Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 292-299). Available also in a digital version from Dissertation Abstracts.

Made available in DSpace on 2016-12-08T16:52:08Z (GMT). No. of bitstreams: 1 marcelle.pdf: 755204 bytes, checksum: d21df4dbd92d35d813eaa05864b28832 (MD5) Previous issue date: 2011-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation deals with the possible contributions of Somatic Education to the training of puppeteers. The research is based on the pedagogic practice developed by Jo Lacrosse and Claire Heggen, both professors at the École Supérieure Nationale des Arts de la Marionnette in Charleville-Mézières/France. Both use three different approaches to Somatic Education the Feldenkrais Method, Eutonia and Alexander Technique as basis for the training of the puppeteer. Besides the theories developed by Moshé Feldenkrais, Gerda Alexander and Matthias Alexander, this study makes use of articles published in the field as well as interviews carried out with these professors. Researchers such as Marcos Souza (2005), Ana Maria Amaral (2002), José Parente (2007), Michael Meschke (1988), Freddy Artiles (1998), Rafael Curti (2007), Felisberto Costa (2000) and Valmor Beltrame (2005) contributed to our understanding of the importance of the training of the puppeteer. In this context, this study stresses the role played by Somatic Education as a support to develop the expressive quality of movement and a means to avoid that physical problems in the body occur due to the extraquotidien position of the puppeteer during his work. The Feldenkrais Method, Eutonia and Alexander Technique help to organize the body movement by showing the importance of leaning on the skeletal structure, balancing the muscle tone and using the profound muscles as a basis for movement / Esse estudo aborda possíveis contribuições da Educação Somática no trabalho corporal do ator no Teatro de Animação. A pesquisa baseou-se na prática pedagógica desenvolvida por Jo Lacrosse e Claire Heggen, professores da École Supérieure Nationale des Arts de la Marionnette, em Charleville- Mézières, França. Ambos os professores utilizam três abordagens somáticas Método Feldenkrais, Eutonia e Técnica de Alexander como suporte para o trabalho corporal do ator animador. As teorias desenvolvidas por Moshé Feldenkrais, Gerda Alexander e Matthias Alexander referenciam este estudo, aliado a artigos e entrevistas realizadas com os dois professores, quatro alunos e um ex-aluno da escola francesa. Autores como Marcos Souza (2005), Ana Maria Amaral (2002), José Parente (2007), Michael Meschke (1988), Freddy Artiles (1998), Rafael Curti (2007), Felisberto Costa (2000) e Valmor Beltrame (2005) contribuem para a compreensão da importância do trabalho corporal na formação do ator animador. O estudo O CORPO NO TEATRO DE ANIMAÇÃO: contribuições da EDUCAÇÃO SOMÁTICA na formação do ator enfatiza o papel das práticas somáticas como facilitadoras do desenvolvimento da qualidade expressiva do movimento e como meio de evitar o surgimento de problemas posturais decorrentes da postura extracotidiana de animação. O Método Feldenkrais, a Eutonia e a Técnica de Alexander favorecem a organização do movimento, por meio do uso dos apoios da estrutura óssea, do equilíbrio do tônus muscular e do uso da musculatura profunda como suporte para realizar o movimento

This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang. Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies. In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically—at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies. I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia. The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades’ layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries. I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada. / Graduate / 2018-04-12 / 0377, 0357, 0465 / sutrisno@uvic.ca