contemporani, tant pel replantejament de la imatge del cos com per la diversitat de les identitats representades. Així desenvolupem tres objectius generals: connectar la importància que nostra cultura atorga al cos com a lloc de control i instrument legitimador del poder amb l'absència de cossos amb diversitat funcional en els discursos artístics; analitzar com la inclusió de cossos tradicionalment nomenats discapacitats en les arts escèniques pot subvertir el caràcter normalitzador i sublimatori que aquestes han tingut pel que fa als models de cos; i demostrar com la Dansa Integrada en la qual participen persones amb i sense diversitat funcional, des d'un paradigma inclusiu, col·labora en la deconstrucció del cos homogeni i en la renovació de la mirada sobre l'art escènic. Per a això seguim una metodologia de caràcter interdisciplinari on els àmbits de coneixement utilitzats, des d'un enfocament crític, són: Arts Visuals, Dansa, Educació, Filosofia i Estètica, Sociologia i Estudis Culturals. És una recerca teòric-biogràfica de caràcter empíric, en la qual s'empren les eines dialèctiques, des d'una aproximació qualitativa, utilitzant el mètode recerca-acció. Com a resultats destaquem la localització de la Dansa Integrada dins de les Arts Inclusives, demostrant com ha estat pionera en les pràctiques que activen els models d'inclusió en l'àmbit artístic i educatiu. Hem inscrit la Dansa Integrada en el camp expandit de l'art a partir del descentrament de les pràctiques artístiques, en la dimensió performativa de l'art i en el paradigma d'identitats mòbils, situant-la com una pràctica artística que nodreix les seves produccions des d'un acte conscient de construir la realitat a través de l'exercici de la diferència, allunyant-la dels àmbits terapèutics o exclusivament socials. Hem constatat que els processos formatius van en directa relació amb l'obra, presentant la Improvisació, Contact Improvisació, i l'Educació Somàtica com a metodologies inclusives que aplicades en la Dansa Integrada donen cabuda en els processos d'aprenentatge a persones molt diferents, potenciant al màxim les capacitats de cadascuna i desenvolupant altres noves que es deriven de l'heterogeneïtat dels grups. Es creen així noves capacitats interdependents, ampliant la riquesa del discurs artístic, oferint creacions escèniques amb identitats en flux i fent de la dansa un espai de transformació. Hem analitzat diversos artistes i companyies, constatant que no tota la producció realitzada en Dansa Inclusiva/Integrada ajuda a deconstruir els models clàssics i homogenis del cos. Concloem que els artistes que des de metodologies inclusives utilitzen els marcadors de la diferència per crear, transformant la seva realitat en un gest performativo, són productors d'una dansa capaç de desestabilitzar les mirades que confinen al cos i a les persones en llocs fixos. I des d'aquí plantegem la necessitat d'una educació pública de les arts en sistemes inclusius que permeti a les persones amb diversitat optar a l'estudi de la dansa i arts escèniques. Paraules clau: Dansa Integrada, Dansa Inclusiva, Diversitat, Arts Escèniques, Identitat, Discapacitat, Contact Improvisació, Moviment Somàtic. / Brugarolas Alarcón, ML. (2016). El cuerpo plural. Danza integrada en la inclusión. Una renovación de la mirada [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62203 / TESIS / Premios Extraordinarios de tesis doctorales

The general aim of this research is the development of categories and codes (according to Saldaña's terminology, 2009) of the uses, functions and properties of the floor in dance. We have followed a methodology based on the qualitative analysis of a video corpus of dance works that were selected representive of a specific language (classical, modern and new dance) or as belonging to a particular historical moment (our research ranges from the end of the 19th century to the present), although some choreographies have also been included due to their contribution to the use of the floor in dance. In addition, this selection has been restricted by the availability of the works in video format. The final list of the works we have been analysing makes a total of 295 choreographies, 11 of which have been examined in depth so as to develop a qualitative codification. Once the categories had been established, the different aspects of the corpus of dances could be finally described and, in each category, the codes, which are the values of the dances, were also constituted. From the video-based qualitative analysis we propose different categories, grouped into three meta-categories focusing on the body techniques, the characteristics of the ground/floor, and the representation. / El objetivo general de esta investigación es el desarrollo de categorías y códigos (según la terminología de Saldaña, 2009) de los usos, funciones y características del suelo en la danza, por lo que hemos seguido una metodología basada en el análisis cualitativo de un corpus de videos de obras dancísticas, seleccionadas por ser representativas de un lenguaje concreto (clásico, moderno y new dance) o por pertenecer a un momento histórico determinado (nuestra investigación parte desde finales del siglo XIX y llega hasta la época actual), aunque también hemos incluido algunas coreografías que consideramos relevantes por su aportación respecto al uso del suelo. Esta selección también se ha visto condicionada a la disponibilidad en formato video de las obras. El listado final de obras sobre las que hemos trabajado ha sido del orden de 400 coreografías, de las cuales 11 han sido analizadas en profundidad para desarrollar la codificación cualitativa, estableciendo unas categorías de análisis que han permitido describir los diferentes aspectos del corpus de danzas, y en cada categoría, establecer unos códigos que son los valores que pueden adquirir las danzas. Este trabajo de visionado ha tenido como resultado del análisis cualitativo diversas categorías, y nos hemos centrado en las relativas al cuerpo, a las propiedades del suelo para la danza y a la representación.. / Aquesta investigació te com a objectiu el desenvolupament de categories i codis (segons terminologia de Saldaña, 2009) dels usos, funcions i caracterítiques del sòl a la dansa, per la qual cosa hem seguit una metodologia d'anàlisi qualitativa d'un corpus de vídeos de dansa, seleccionats perquè són representatius dels diferents llenguatges (clàssic, modern i new dance) o perquè pertanyen a un moment històric determinat (la nostra investigació s'inicia a finals del segle XIX i arriba fins a l'època actual), encara que també hi hem inclòs algunes coreografies que considerem rellevants per la seua aportació a la dansa en l'ús del sòl. La selecció s'ha vist condicionada a la disponibilitat de les obres en format vídeo, essent un total de vora 295 les coreografies analitzades, de les quals 11 han estat treballades en profunditat per al desenvolupament de la codificació qualitativa, constituïnt unes categories d'anàlisi que han permés descriure els diferents aspectes del corpus de danses, i establint a cada categoria uns codis com a resultat dels valors que les danses poden adquirir. Aquest treball de visionat presenta, com a resultat de l'anàlisi qualitativa, diverses categories, i la nostra investigació s'ha centrat en les que són estrictaments corporals, les referides a les propietats del sòl en relació a la dansa i les de la seua representació. / Arnal Rodrigo, RV. (2017). El suelo en la danza: uso del cuerpo y propiedades del soporte [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90449

This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.