The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the relations between the different elements. The MODUL method links movement practice and art production as the topographical movement analysis is also applied to, and conceptualised through, the body. In terms of dance technique the MODUL method works with the same topographical movement analysis to explore bodily functionalities as Choreographic Agents. The technique is called Body-Self Attunement and aims at tuning the self, understood as the symbolic body, with the biological body. Body-Self Attunement does not try to unify the symbolic body and the biological body but affirms the gap as generative. The term Generative Choreography is coined in order to emphasise the performative aspect of choreography that is not defined by what it is, but what it does. / <p>QC 20140519</p>

The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the relations between the different elements. The MODUL method links movement practice and art production as the topographical movement analysis is also applied to, and conceptualised through, the body. In terms of dance technique the MODUL method works with the same topographical movement analysis to explore bodily functionalities as Choreographic Agents. The technique is called Body-Self Attunement and aims at tuning the self, understood as the symbolic body, with the biological body. Body-Self Attunement does not try to unify the symbolic body and the biological body but affirms the gap as generative. The term Generative Choreography is coined in order to emphasise the performative aspect of choreography that is not defined by what it is, but what it does.

Orientador: Marilia Vieira Soares / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de artes / Made available in DSpace on 2018-08-04T10:58:05Z (GMT). No. of bitstreams: 1 Miller_JussaraCorrea_M.pdf: 5654339 bytes, checksum: cbe2a428391f4bc8afe8a40ad1ebe596 (MD5) Previous issue date: 2005 / Resumo: O presente trabalho é fundamentado nos princípios desenvolvidos pelo professor e pesquisador Klauss Vianna (1928-1992) que, por aproximadamente quarenta anos, se dedicou a um trabalho de observação e pesquisa das estruturas do corpo e do movimento humano, posteriormente sistematizado por seu filho Rainer Vianna (1958-1995), e por sua nora, Neide Neves, resultando na Técnica Klauss Vianna. Esta dissertação aborda a sistematização da Técnica Klauss Vianna, explanando o processo didático e a criação da coreografia "Corpo Sentadd' como aplicação conclusiva da pesquisa. o objetivo principal deste trabalho é contribuir para o entendimento e reconhecimento da Técnica Klauss Vianna, com a apresentação de sua estruturação didática e o estudo dos tópicos corporais trabalhados no dia a dia de sala de aula / Abstract: This work is based on the principies developed by the professor and researcher Klauss Vianna (1928-1992), who dedicated approximately forty years of his life to a work of obssrvationand research on body structures and human movement, later systematized by his son Rainer Vianna (1958-1995) and his daughter-in law, Neide Neves, resulting in today's known Klauss Vianna's Technique. This dissertation approaches the systematization of Klauss Vianna's Technique, explaining its didactic process and the creation of the "Seated Body" choreography as a conclusive application of the research. The mainobjective of this work is to contribute to the understanding and acknowledgement of Klauss Vianna's Technique, with the presentation of its didactic structuring and the study of the corporal topics worked out in daily classroom practices / Mestrado / Artes / Mestre em Artes

Title: Case study of the training process of couples performing Latin American dances. Objectives: The main objective of this paper is the creation of case studies aimed at developing the sports career of Latin American dance couples. Another objective is to create a training plan for the next dance season based on the information gathered. Methods: The paper used content analysis and critical analysis of expert literature. The research was carried out through case studies, interviews and testing. The research sample consisted of adult Latin American dance couples. The results are presented via text, illustrative graphs and tables. Results: It was found that nowadays the performance of dance couples is most affected by their mental state at individual competitions. Depending on the current level of dancers it is necessary to focus primarily on building up psychological resilience for the next dance season. Another focus point of the preparation will be on practicing expressing the character and experience of the individual dances. Key words: sporting performance, dance technique, physical fitness, psychological resilience, training plan Powered by TCPDF (www.tcpdf.org)

Made available in DSpace on 2016-04-26T18:18:33Z (GMT). No. of bitstreams: 1 Neide Neves.pdf: 575759 bytes, checksum: 41fa02f4f33ba6af1b7e4843d00077a0 (MD5) Previous issue date: 2010-05-10 / Corporal technique has been defined by Western Common Sense as being a mechanical repetition that disciplines the body with a specific purpose in mind. This thesis proposes to destabilize traditional dichotomies of the theory-practice and mind-body type that have been responsible for the longevity of some ontological metaphors such as the body-recipient and the body-instrument that have collaborated efficiently with the most traditional definition of body-technique, as well as the stereotypes of human nature (Pinker, 2004). In methodological terms, the thesis promotes the crossing of studies of different areas of knowledge such as ethnology (Mauss, 1934), the cognitive sciences (Berthoz, 1997, Noë, 2004), the theories of communication (Sodré, 2006, Greiner and Katz, 2005) and political philosophy (Agamben, 2009). The result of the study is the compartmentalization of questions raised by this range of authors and practical experiments, whose starting point is the Klauss Vianna technique, bearing in mind the particular way this technique deals with the body and its communicative processes, generating complex solutions of adaptation in diverse environments (bodies, cities, artistic spaces, etc.). In conclusion, the thesis proposes a political-cognitive redefinition that starts by seeing technique as a communicative operator and a tool of power that can both discipline the body and activate the strategies of political resistance. Everything depends on the processes of mediation that will be activated during the communicative experience between the body and its surroundings / A técnica corporal tem sido definida pelo senso comum ocidental como uma repetição mecânica que disciplina o corpo tendo em vista um fim específico. Esta tese propõe desestabilizar dicotomias tradicionais do tipo teoria-prática e mente-corpo, que tem sido responsáveis pela longevidade de algumas metáforas ontológicas como por exemplo, o corpo-recipiente e o corpo-instrumento que colaboraram de maneira eficiente com a definição mais tradicional da técnica corporal, assim como com os estereótipos da natureza humana (Pinker, 2004). Em termos metodológicos, a tese promove o cruzamento de estudos de diferentes áreas de conhecimento como a etnologia (Mauss, 1934), as ciências cognitivas (Berthoz, 1997, Noë, 2004), as teorias da comunicação (Sodré, 2006, Greiner e Katz, 2005) e a filosofia politica (Agamben, 2009). O resultado da pesquisa é o compartilhamento de questões levantadas por esta gama de autores e experimentos práticos, cujo ponto de partida é a técnica Klauss Vianna, tendo em vista a maneira peculiar como esta lida com o corpo e seus processos comunicacionais, gerando soluções adaptativas complexas em ambientes diversos (corpos, cidades, espaços artísticos, etc). A tese propõe, como conclusão, uma redefinição político-cognitiva que passa a compreender a técnica como um operador comunicacional e um dispositivo de poder que pode agir como instrumento disciplinador do corpo mas também como acionador de estratégias de resistência política. Tudo depende dos processos de mediação que serão ativados durante a experiência comunicativa entre o corpo e o seu entorno

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Syftet med denna studie är att bidra med ny kunskap om svenska gymnasieelevers betygsfördelning och betygsutveckling i ämnet Dansteknik. Studien omfattar en totalundersökning av avgångsbetygen för de 414 gymnasieelever som avslutat sina studier vid det estetiska programmets dansinriktning i Stockholms stad under åren 2014 - 2018. Elevernas betygsfördelningar i olika kurser i ämnet Dansteknik samt deras betygsutveckling över kurserna har analyserats statistiskt. Studien visar att eleverna har höga betyg i ämnet Dansteknik, dels i relation till elevernas betyg i övriga ämnen men även i relation till riksnivåerna för andra ämnen, kurser och elevers avgångsbetyg generellt. Studien visar också att elever i hög grad behåller en liknande betygsnivå i Dansteknik under hela utbildningen samt att elevers och gymnasieskolors val av kurser i ämnet Dansteknik påverkar elevernas betygsutveckling och med stor sannolikhet även deras kunskapsutveckling i ämnet. / The purpose of this study is to contribute with new knowledge about grade distribution and students’ subsequent grades in the subject Dance technique as part of Swedish upper secondary education. The study encompasses the upper secondary school grades of the 414 students that ended the Arts Programme in dance in the City of Stockholm, Sweden, during the years 2014 - 2018. The results are based on a statistical analysis of these students’ course grades in the subject Dance technique. The study shows that students have generally received high grades in the subject Dance technique, both in relation to their grades in other subjects as well as in relation to national grade averages in various courses and subjects. The study also shows that the students maintain a somewhat even grade level throughout their education and that students’ grade level and learning in Dance technique is affected by students’ and schools’ course choices in the subject.