In recent years, region governments actively impelled the buskers to be engaged in the street performance. They handle the examination and certification of buskers and open public space to become the legal venues of street performance, so that the arts enter into daily life of the city to result in new cityscape. The festival has been regarded as one of the most rapidly growing form of tourism. Using the street performance festival to develop the culture tourism industry, it is profitable for marketing cities and gaining economic benefits. This study is to use TOWS matrix, in-depth interviews with experts and famous foreign cases as the foundation of the operation strategies of Kaohsiung city International Street Performance Festival; then use Delphi method to evaluate strategies by industrial, governmental and academic experts. Finally, the researcher concludes strategies regarding to five aspects, which are ¡§Environmental Resources¡¨, ¡§Organization and Manpower¡¨, ¡§Activities Planning¡¨,¡¨ Marketing Publicity¡¨ and ¡§Financial Planning¡¨.

This thesis explores the practices, motivations, and sensorial experiences of Montreal’s metro buskers. By examining the lived experiences of ‘street’ performers in the stations and connecting passageways of Montreal’s underground transit system, I consider what it ‘means’ to be a metro busker from the perspective of the performers. Informed by my ethnographic fieldwork among metro buskers, I detail their performance practices, ‘staging’ strategies, uses of technology, bodily dispositions, and subjective perceptions in relation to the public, each other and the spaces of performance. In the process, I make visible—and audible—the variable and improvisational nature of busking practices, and how these are constituted in relation to the physical features of the performance sites. More broadly, I explore the co-productive relations between body and space, the sensorial experiences and spatial practices of everyday urban life, and the potential for moments of micro-social encounter and appropriations of spaces that are not designed to foster conviviality and creative engagement. I locate ‘the busker’ within these questions not as a fixed identity or subject-position but as an embodied assemblage-act that is socially and materially situated and subjectively enacted through highly variable practices, perceptions and experiences. In detailing the moments of social encounter precipitated by metro buskers, I propose understanding busking as a form of Gift-performance that finds certain parallels in sensory ethnographic videography. I show how the influences of diverse participants—human and material—on the filming, editing, and distribution processes changed the course of the audio-visual production in this research. Finally, I introduce a notion of ‘expanded trajectory’ that links performer and space, researcher and participant, and may enable new acts of encounter and exchange, new processes of social and material circulation, new forms of Gift. / Graduate / 2018-05-15 / 0326 / nick.wees@gmail.com

Submitted by PPG Servi?o Social (servico-social-pg@pucrs.br) on 2017-05-31T11:39:52Z No. of bitstreams: 1 C?ssia Pilar Salgado - Disserta??o.pdf: 851906 bytes, checksum: c4c7ecfb719ab082f0e93786a140ec79 (MD5) / Approved for entry into archive by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-05-31T14:28:00Z (GMT) No. of bitstreams: 1 C?ssia Pilar Salgado - Disserta??o.pdf: 851906 bytes, checksum: c4c7ecfb719ab082f0e93786a140ec79 (MD5) / Made available in DSpace on 2017-05-31T14:28:30Z (GMT). No. of bitstreams: 1 C?ssia Pilar Salgado - Disserta??o.pdf: 851906 bytes, checksum: c4c7ecfb719ab082f0e93786a140ec79 (MD5) Previous issue date: 2017-01-24 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This dissertation investigates how the work of street performers is constituted in Porto Alegre/RS in order to analyze the meaning of art and work for them, as well as their work conditions and organized resistance. This work is grounded on the Critical Social Theory from Marx since it has its political content allied to the praxis of social transformation, as well as to base our work on the Marx's method as a mediation to analyze the dynamic reality of the capitalist society since it understands its particularities and contradictions due to the domination and exploration of work. In methodology, we opt by a qualitative research. We used an empirical analysis in which we made a semi-structured interview with seven (7) street performers in addition to observation and field diary. The data collection was made in different places (locus) of Porto Alegre. We intend, among the aims of this investigation, to provide data from the work of street performers to the Social Work, Art, and related areas. In order to show the world of the artistic work in Porto Alegre. We aim to use collected data as a complement for discussions and social mobilizations of street performances and general community. The research data will be available in 2017 on traditional and alternative way, such as dissertation defense, e-mail, CD-ROM, independent mini-documentary, 3th Festival of Street Performers in Porto Alegre, book writing, and political organizations that fight for the democratization of art. We highlight that the identification data and artists names collected are reserved in secrecy. / A disserta??o investiga como vem se constituindo o trabalho de artistas de rua em Porto Alegre/RS a fim de analisar o significado de arte e trabalho, bem como as condi??es de trabalho. O trabalho se fundamenta na Teoria Social Cr?tica de Marx em vista do cunho pol?tico aliado ? pr?xis de transforma??o social, bem como por sustentar-se no m?todo marxiano como media??o para analisar a realidade din?mica da sociedade capitalista, pois compreende suas particularidades e contradi??es inerentes ? domina??o e a explora??o do trabalho. No que concerne ? metodologia, optou-se pelo uso da pesquisa qualitativa. Para tanto utilizou-se a t?cnica de an?lise emp?rica na qual aplicou-se entrevista semiestruturada com sete (7) artistas de rua, al?m de observa??o participante e di?rio de campo. A coleta de dados ocorreu em diferentes lugares (l?cus) de Porto Alegre. Pretende-se, dentre as finalidades desta investiga??o, propiciar dados referentes ao trabalho de artistas de rua para o Servi?o Social, Artes e ?reas afins, outrossim dar visibilidade ao mundo do trabalho art?stico de rua em Porto Alegre. Por fim, facilitar dados como poss?veis complementos em discuss?es e mobiliza??es sociais de artistas de rua e comunidade em geral. Os dados da pesquisa ser?o socializados de forma tradicional e alternativa: banca de defesa, e-mail e/ou CD, minidocument?rio independente, 3? Festival de Artistas de Rua em Porto Alegre, produ??o de livro e organiza??es pol?ticas que lutam pela democratiza??o da arte, todos previstos para 2017. Torna-se importante destacar que os dados de identifica??o e os nomes coletados ser?o reservados em sigilo.

This thesis investigates how street performers entertain passers-by and audience members in exchange for money. Specifically, it investigates how this exchange relationship is accomplished in light of exchange happening outside the routine context of “the market”, where payment for goods and services is ordinarily enforceable. In this regard, this thesis seeks to uncover the ways that exchange in street performance is alternatively organised through donations, and how giving donations are produced and recognised as interactionally relevant and morally accountable actions. To that end, this thesis employs the allied approaches of ethnomethodology and conversation analysis. It empirically examines video recordings of street performances, mostly collected at the Edinburgh Festival Fringe. Three kinds of street performance encounter are considered: these are musical busking, living statue performing, and circle show performing. The order of the discussions of these performances reflects the extent to which the performers explicitly recruit interactional resources —including talk, gesture and material objects—to morally obligate audience members and passers-by to give donations. The main thrust of this thesis is that street performers, passers-by and audience members collaboratively produce and recognise street performances as gifts that should be reciprocated. The street performances are initially freely given, but participation entails indebtedness that in various ways make remuneration interactionally relevant. In this regard, this thesis also explores how money, value and materiality feature in the giving and receiving of donations. This thesis provides new knowledge about how street performance encounters are ordered, how moral obligation is interactionally worked up through the sequential organisation of social actions, and how money donations are exchanged in return for entertainment. It also provides new understanding about how different kinds of street performance encounters share organisationally similar properties for solving the “payment problem”, but at the same time possess properties that are distinct.

Orientador: Renato Ferracini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T19:46:21Z (GMT). No. of bitstreams: 1 Baffi_DiegoElias_M.pdf: 9182452 bytes, checksum: 2e41643cf89a12102c85a045eb0ee916 (MD5) Previous issue date: 2009 / Resumo: Esta dissertação é um convite deste acadêmico palhaço itinerante para que o leitor se vincule a um percurso vivido nas ruas de Campinas, com a companhia de um nariz vermelho, uma Mala de experienciações de atuação e uma Cuia de parceiros de reflexão. Com esse objetivo, o pesquisador escreve com a vivência artística na técnica que denomina "Palhaço Itinerante". Partindo do deslocamento do que se atribuiria à figura do 'autor', substituída por uma teoria de construção da autoria fundada em processos complementares de vínculo, pressionamento e esquiva, de onde se construiria a criação artística. Deste ponto, descrevem-se alguns encontros frutíferos do ator-palhaço Diego Elias Baffi com "mestres" de palhaço - dentre os quais se destaca o grupo Seres de Luz Teatro, responsável pela orientação prática desta pesquisa - e com outros parceiros, em especial a atriz Liliane Küpper. Deste percurso artístico se configurará a técnica do "Palhaço Itinerante", que traz como fluxos identitários: a itinerância, a relação com os elementos fixos e móveis do espaço público, a construção de territórios de jogo poético e a improvisação. No curso do segundo capítulo desta dissertação, são chamadas a contribuir para este pensamento uma abordagem histórica, e também reflexões com a teoria dos jogos e o espaço público. No item "O Palhaço Itinerante" se busca, sobretudo, traçar uma breve genealogia dos fluxos compartilhados com outros exercícios de comicidade que irão desembocar na referida técnica; já no item "O Jogo" a busca é por apontar fluxos compartilhados dentre esta pesquisa e teorias dos jogos com vistas a pensar as possibilidades de criação de espaços de jogo poético-cômico; finaliza o capítulo o item "O Espaço Público" onde se propõe refletir com pensadores do espaço público, de onde se pensa a atuação do palhaço itinerante no espaço público a partir de sua dinâmica de usos. No terceiro capítulo, a presente pesquisa traz relatos retirados de diários de campo. Tais relatos são dispostos em uma formatação que busca cartografar uma rede de coexistência de fluxos, em processo de atualização e (re)criação, presente nas intervenções artísticas. Para finalizar esta dissertação, a "Conclusão" exorta a necessidade da continuidade da busca como exercício do conhecimento, e, para tanto, convida o leitor a integrar-se a este processo. / Abstract: The present dissertation is an invitation from this academic itinerant clown for the reader to bond with an artistic route experienced personally in the streets of Campinas, in the company of a red nose, a Mala of acting experiences and a Cuia10 of partners in reflection. With this objective, the researcher with (first-hand) artistic experience in the technique denoted by "Itinerant Clown". In this way, the dissertation starts with the dislocation of what would be attributed to the figure of an "author", which allows space for a theory of construction of authorship from complementary processes of bond, pressure and dodge, from which, as is proposed in this dissertation, artistic creation could be constructed. From this point, some fruitful encounters are described between the actor-clown Diego Elias Baffi and "master" clowns - among which stand out the group Seres de Luz Teatro, responsible for the practical orientation of this research - and, with other partners, especially the actress Liliane Küpper. From this artistic route the technique of "Itinerant Clown" will be constructed, which brings as characteristic currents: wandering, the relation with fixed and movable elements of public space, the construction of territories of poetic play and improvisation. In the course of the second chapter of this dissertation, a historical approach as well as reflections with the theory of play and public space are called upon to contribute to this thought. In the section "The Itinerant Clown," what is sought above all is to trace a brief geneology of the shared currents with other practices of comedy, which will open into the technique referred to; then in the section "Play," the search is to point out shared currents between this research and theories of play, with a view toward considering the possibilities of creation of spaces of comedic-poetic play; the section "Public Space" concludes the chapter, wherein it is proposed to reflect with thinkers about public space, from which is considered the role of the itinerant clown in public space by means of its dynamic use. In the third chapter, the present research brings accounts taken from field-experience journals. Such accounts are arranged in a format that seeks to map out a web of the co-existence of currents, in process of being updated and (re)created, present in artistic interventions. To conclude this dissertation, the "Conclusion" urges the necessity of the continuity of research as an exercise of knowledge and, therefore, invites the reader to join in this process. / Mestrado / Artes Cenicas / Mestre em Artes

本劇改編自真實故事，以一位非洲鼓手為主角，描述他教姪子們打鼓，幫助他們走出喪父的陰霾，同時也化解自己與爸爸對立的關係、使家族情感重新凝聚的故事。從劇情中帶出一些普遍存在的生命經驗及困頓，以及在面對時所抱持的態度及過程，期能作為人們生命教育中的一環。 本文共分創作論述、劇本及附錄三個部分。論述的部分首先說明了〈鼓動人生〉故事的創作背景，並整理了親子教養觀、音樂治療、街頭表演藝術等相關文獻；其次為人物小傳、情節設計與先前故事，最後以創作心得及回顧檢討作結。附錄則為分場大綱。 / The film script is adapted from an authentic story, describing a drummer teaches his nephews how to drum in African style in order to help them ride out the grief from their father’s death. In the meanwhile, he also reconciles the conflict with his father, and cohered family bonds. In the script revealed are some commonly-existing life experience and hardship, the process in which difficulties are eventually overcome. The positive attitude towards life as displayed among the family members shows courage and can serve as a life education for the audience. The thesis consists of three parts: the literature review, script and appendixes. In the first part, the background of the story is mentioned, and then documents of parent-child upbringing, music therapy, and street performance are researched and filed. And the following are the life story of each role, the plot design and a prelude. And then an overview of the script writing is presented. In the end, the outlined plot is displayed in appendixes.

No description available.

This thesis sets out to explore why people engage in, and how to design for, play in a public setting. It does this by separating design for play from design of games, describing play as a socially and mentally understood activity, and a playful approach to engaging in that activity. It emphasises that while play is voluntary, design can help shape the players’ mode of engagement. The thesis uses a qualitative and inductive approach to research, with an understanding of knowledge as being constructed in the individual. The research is grounded in human computer interaction and interaction design, and closely related to game studies and design science. The research question concerns how design can influence the player activity in order to create a desired player experience in public, by harnessing playful engagement. It’s foundation is a theory of play which describes play as a framed, or hedged-off, activity with a fragile border; where knowledge and feelings can leak both in and out of the activity, and affect the play as well as what is around it. The theory of enjoyment of play is discussed, and the problem of treating this as ‘fun’ is addressed, concluding in a presentation of how playful engagement can be harnessed through design. The theory is applied in five design cases: I’m Your Body, a locative storytelling app; Codename Heroes, a pervasive game of personal empowerment; Passing On, a slow-paced game about communication; Busking Studies, which involves observing street performers and their shows; and DigiFys, an architectural design exploration of playgrounds and play paths. Finally, three concepts, or design tools, are presented, which address: 1) a structure for understanding a design through three layers, constructs designed by the designer, inspiring play activity with the player, leading to experience; 2) an approach to designing invitations to play; and finally 3), a four faceted structure for understanding play engagement when players engage in non intended ways.