La thèse de doctorat-ci présente est consacrée à la recherche sur l’esthétique de la danse contemporaine de ces vingt dernières années en Europe. Après une introduction méthodologique et historique, nous présentons dans la partie principale les quatre paradigmes du corps dansant : politique, critique, poétique et virtuel, ce qui nous permet de distinguer des courants esthétiques présents dans la danse européenne à partir de1990. Cette date n’indique aucun événement en particulier, mais elle renvoie plutôt à deux faits majeurs : un historique – la fin du communisme en Europe qui a permis le développement spectaculaire de la danse contemporaine ; et un autre– esthétique – l’arrivée de la danse conceptuelle en France. Tout en citant plus que cent cinquante spectacles vus lors des nombreux festivals et théâtres européens, nous analysons par le biais de ces quatre paradigmes du corps dansant, la proximité esthétique des artistes venant à la fois de l’Europe de l’Ouest et des pays postcommunistes. Ceci nous a permis de constater qu’il n’est point possible de distinguer des différences purement esthétiques entre la danse est-européenne et occidentale, surtout à cause de la nature nomade de la création chorégraphique. Notre conclusion est donc la suivante, qu’à moment présent la danse tend à une esthétique pluridisciplinaire sinon hybride qui dépasse facilement les frontières nationales grâce à des systèmes d’éducation et créations très marqués par l’esprit nomade. Ainsi, des particularités nationales consistent surtout sur des conditions spécifiques du développement de la danse et de la production, ce qui fait l’objet d’un commentaire dans un texte attaché en annexe. / The present work is dedicated to the research on European contemporary dance aesthetics after 1990. Following short methodological and historical introduction, we present four paradigms of dancing body: political, critic, poetic and virtual, we distinguish the main aesthetics waves present in the dance in Europe within last twenty years. 1990 is not linked to any particular event but evokes two majors facts: one is historic - the end of communism in Europe, which allowed next a brilliant development of contemporary dance, the second fact is the apparition of the conceptual dance in France in nineties. By approaching the work of over eighty choreographers and hundred fifty performances seen on festivals and in the theatres all over the Europe, we are analysing via corps dansant the aesthetics proximity of the West- and Eastern choreographers. This analysis allowed us to make a statement, that there is no such a possibility to distinguish the differences on a pure aesthetical level between eastern and western European choreographers, namely because of the nomadic character of contemporary choreography. Our conclusion consist on fact, that the contemporary dance tend to a pluridisciplinary, hybrid aesthetics, and thanks to that the national frontiers are not an obstacle, especially because of the educational and creation systems marked by nomadic spirit. In consequences, the national particularities consist on specific conditions of dance development and dance production, which is an object of an analysis in annex.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-15T14:13:00Z No. of bitstreams: 1 carlosgoncalvestavares.pdf: 2841629 bytes, checksum: f3ed9e1d927ae031a82b7dc0378de6d5 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-15T15:46:30Z (GMT) No. of bitstreams: 1 carlosgoncalvestavares.pdf: 2841629 bytes, checksum: f3ed9e1d927ae031a82b7dc0378de6d5 (MD5) / Made available in DSpace on 2015-12-15T15:46:30Z (GMT). No. of bitstreams: 1 carlosgoncalvestavares.pdf: 2841629 bytes, checksum: f3ed9e1d927ae031a82b7dc0378de6d5 (MD5) Previous issue date: 2015-02-23 / Os diálogos empreendidos pelas diversas formas de expressões artísticas caracterizam toda a história da humanidade. No século XX é evidente a influência dos meios de comunicação e aparatos técnicos nas pesquisas e criações artísticas. De diferentes modos e estilos, a dança, que também passou por mudanças significativas, tanto no âmbito artístico, quanto nos âmbitos pedagógicos e sociais, utiliza de toda a evolução das mídias em suas criações, desde aqueles que já pertenciam à dança, historicamente, como a iluminação e a música, até o uso mais recente de câmeras, projetores de imagens e outros meios tecnológicos. Desta forma esta dissertação buscou analisar as relações intermidiáticas entre a dança, a imagem, o teatro e a música nos espetáculos da Cia Ormeo, companhia de dança que residia em Cataguases (MG) e, que colocava em diálogo a dança contemporânea, o teatro, a música e os meios audiovisuais, por meio da projeção de imagens. A companhia foi dirigida por Daniela Guimarães e esteve em atividade entre 2003 e 2013, sendo um dos poucos grupos artísticos da cidade de Cataguases e região, que obteve uma trajetória artística através de recursos públicos de fomento à cultura. Foram escolhidos os trabalhos Barco (2006), Nha fala (2005) e Uma mulher vestida de sol (2007) para a análise, tendo como base teórica o conceito da intermidialidade, através de vários autores e principalmente de Irina Rajewsky. Os espetáculos da Cia Ormeo possuem características intermidiáticas, uma vez que diversos elementos artísticos se interconectam através da dança. Nota-se que a dança tem uma forte componente comunicativa que incorpora as características das outras artes e as recria cenicamente. Sendo assim, as coreografias e montagens da Cia Ormeo potencializam as características estéticas do teatro, por meio de suas representações; da música, por meio do tratamento diferenciado da voz e dos sons e do audiovisual, por meio do diálogo imagem-corpo. / The dialogues undertaken by the various forms of artistic expression characterize the entire history of humanity. In the twentieth century it is clear the influence of the media and technical devices in research and artistic creations. In different ways and styles, the dance, which has also undergone significant changes, both in the artistic context, and in the educational and social, uses the whole evolution of media in their creations, from those who already belonged to the dance, historically, as lighting and music, to the more recent use of cameras, image projectors and other technological means. Thus this dissertation investigates the intermedial relations between dance, image, theater and music in spectacles Cia Ormeo, dance company residing in Cataguases (MG) and that placed in the contemporary dance dialogue, theater, music and audiovisual media, by means of the image projection. The company was run by Daniela Guimarães and was active between 2003 and 2013, one of the few artistic groups from the city of Cataguases and region, which obtained an artistic trajectory through public resources to promote culture. The works analyzed were Barco (2006), Nha fala (2005) and Uma mulher vestida de sol (2007) for the analysis, the theoretical ground the concept of intermediality, by various authors and especially Irina Rajewsky. The Cia Ormeo’s gigs have intermedial characteristics, since many artistic elements are interconnected through dance. Note that the dance has a strong communicative component incorporating the features of the other arts and recreates scenically. Thus, the choreography and assemblies Cia Ormeo in enhancing the aesthetic characteristics of theater, through its representations; music, through the differential treatment of voice and sounds and audiovisual through the image-body dialogue.

The thesis examines the phenomenon of nonverbal communication via dance from the perspective of anthropology of dance. The objective of the thesis is to analyze the dance environment of contemporary and ballroom dance, based on the point of view of the dancers as well as of the audience. I determine the differences in the ways these forms of dance communicate through dance performances. I examine how dance functions as a means of language, on which level the communication is processing and what meanings and messages the audience decodes within the dance performance. The phenomenon of dance in its natural environment is studied semiotically, as a form of language in certain context. The fieldwork method is based on participant observation and semistructured interviews with both dancers and audience. The research was conducted in the studio of Nová scéna - Lidé v pohybu in Prague, which teaches contemporary dance, and in the dance club Akcent Dobruška, which focuses on ballroom dance. Keywords: Anthropology of Dance, Nonverbal Communication, Contemporary Dance, Ballroom Dance, Semiology, Performance, Audience, Meaning.

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Syftet med denna studie är att belysa dansformen Lindy hop som immateriellt kulturarv och presentera de konflikter som finns kring förmedling och förvaltning i förhållande till dansen idag. Frågeställningarna redogör för vilka attityder som uppfattas bland utövare och experter när det gäller utövanderätten av ett immateriellt kulturarv och bevarandestrategier av en dansform i förändring. Förhållningssätten som redovisats genom intervjuer och enkätsvar kan visa på en kulturell förskjutning av samtida dans som gått från ett afroamerikanskt ursprung till ett västerländskt perspektiv. Studien belyser maktstrukturer i förhållande till en kulturell performance och vad det i sin tur säger om Lindy hop som immateriellt kulturarv i dagens Sverige. / The aim of this study is to shed light to a swing dance called Lindy hop, as intangible cultural heritage and also to present the conflicts that exist around the practice and management in the relation to the dance today. The questions sets out which attitudes are perceived among the practitioners and experts regarding to the rights to practise an intangible cultural heritage, and the conservation strategies to a dance form in constante change. The attitudes reported through interviews andsurvey responses may indicate a cultural shift in contemporary dance that has gone from an African-American origin to a western perspective and practise. The study highlights the structures of power in relation to cultural performance and what that says about Lindy hop as an intangible cultural heritage in sweden today.

[ES] Una parte fundamental de la historia del VIDEODANZA en la Comunidad Valenciana está ligada a CONTACTART (Acciones Artísticas Contemporáneas), proyecto artístico interdisciplinar que nace en Valencia en 1995, con el objetivo de impulsar el arte contemporáneo en sus diversas formas de expresión. Desde sus orígenes hasta la actualidad, CONTACTART VIDEODANZA ha canalizado numerosas acciones de carácter nacional e internacional alrededor de la actividad coreográfica, su historia y sus prácticas, en colaboración con entidades diversas. La recuperación y revalorización de esta memoria histórica, junto a un estudio más analítico de todo este recorrido y su transmisión como legado a futuras generaciones a través de una catalogación de documentos materializada como base de datos, constituyen los fundamentos de esta tesis doctoral sustentada en una metodología de investigación mixta. / [CA] Una part fonamental de la història de la VIDEODANSA a la Comunitat Valenciana està lligada a CONTACTART (Accions Artístiques Contemporànies), projecte artístic interdisciplinari que naix a València en 1995, amb l'objectiu d'impulsar l'art contemporani en les seues diverses formes d'expressió. Des dels seus orígens fins a l'actualitat, CONTACTART VIDEODANSA ha canalitzat nombroses accions de caràcter nacional i internacional al voltant de l'activitat coreogràfica, la seua història i les seues pràctiques, en col·laboració amb entitats diverses. La recuperació i revaloració d'aquesta memòria històrica, al costat d'un estudi més analític de tot aquest recorregut i la seua transmissió com a llegat a futures generacions a través d'una catalogació de documents materialitzada com a base de dades, constitueixen els fonaments d'aquesta tesi doctoral sustentada en una metodologia d'investigació mixta. / [EN] An essential part of DANCE FILMS history in Valencian Community (Spain) is linked to CONTACTART (Contemporary Artistic Actions), a multidisciplinary artistic project born in Valencia, in 1995, with the aim of boosting the contemporary art in its diverse forms. From its origins to the present time, CONTACTART DANCE FILMS has canalized numerous national and international actions around choreographic activity, its history and its practices, in collaboration with several entities. The recovery and reassessment of this historic memory, along with a deeper analytical study throughout this process and its transmission as legacy to future generations through a cataloging of documents materialized in a data base, constitute the foundations of the present doctoral thesis supported by a mixed research methodology. / Ricart García, R. (2024). CONTACTART (Acciones Artísticas Contemporáneas) 1995-2015: veinte años de Vídeodanza en la Comunidad Valenciana. Trascendencia, Documentación, Repercusión [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/203216

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).

The aim of this Diploma thesis is to create a media image of dancing issues in the selected Czech media in 2011. The research is focused on the selected Czech national dailies and weeklies and public broadcast media. The introductory chapter deals with the dance types which were identified in the content analysis and the development of dance in the country. The space is also dedicated to the Czech dance education, theater facilities, selected dance groups and the summary of existing studies of the dance phenomenon in the field of media studies. The second chapter is devoted to the methodology, the process and outcomes of the research part of the thesis. The quantitative content analysis was determined to be the method of the research part of this Diploma thesis. The third chapter is based on the results of a quantitative content analysis. The chapter is focused on the current dance reviewers, whose texts were identified in the research part of the thesis. Another part of the chapter is dedicated to the publishing of dance topics in the national media and the individual communication with selected personalities of Czech dance critics identified in the results of quantitative content analysis. The final text of the chapter focuses on comparing the identified outputs in the national and professional...

Made available in DSpace on 2016-04-26T18:15:44Z (GMT). No. of bitstreams: 1 JUSSARA SOBREIRA SETENTA.pdf: 649922 bytes, checksum: d7bd5508dd00387cf9c1ced55b86b620 (MD5) Previous issue date: 2006-07-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In public communication, the body currently encounters a kind of overexposure by the media that can be seen as a frame to be confronted if the principle intent is to not participate in the media process as such. Although it may seem to a averagely attentive person that we live in a time where the body has become one of the most explored of subjects, those who reflect upon contemporary culture call attention to the fact that this highly exposed, mediated body is always behind the same type of filters. In certain cultural areas, the body chooses other forms of communication and, in challenging the hegemonic images of mass culture, is by them confined to peripheral niches. Contemporary dance is one such peripheral niche. The hypothesis that resulted in the research herein presented as a doctoral dissertation was developed out of the speech acts theory of J. L. Austin, regarding verbal language, which was extended to body language by placing its formulations in dialogue with the corpomídia [body-media] theory developed by Katz & Greiner (1999, 2000, 2001, 2004, 2005), as well as with works of critics of culture such as Negri (2004, 2005) and Foucault. Proposing that the body is corpomídia of contemporaneity in installing other forms of behavior, the hypothesis is that this happens when its saying initiates its doing. This doing-saying distinguishes human and institutional bodies. Based on the theoretical frame here presented, this dissertation investigates the relationship between the Dance School of the Federal University of Bahia and the dance companies it produced. Could they be considered as corposmídia of the institution that created and supported them? The research also deals with the question of the visibility/ invisibility of contemporary dance itself, understood here as a sub-product of the cultural journalism practiced in Brazil / Para se comunicar publicamente, o corpo hoje enfrenta um tipo de superexposição midiática que se torna uma moldura a enfrentar quando não deseja fazer parte do processo em curso. Embora pareça aos menos atentos que vivemos em uma época na qual o corpo tornou-se um dos assuntos mais explorados, aqueles que refletem sobre a cultura contemporânea chamam a nossa atenção para o fato de que esse corpo hiper-exposto nas mí¬dias está sempre atrás de um mesmo tipo de filtro. Em certos segmentos da cultura, o corpo optou por outra forma de comunicação e, por ferir as suas imagens hegemônicas da cultura de massa, é por elas detido em nichos periféricos. A dança contemporânea é um deles. A hipótese que resultou na pesquisa aqui apresentada sob a forma de uma tese de doutorado partiu da teoria dos atos de fala de J. L. Austin a respeito da linguagem verbal e a estendeu para a linguagem corporal, pondo as suas formulações em diálogo com a teoria corpomí¬dia, desenvolvida por Katz & Greiner (1999, 2000, 2001, 2004, 2005) e com a bilbiografia de crí¬ticos da cultura como Negri (2004, 2005) e Foucault. Propondo que o corpo é corpomídia da contemporaneidade quando instaura um outro modo de atuar, a hipótese é a de que isso se dá quando o seu dizer inaugura o seu fazer. Esse fazer-dizer distingue corpos humanos ou institucionais. A partir do arcabouço teórico aqui apresentado, a tese propõe-se a investigar a relação da Escola de Dança da Universidade Federal da Bahia com os grupos que produziu. Seriam eles corposmí¬dia da instituição que os gerou e abrigou? A pesquisa deparou-se ainda com a questão da visibilidade/ invisibilidade da própria dança contemporânea, que entendeu como um sub-produto do jornalismo cultural praticado no Brasil

本研究以林懷民先生所創立之雲門舞集為例，探討台灣表演藝術團體以非營利組織型態經營發展之進程。研究問題有三： 一. 為什麼表演藝術團體要以非營利組織的型態來經營？他們真的很難盈利嗎？ 二. 非營利組織型態經營的表演藝術團體，應該如何評估其工作績效？ 三. 表演藝術團體以非營利組織型態經營時，如何邁向永續？ 林懷民先生被柏林晨報譽為「亞洲最重要的編舞家」，他於1973年創立雲門舞集，是目前台灣擁有最多專業舞者的舞團。雲門舞者的訓練包括現代舞、芭蕾、京劇動作、太極導引、靜坐與內家拳，完整專業的訓練使雲門舞集行走國際，累積許多經典舞作。 雲門舞集在1988年成立雲門舞集文教基金會，1998年創立雲門舞蹈教室，1999年成立子團「雲門2」，深入台灣各地校園和社區。2008年，雲門八里排練場大火，這個空間曾是數齣經典舞作的孕育誕生之地，大火毀了歷年的音樂資料，早年使用的道具、服裝和多媒體幻燈片。 本研究在組織構形的相關文獻上主要參考李仁芳教授所著之《管理心靈》(1980)，引申出雲門舞集在開創期、暫停期、成長期與成熟期等四期進程中所發生的組織構形。在組織成長的學理引用上，主要參考學者Larry E. Greiner 1998年在《Harvard Business Review》發表的〈Evolution and Revolution as Organizations Grow〉。 2009年4月，雲門舞集與台北縣(今新北市)政府舉行「徵求民間參與興建營運淡水文化藝術教育中心案」簽約儀式。「淡水文化藝術教育中心」是雲門依促參法規向台北縣政府提案申請興建的，佔地約1.5公頃，林懷民希望雲門從2013年開始有一個固定的家。本研究完成時，園區即將開工，人間事，塞翁馬？期盼未來更多學者持續觀察雲門的發展，因為台灣需要一個這樣的文化團體給人信心。 / This thesis takes Cloud Gate Dance Theatre of Taiwan as the primal case study that with document analysis, participant observation, and in-depth interview as the research methods to have better understanding of performing arts foundation when they might face in the institutionalized process. The overall objective of this study is： 1. Why, as the most prestige, renowned Performing Arts Company in Taiwan, Cloud Gate has to running with the pattern of nonprofit organization? Is it really difficult for Performing Arts Company to make profits? 2. How to assess and evaluate their working performance if Performing Arts Company is in nonprofit organization pattern? 3. While Performing Arts Company managing with the nonprofit organization mode and mind set, how to maintain their sustainability? Cloud Gate Dance Theatre of Taiwan was founded in 1973 as the first professional contemporary dance company in any Chinese speaking community. Directed by internationally renowned choreographer Lin Hwai-min, Cloud Gate transforms ancient aesthetics into thrilling modern celebrations of motion. The 25 dancers of the company receive trainings from the West and the East, including Chi Kung, meditation, internal martial arts, modern dance, ballet, and calligraphy as well. This research mainly consults 《The Managerial Mind》 (1980) written by Jen-Fang Lee Ph.D. and also thesis〈Evolution and Revolution as Organizations Grow〉 (1998) which was issued in 《Harvard Business Review》 written by Professor Larry E. Greiner. Evolve into Cloud Gate Dance Theatre of Taiwan, researcher define its history from creative stage, transition stage, growth stage to mature period organization phase taken place among the four processes. Without any similar comparison, Cloud Gate might be stands as a unique operational case; however, I hoped through the special operation analysis, It will sum up the general mode of contemporary dance company towards nonprofit foundation, which will benefit others for its practice managerial experience.