From Introduction: Ankoku Butoh is a performing art devised in Japan in the wake of the Second World War by the dancer and choreographer Tatsumi Hijikata (born Akita, 1928; died Tokyo, 1986). A highly aesthetic and subversive performing art, Butoh often evokes "images of decay, of fear and desperation, images of eroticism, ecstasy and stillness." Typically performed with a white layer of paint covering the entire body of the dancer, Butoh is visually characterized by continual transformations between postures, distorted physical and facial expressions, and an emphasis on condensed and visually slow movements. Some of the general characteristics of Butoh performance include "a particular openness to working with the subtle energy in the body; the malleability of time; the power of the grotesque."

A partir des expériences singulières de danseurs expressionnistes allemands qui débutent leur carrière sous la République de Weimar et émigrent à Paris dans les années 30, il s’agira d’analyser des esthétiques politiquement engagées à gauche : quel langage scénique produit l’investissement politique de ces danseurs d’Allemagne ? Nous relèverons alors les différentes formes chorégraphiques de l’engagement, nous distinguerons plusieurs registres de la dénonciation et, à plus petite échelle, nous tenterons de répertorier une palette de gestes politiques à l’œuvre dans ces danses.Il faudra ensuite étudier l’évolution esthétique des chorégraphies au cœur du processus d’émigration : comment la lutte politique utopiste de la République de Weimar devient-elle un acte de survie pendant le temps de l’exil à Paris ? Quels réseaux artistiques et sociaux construisent les danseurs exilés pour continuer leur métier dans les contraintes de l'émigration?Par ailleurs, une étude comparative des deux contextes de réception – celui de l’Allemagne des années 20 et celui de la France des années 30-40 – permettra de mettre en avant les différents lieux de représentation, les divers publics de la danse et le regard particulier porté par les spectateurs et les critiques parisiens sur la danse d’expression allemande.En quoi en effet, l’exil politique de ces danseurs d’Allemagne constitue-t-il un véritable phénomène transculturel à travers la confrontation avec un nouveau mode de réception et malgré la montée des nationalismes également présents dans le milieu chorégraphique des années 30-40 ? / Pas de résumé disponible

Orientador: Mara Patricia Traina Chacon-Mikahil / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Fisica / Made available in DSpace on 2018-08-12T14:45:15Z (GMT). No. of bitstreams: 1 Gulak_Andreia_M.pdf: 3837742 bytes, checksum: 91b74e687c39cff10282bd5ab48bf4d1 (MD5) Previous issue date: 2007 / Resumo: Os objetivos do presente estudo foram: traçar o perfil antropométrico e a composição corporal em bailarinas clássicas; verificar por meio de testes indicadores como: flexibilidade, agilidade, força explosiva de membros inferiores e a capacidade cardiorrespiratória nas bailarinas; analisar os valores da concentração do lactato sangüíneo e de remoção após duas diferentes rotinas coreográficas específicas do ballet clássico: adágio e allegro. Sendo assim, foram estudadas 11 bailarinas adolescentes e 11 bailarinas adultas do sexo feminino na faixa etária de 14 a 31 nos. Como pré-requisitos para inclusão das bailarinas na investigação foram considerados o período mínimo de oito anos de prática de dança e estarem em fase de treinamento. A composição corporal foi avaliada pela técnica de espessura do tecido celular subcutâneo, as medidas de flexibilidade em diferentes articulações foram obtidas por meio de um flexímetro, a capacidade neuromuscular foi avaliada por meio da medida de agilidade e a força explosiva de membros inferiores executando o salto específico do ballet na Plataforma de Saltos Ergojump Test®. A avaliação da capacidade e potência cardiorrespiratória máxima foi realizada em esteira rolante durante esforço dinâmico até a exaustão. A intensidade de esforço foi medida durante as rotinas coreográficas por meio da dosagem das concentrações de lactato sangüíneo. Os dados apresentados são os valores das médias ± desvios padrões, a partir da seleção e da tabulação dos resultados, procedendo-se à aplicação da estatística descritiva dos dados individuais. O nível de significância adotado para todos os resultados foi de p<0,05. Para a avaliação da flexibilidade as bailarinas apresentaram valores que são satisfatórios para a modalidade e acima dos valores de outros estudos. No teste de agilidade as bailarinas adolescentes obtiveram melhores resultados, enquanto que na avaliação da força de membros inferiores as bailarinas adultas apresentaram valores significantemente maiores. A Ventilação no teste de esforço máximo no Limiar Anaeróbio entre os dois grupos não foi significativamente diferente. Mas parece que o treinamento específico do ballet clássico não diminui a resposta ventilatória. Considerando a metodologia de 4mM, pudemos verificar que: a seqüência coreográfica adágio está no Limiar Anaeróbio, enquanto que a seqüência coreográfica allegro atinge o pico acima do Limiar Anaeróbio para os dois grupos. Na seqüência coreográfica adágio as bailarinas adolescentes atingiram valores significantemente maiores em todos os momentos da recuperação passiva. De acordo com os resultados encontrados no presente estudo, pudemos concluir que são necessários estudos adicionais, a fim de caracterizar melhor o ballet clássico, principalmente em diferentes momentos da periodização do treinamento. / Abstract: The aims of this study were: make the anthropometrics profile and body composition in classical dancers; Check through specific tests the flexibility, the agility, the explosive strength of lower limbs and the cardio respiratory capacity in the dancers; analyze the levels of blood lactate concentration blood and the its removal kinetics after two different specific classical ballet choreographic routines: adagio and allegro. So we studied 11 adolescents and 11 adult females' dancers, between 14 and 31 years old. As inclusion criteria's it was considered the minimum period of eight years of dance practice and still be in the process of training. The body composition was assessed by the subcutaneous cellular tissue thickness technique. The measures of flexibility in different joints were obtained with a fleximeter, the neuromuscular capacity was evaluated by the measure of the agility (by Shutlle Run test) and the explosive power of lower members was obtained through a specific ballet jump in the Ergojump Test®, a jump platform. The assessment of the maximum cardio respiratory capacity and power was obtained through a treadmill dynamic test until the exhaustion. The effort intensity was measured during the choreographic routines through the blood lactate concentrations. The data are presented as mean ± standard deviations after the selection and organizations of results. The we proceeded with the descriptive statistics of individual data. The level of significance adopted was p<0,05. In body composition assessments the adolescents dancers obtained higher values than the adult dancers, but we must remember that it was used different formulas, due to the difference in age. It was possible to verify that there are problems in the validation of methods to estimate body composition in dancers and practitioners of dance. For the flexibility assessment the dancers showed satisfactory values and higher in comparison to other studies. In the agility test the adolescents dancers obtained the best results, while in the lower limbs strength test the adult dancers showed significantly higher values. The pulmonary ventilation on the treadmill test in anaerobic threshold between the two groups was not significantly different. But it appears that the special training of classical ballet does not reduce the ventilation response. Considering the 4mM methodology, we can verify that: the Adagio choreogaphic routine is at the anaerobic threshold, while the Allegro choreographic routine reaches the peak above the anaerobic threshold for the two groups. At Adagio the adolescents dancers achieved significantly higher values of lactate levels in all stages of passive recovery. According to the results found in this study, we believe that that additional studies are still required in order to make a better characterization of the classical ballet, especially at different times of periodization of the training. / Mestrado / Ciencia do Desporto / Mestre em Educação Física

Orientador: Graziela Estela Fonseca Rodrigues / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T14:09:17Z (GMT). No. of bitstreams: 1 Nagai_AngelaMayumi_D.pdf: 4465469 bytes, checksum: cf4cd0b6d79ea74f9c7c34a39ed86255 (MD5) Previous issue date: 2012 / Resumo: Este trabalho dedica-se à vivência e análise de um processo criativo em dança através do método Bailarino-Pesquisador-Intéprete (BPI), criado pela artista e pesquisadora Profa. Dra. Graziela Rodrigues. Quem dança em mim? Uma relação personagem-intérprete no método BPI é a continuação do trabalho de dissertação desenvolvido com o mesmo método, intitulado O Dojo do BPI: Lugar onde se desbrava um caminho (2008). Nele vivenciei o primeiro eixo, O Inventário no Corpo. Na presente pesquisa, dá-se continuidade à prática e reflexão dos eixos subseqüentes do BPI: o Co-habitar com a Fonte e a Estruturação da Personagem. O eixo Co-habitar com a Fonte foi vivenciado no sertão do Cariri, no estado da Paraíba, onde co-habitei com a mestra de pífano Dona Zabé da Loca. Meu interesse residia sobre os artistas populares do sertão, em especial as mulheres musicistas. A partir do contato com este campo, um inusitado universo feminino se abriu e se desdobrou no eixo subseqüente do método: A Estruturação da Personagem. A tônica do trabalho acabou residindo sobre este eixo, a Estruturação da Personagem. Uma personagem no BPI é, num primeiro momento, Incorporada, no sentido de ter reveladas as suas características basais. Ela não é imaginada, desejada ou construída: ela é descoberta a partir do confronto entre o arquivo de vida gravado no corpo do bailarino (elaborado no eixo Inventário no Corpo) e o contato com o campo de pesquisa por ele escolhido (segundo eixo do método, o Co-habitar com a Fonte). Desta relação fecha-se uma gestalt sempre original e única, a qual será lapidada em sua potência dançarina, possibilitando uma reflexão sobre o conceito de dança, no método BPI. O embate da intérprete com a personagem é analisado como um processo de criação co-evolutivo, dialético e "às avessas". A travessia corporal da bailarinapesquisadora- intérprete foi pautada por sombrios aspectos da humanidade trazidos à luz pela conscientização dos sentidos de cada movimento, até o aflorar de uma dança que se constitui pela capacidade de superação e bem-aventurança / Abstract: This work aims at the experience and analysis of a creative dance process through the Dancer-Researcher-Performer (DRP) method, conceived by the artist and researcher Prof. Dr. Graziela Rodrigues. Who dances inside me? A character-performer relationship in the DRP method (Dancer-Researcher-Performer) is a continuation of my dissertation work developed with the same method, entitled The Dojo of DRP: a place where a pathways bloom (2008). In that work, I experienced the first axis of the method, the Inventory in the Body. In the present research, I carry on with the practice of and the reflection on the subsequent axes of DRP: the Co-Inhabiting with the Source and The Structuring of the Character. The Co- Inhabiting with the Source axis was experienced in the hinterland of Cariri in the state of Paraíba, Brazil, where I have co-inhabited with the master of the flute (pífaro) Ms. Zabé da Loca. My interest lay on the popular artists of the Northeastern hinterland of Brazil, particularly women musicians. After this contact, an unusual feminine universe was opened and unfolded in the subsequent axis of the method: The Structuring of the Character. The emphasis is on the third axis method, The Structuring of the Character. A character in the DRP method is, at first, embodied, in the sense of having its basal characteristics revealed. The character is not imagined, wished or built: it is discovered from the confrontation between the archive of life recorded in the body of the dancer (drafted in the first axis of the method, The Inventory in the Body) and the field of research chosen by him/her (or second axis, The Co-Inhabit with the Source). An original and unique gestalt is based upon this relationship, which will be refined in its dancing power, providing a reflection on the dance concept in the DRP method. The clash between the performer and the Character is analyzed as a process of a co-evolutionary and dialectical creation, but as if it were an "inside out" creation. The dancer-researcher-performer's body passage is measured by the dark aspects of humankind that are brought to light through the awareness of the senses of each movement up to the blooming of a dance consisting of blessedness and the capacity to overcome darkness / Doutorado / Artes Cenicas / Doutor em Artes

Orientador: Ana Cristina Colla / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T17:11:06Z (GMT). No. of bitstreams: 1 Millas_ClaudiaReginaGarcia_M.pdf: 43008708 bytes, checksum: 0b83159366444447ccdf0babcc38a358 (MD5) Previous issue date: 2014 / Resumo: Falar de criação cênica a partir do uso dos espaços vertical e aéreo é sobretudo falar de uma prática híbrida que requer diálogo com diversas formas de conhecimento como a dança, o circo, o teatro e a escalada. Partindo de um estudo de caso, realizado com a Cia Suspensa de Minas Gerais, a pesquisa avançou para a experimentação prática dos espaços em laboratórios com um grupo de estudos a partir de três frentes: o espaço aéreo com o uso de uma cadeira suspensa, aparelho construído especialmente para a pesquisa; o espaço vertical por meio de uma parede de escalada; e exercícios de preparação no solo com treinamentos corporais. Destas práticas surgiram reflexões, diálogos de experiência e a composição de dois estudos cênicos, Ao Vestir Vertigens e De Olhos Fechados, apresentados em eventos culturais ao longo dos anos de 2013 e 2014. Tem-se como desafio colocar em palavras as experiências vividas e torna-las partilháveis, trazendo para isso parceiros de escrita e a cartografia como procedimento de trabalho. Discute-se sobre os riscos envolvidos na prática, os treinamentos necessários e as possibilidades de criação cênica a partir do uso dos espaços vertical e aéreo. Propõe-se que os espaços em questão possam servir como catalisadores do processo criativo, colocando o sujeito no campo de experiência, que gera conhecimento / Abstract: Discussing scenic creation based on vertical and aerial spaces is above all discussing a hybrid practice requiring a dialogue between several areas of knowledge, including dance, circus, theater and climbing. After starting with a case study, accomplished in collaboration with the Cia Suspensa of Minas Gerais, this research then moves on to explore those spaces in three different contexts: the aerial space, using a suspended chair built specifically for this research; the vertical space, using a climbing wall; and ground warm-up exercises with body training. This exploration gave rise to reflections, dialogues, and the elaboration of two scenic studies, "Ao Vestir Vertigens" and "De Olhos Fechados", performed in cultural events during 2013 and 2014. We then faced the challenge of putting our experiences into words so that we could share them with others; to achieve this, we enlisted the aid of writing partners and cartography techniques. Here, we discuss the practical risks, required training, and possibilities for scenic creation based on vertical and aerial spaces. We propose that such spaces can act as catalysts for the creative process, placing the subject in the field of experiment and thereby generating knowledge / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Today modern scholars only have few records left that discusses the plebeian women from the Roman society. One group that is known are females who appeared on the Roman stage as dancers and actresses. This paper serves to discuss those two groups. It will focus on the Roman authors attitudes towards female actresses and dancers during the 1 century BC from two points of views: terminology and descriptions. The study will prioritize text passages from three ancient Roman authors during the investigative time-period with focus on three women: Volumnia Cytheris, Dionysia, and Arbuscula. These women, could if successful, integrate the elite society and gain richness and reputation. They often had names and terminology that represented and identified them to a specific social class in the Roman society. These women’s lives, have mostly during the 21 centuries, been discussed and debated from different gender and class aspects with focus to increase our understanding about them. A discussion this paper tends to contribute to.

Balance is the ability to maintain an individual’s centre of mass over his or her base of support while standing. Ballet dancers have better balance than non-dancer control groups as they presented with better sensory-motor integrative skills when required to maintain a given posture for a longer period. To evaluate functional balance abilities, assessing individuals with above average balance abilities may provide valuable information about function. The balance of trained ballet dancers (N1) was investigated by comparing Sensory Organisaiton Test (SOT), Motor Control Test (MCT) and Limits of Stability (LOS) test results to matched non-trained individuals (N2). A quasi-experimental and two group design was used. Ten matched trained ballet dancers (N1) and 10 untrained individuals were included in the study. Trained ballet dancers (N1) had an average of 16.6 (± 4.24) years of experience, while non-trained individuals (N2) had none. No significant dufferences in demographic data was present between groups. Both groups reflected good overall balance and similar sensory organization. No differences in reflex latencies and weight symmetry of the left or right leg was present. Trained ballet dancers (N1) reflected higher response strength for medium forward translations (p.05) with the left leg, indicating poorer amplitude scaling in response to platform translations than those of non-trained individuals (N2). In non-trained individuals (N2), there was less variation in the response strength between legs. Research indicated that stretch reflex amplitude was attenuated as load stability was reduced. Co-contraction was also heightened as stability was reduced, but not enough to oppose the induced instability, probably due to feed-forward strategies instead of rapid involuntary feedback. Trained ballet dancers (N1) were able to extend further out of their Centre of Pressure (COP) than non-trained individual (N2) during forward (p<.05) and right forward (p<.05) movements. It was concluded that that for forward and right forward movements, ballet dancers used the feedback they received during the movements better than non-trained individuals (N2), resulting in a better awareness of where to go in space and how to reach that position after a subsequent attempt. This difference may be as a result of continuous training. Ballet training exercises can be used to rehabilitate individuals with impaired limits of stability. Further studies should be done on exactly which ballet training exercise results in increased limits of stability. / Mini Dissertation (MCommunication Pathology)--University of Pretoria, 2016. / Speech-Language Pathology and Audiology / MCommunication Pathology / Unrestricted

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I have been cast as "Bobby" in A Chorus Line at Orlando Broadway Dinner Theatre in Orlando. I will use this opportunity as my thesis role. As part of my thesis defense, I will combine an analysis of the character of "Bobby" in A Chorus Line with an assessment of Actors' Equity Association's audition policies from 1970 to the present, and investigate whether the audition held in the show abides by the policies established by AEA for Broadway calls. "Bobby" has an interesting arc of development as he actually gives the director what he (the director) does not want, yet is still cast in the fictitious Broadway show. Why he would choose to stray from the director's instructions is an interesting question and demanding study. To facilitate my research on the character (aside from script and score analysis), I will interview Thommie Walsh (about for whom the role was written and the original "Bobby" on Broadway) as well as other men who have played the role to get insights into the character that will enhance my performance. Mr. Walsh will also elaborate on his real-life relationship with Michael Bennett and how that compares and contrasts with the relationship between "Bobby" and "Zach." I also will interview as many of the original cast members as possible (namely Baayork Lee) to get contributing memories and anecdotal evidence from the original production. A Chorus Line captures the one element all performers experience – the audition. The audition process has changed over the years, and I will focus on the development of protocol from the early 1970's (when A Chorus Line takes place) to the present. I will explore the manner in which the process has evolved and what A Chorus Line's contribution was (if any) to that process. This show has become so much a part of the musical theatre vernacular that historical exploration of procedures would also clarify how this work was structured. Were actors subjected to that intense style of audition on a huge stage in the early 1970s? Are they still today? My research will trace the history and rules governing auditions, performers and staff as delineated by Actors' Equity Association. I will also include a comparison of Equity to the variety of non-Equity auditions. Other sources will include rulebooks from AEA and interviews with dancers (past and present), AEA staff and Patrick Quinn, President of AEA.

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