Universiẗat, Diss., 2006--Freiburg (Breisgau).

Zulassungsarbeit--Literaturgeschichte--Universität Würburg, 2000. / Bibliogr. p. 105-112.

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains v, 85 p. Includes bibliographical references.

Zugl.: Freiburg (Breisgau), Univ., Diss., 2006

Dissertation Ph. D.--University of Queensland, 2000. / Bibliogr. p. 171-178.

Thesis (M.Ed.)--University of Melbourne, 2001. / Typescript (photocopy). Includes bibliographical references (leaves 124-129).

In the last fifty years, there has been a concern in the theatre world especially in Europe, about how to train actors to be open and responsive. One of the most respected and well-known teachers in this area is Monika Pagneux who taught for many years in Paris and now aged in her seventies, works as a freelance artist around the world. Her area of expertise is movement for actors. The aim of her work is to develop not only a responsive body but also an open and alive actor who is able to be creative in a disciplined yet risk-taking manner. This thesis is an investigation of the world of Monika Pagneux, including her fundamental principles and platforms of teaching movement for actors. A portrait of her work will be drawn and her influence on other performing arts practitioners. The data comes from three sources: my own field notes based on six weeks of classes in Australia and Paris, additional class notes by a movement expert and ten responses to an open ended questionnaire by former students. Their answers provide insights into the impact of her teaching professionally, in their lives and how they were transformed by her practice.

In the last fifty years, there has been a concern in the theatre world especially in Europe, about how to train actors to be open and responsive. One of the most respected and well-known teachers in this area is Monika Pagneux who taught for many years in Paris and now aged in her seventies, works as a freelance artist around the world. Her area of expertise is movement for actors. The aim of her work is to develop not only a responsive body but also an open and alive actor who is able to be creative in a disciplined yet risk-taking manner. This thesis is an investigation of the world of Monika Pagneux, including her fundamental principles and platforms of teaching movement for actors. A portrait of her work will be drawn and her influence on other performing arts practitioners. The data comes from three sources: my own field notes based on six weeks of classes in Australia and Paris, additional class notes by a movement expert and ten responses to an open ended questionnaire by former students. Their answers provide insights into the impact of her teaching professionally, in their lives and how they were transformed by her practice.

Zugl.: Freiburg (Breisgau), Univ., Diss., 2006

Stuttgart, FH, Diplomarb., 2000.