No description available.

No description available.

Since the Grade 1-9 Curriculum Reform took place in 2001, performing arts curriculum at compulsory education schools of Kaohsiung had faced several difficulties in practice. At the same time, marketing of the performing arts organizations also dropped down due to economic recession. In order to solve the dilemmas of both sides, the researcher thought that a partnership between compulsory schools and performing arts groups is a worthy strategy to try. Two concepts, art education partnership and co-teaching, were used to build up a theoretical framework. It is shown that a successful partnership between a school and a performing arts organization is influenced by many factors. These factors were taken to analyze the cooperative condition happened between the compulsory education schools and the arts organizations at Kaohsiung. Meanwhile, two schools, Kaohsiung Municipal Jiachang Primary School and Kaohsiung Municipal Youchang Junior High School, were chosen as the target cases of this study after a consulting conversation with the Compulsory Education Advisory Group of the Kaohsiung Municipal Department of Education(CEAGK). Members including the school administrative personnel, school teachers, parents and students of both schools were interviewed by selective ways. Taiwan Bangzi Company and the Bean Theatre also contribute their experiences to this study. In addition, observation and document analysis were also used as methods to collect data. Major conclusions are as the following: 1. Full time teachers and appropriate teaching materials are desperately demanded for compulsory education schools at Kaohsiung , unfortunately, even hired teachers has faced job crises at this time. 2. Performing arts groups are aware of the importance to cooperate with schools. 3. Knowing the difficult condition of the performing arts curriculum at school education, the CEAGK adapted strategies to assist teachers improve their skills and employ resources outside schools. 4. ¡§Personal contact¡¨ is a common way to find a partner. No contract was made, but agendas were the only documents for the cooperation. The interview results also reveal that schools need to improve their ways in deliberating the information upon performing arts education partnership. Although to work with schools in educational project is usually the goal for arts organizations, most activities were designed under the ideology of audience development or marketing the coming performance. 5. Both the schools and the performing arts groups respond that ¡§funding¡¨ and ¡§human resource¡¨ are key issues to conquer in dealing with ¡§performing arts education partnership (PAEP).¡¨ 6. PAEP at Kaohsiung is still on the ¡§Exposure Stage¡¨, co-teaching model by an artist and a teacher is still rarely seen. No one has ever attended workshops for the PAEP. 7. Evaluation on the effectiveness of PAEP is still lacked. 8. The PAEP at Kaohsiung was influenced by many factors including policy, funding, key persons, time and the project quality. PAEP should be followed by certain ¡§educational goal.¡¨ At the time of this study, the CEAGK and the performing arts organizations have asynchronous opinions towards the PAEP.

<p>Psychological trauma can literally disrupt life&rsquo;s flow by damaging brain and bodily systems. When a flashback to a traumatic event is triggered in a person suffering from traumatic stress, or PTSD, key functions in the brain malfunction and are deactivated, potentially causing massive disassociation. In addition, trauma can cause chronic hyperarousal, resulting from the body&rsquo;s malfunctioning autonomic nervous system&rsquo;s defensive response of fight, flight, or freeze. To cope with these damaged bodily and brain systems and processes detrimental acts of hyperfocus and numbing are often employed by sufferers of trauma. However these obstructions can be cleared though movement practices: top-down and bottom-up regulation methods, innately embedded in certain movement and dance disciplines such as yoga and creative dance, have shown to aide in trauma recovery. This opens the possibility that a dance/movement instructor, using trauma-conscious curriculum and facilitation techniques, can use their highly structured movement practices to engage with top-down and bottom up regulation practices to not only instruct students suffering from trauma, but offer opportunities to engage in treatment. </p>

<p>The subject of dance and injury has become an increasingly important area of study for sports medicine, education, and dance studies. However, the majority of current research focuses on professional dancers or pre-professional dancers in a conservatory training context. The research typically overlooks dancers in a university setting who pursue baccalaureate-level dance programs. This small-scale research study therefore focuses on collegiate dancers in their first year of study in a liberal arts dance program. As this population often sustains injuries, the thesis project seeks to examine the management of injury strategies and to create injury prevention guidelines for the liberal arts dance department, its dance classes, and a hypothetical syllabus for a first-year injury prevention course. The research methodology adopts three approaches: a survey of the incoming freshman dance class at Temple University; a detailed study of six previously or currently injured dance students through interview; and a critical assessment of the research on dance injury. The injury prevention guidelines developed from the student injury surveys, interviews, and assessments will focus on basic, yet essential, information regarding injury management and misconceptions, and the guidelines will prepare collegiate-level dancers for future injury challenges they may face. </p>

This thesis examines the complex role and presence of a range of images and ideas of architecture, as well as cruelty, in the work of Antonin Artaud, Jean Genet, and Samuel Beckett. It argues that the obsessive and varied presence of these ideas offers a substantial connection between the thought and drama of the three writers, and that it is linked to major issues in the political and cultural history of the time. Chapter 1 serves as an introduction to the thesis and places architecture and cruelty in the literary and creative culture of post-war France. Chapter 2 examines the urgency of these terms within the specific, historical framework of post-liberation France. Chapter 3 focuses on Artaud and issues of fragmentation, occupation, and resistance in his oeuvre between 1940 and 1948. Chapter 4 focuses on issues of imprisonment, aesthetics, and revolution in the work of Jean Genet. Chapter 5 examines issues of architecture, resistance, and fragmentation in the late plays of Samuel Beckett. In this chapter we will also examine the vital role Beckett's wartime resistance activity played in informing the architecture of the late drama. All of our subjects explore architecture and cruelty in their different and personal ways: Genet in terms of prisons; Beckett in terms of extreme personal states that can be linked to the resistance; and Artaud through a system of revised revolt and personal resistance. In the introduction and at a number of points in the thesis I explore both the connections and differences between the uses of architecture and cruelty by the three writers, and the range of ways in which these uses relate to the politics and philosophies of the era. The thesis argues in its conclusion that architecture and cruelty, used in both literal and metaphorical senses, can be seen to unite the work of Artaud, Genet, and Beckett more closely than has hitherto been acknowledged. The thesis has also proposed ways in which we can see the plays of Genet and Beckett as a form of cruel theatre, in a sense that serves to define and extend Artaud's notoriously complex and ambiguous ideas of theatrical 'cruaute'.

No description available.

No description available.

Placing the musical theatre in the context of its most recent developments, between 1957 and 1989, the study begins by aiming to define the term, 'musical theatre',and notes the lack of serious critical attention paid to it. In the succeeding four chapters, the author constructs a basic model for critical analysis of musicals, rooted firmly in dramatic principles, not musical ones. He also examines: a) the inherent expressive qualities of its four basic media and their dramatic functions; b) the traditions and conventions which have developed to give theatrical life and dramatic significance to the form; c) questions of style as related to the musical,and, most importantly; d) the principles and process of synthesis,which, he argues, creates a new language of the musical and gives it its place as art. In the second part of the thesis, the author examines shows from the set period in relation to the four variables of his analytical model: i) the ideas artists want to express ii) the discovered devices of creation iii) the mechanics of presentation iv) public and critical response. By this means he explores the expressive range of the musical's recent history and its potential which continues to attract artists and audiences alike.

This M. F. A. thesis exhibition consists of painting, sculpture, and video completed over the last five months. In support of the exhibition, an artist's statement outlines my exploration of the interaction between artist and audience, stylization and mass production of image.