WAKE UP BREATHING

abstract: The piece WAKE UP BREATHING holds personal significance as an investigation of thought-provoking issues of breathing through film installation, video and live performance. This research specifically addressed how breath training exercises enhance dance performance and improve a dancer’s control of their body, as well as how these exercises can function as material for choreographic inquiry. During the creation of the concert, the choreographer employed breath building exercises and applied different breath techniques with a cast of nine dancers. The choreographer and dancers worked collaboratively to develop creative material, enhance performance and help members of the audience understand why breathing in dance is so meaningful.Dissertation/ThesisMasters Thesis Dance 201

The transposition of literary and rhetorical constructs to dance theory and choreography

It was the purpose of this study to explore selected literary and rhetorical constructs as philosophical models for describing the aesthetic nature of dance, techniques of choreography, and the theory of choreography. Essentially heuristic, the study superimposed these constructs, such as metaphor, on dance theory to see if they also described the same or similar processes or techniques in dance. It was hoped that of the 250 constructs considered, a few would significantly enrich the dancer's understanding of his medium. Four compatible theories were used as a framework for conceiving the study: Langer, Sheets, Ellfeldt-Metheny, and Gendlin. Each construct was stated first as it applied to literature or rhetoric; then abstracted enough in terminology so that it would not only apply to literature and rhetoric, but other media as well; then this abstracted statement, now quite malleable, was applied to the indicated area of dance—aesthetics of dance, techniques of choreography, or theory of choreography. Professional literature on the constructs and the movement-meaning relationship were used to support the philosophical developments and conclusions. The study was illustrated through Labanotation and pantomimic descriptions where pertinent

Real-Time 3-D Motion Gesture Recognition using Kinect2 as Basis for Traditional Dance Scripting

This preliminary study presents a system capable of recognizing human gesture in real-time. The gesture is acquired from a Kinect2 sensor which provides skeleton joints represented by three-dimensional coordinate points. The model set consists of eight motion gestures is provided for basis of gesture recognition using Dynamic Time Warping (DTW) algorithm. DTW algorithm is utilized to identify in real time manner by measuring the shortest combined distances in x, y, and z coordinates in order to determined the matched gesture. It can be shown that the system is able to recognize these 8 motions in real time with some limitations. The findings of the this study will provide solid foundation of further research in which the ultimate goal of the research is to create system to automatically recognize sequence of motions in Indonesian traditional dances and convert them into standardized Resource Description Framework (RDF) scripts for the purpose of preserving these dances

Some aspects of the dynamic process of creativity with special reference to the choreographer and director in the theatre.

Thesis (Ph.D.)-University of Natal, Durban, 1979.No abstract available

The choreutic parameter: A key determinant of choreographic structural style

Space is an intrinsic element of performance dance. Not only does the dance as a totality exist within space, but at one and the same time, it creates its own unique spatiality - the choreutic space, which is created in and through the dancing body. In many dance works, the choreutic parameter - that concerned with this instrinsic spatiality - assumes a dominant role in both the choreographic structure and its aesthetic or meaning significance. In doing so, it plays a key role in the shaping of structure and meaning : it is thus a key determinant of choreographic structural style. In other works however, the parameter plays no such dominant role; while it remains an inherent aspect of the movemement itself, other parameters take precedence - both structurally and symbolically. Using certain principles put forward by eminent music theorist Leonard Meyer on the structural dominance of parameters in music, this study establishes the conditions for key determinacy in the first instance, and proposes a theoretical model for key determinacy. The study then examines the core principles of the model - those of primary pattern-forming, syntactic viability, and of mobility and closure - and establishes their general validity vis-à-vis the choreutic parameter. It thus establishes the conditions under which the choreutic parameter is a key determinant of choreographic structural style. Significantly then, the model accounts for choreutic structure as an interactive and dynamic structuring force which has aesthetic significance. To further empirically substantiate the findings, and to demonstrate the practical utility of the model, the core principles are demonstrated by way of the analysis of the work Adieu (1990), created by the Australian choreographer Leigh Warren. The examination establishes that in this particular work, the choreutic parameter plays a dominant role in the generation of both structure and meaning : it is a key determinant of its choreographic structural style. The use of Adieu to exemplify the principles is significant in that it is the first Australian work to be considered from a choreological (and specifically choreutic) perspective. Hence, while contributing knowledge to the field of choreuticsper se, this dissertation contributes to the study of works created in Australia by Australian choreographers. Importantly, it also makes a significant contribution to the relatively small quantity of scholarly dance research in Australia

Abstraction of representation in live theater

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.Cataloged from PDF version of thesis.Includes bibliographical references (p. 151-158).Early in Tod Machover's opera Death and the Powers, the main character, Simon Powers, is subsumed into a technological environment of his own creation. The theatrical set comes alive in the form of robotic, visual, and sonic elements that allow the actor to extend his range and influence across the stage in unique and dynamic ways. The environment must compellingly assume the behavior and expression of the absent Simon. This thesis presents a new approach called Disembodied Performance that adapts ideas from affective psychology, cognitive science, and the theatrical tradition to create a framework for thinking about the translation of stage presence. An implementation of a system informed by this methodology is demonstrated. In order to distill the essence of this character, we recover performance parameters in real-time from physiological sensors, voice, and vision systems. This system allows the offstage actor to express emotion and interact with others onstage. The Disembodied Performance approach takes a new direction in augmented performance by employing a nonrepresentational abstraction of a human presence that fully translates a character into an environment. The technique and theory presented also have broad-reaching applications outside of theater for personal expression, telepresence, and storytelling.Peter Alexander Torpey.S.M

Ono što tijelo može postati: kartografija između plesa i filozofije

This thesis does not explore what body is, but what a body can become. It explores the body as event-in-making throughout the concepts such as Body without Organs (Antonin Artaud, Gilles Deleuze and Félix Guattari), bodying (Erin Manning), body-in-making (Erin Manning). What all of those concepts have in common is the same state - a state of becoming. Here, body becomes, and as such - it is a verb, an activity, a force. This thesis does not only explore the body as a force of becoming, but it also explores the becoming of that force - at the molecular, experiential and relational level. As Manning says, a body is always more-than one. Here, we are trying to approach the physical, experiential and relational becomings of a body in movement. That which moves the body from the state of being into the state of becoming is movement. This thesis is trying to show how movement never stops. We always move, therefore, there is a continuity of becoming. A body is never just a form, but a force-form. Movement is that which opens the body toward its becoming of force(s). A moving body is not a form of expression, but a forcefield of expressivity. Movement connects the body to its very field of expressivity where the body starts to dance its capacities to do, produce and become. The body is never predetermined or finished - at the physical, experiential or relational level - but it is an ongoing movement. Movement makes the body, therefore, the body itself is a movement. We are not dancing with the body, we are dancing the body itself. The body is a score, a body-score, of its own becoming. We are not interested in what, for example, a heart is, but we are interested in molecular, experiential and relational becomings of a heart; we are interested in what a heart can become. Organs are not expressions, but flows, intensities, fields of expressivity. This thesis is an attempt to map those flows - performative and conceptual ones - and to redirect them toward new becomings.Ova teza ne istražuje ono što tijelo jest, već ono što tijelo može postati. Ova teza istražuje tijelo kao događaj u nastajanju kroz koncepte kao što su Tijelo bez Organa (Antonon Artaud, Gilles Deleuze i Felix Guattari), bodying (Erin Manning), body-in-making (Erin Manning). Ono što svi ti koncepti dijele jest isto stanje - stanje postajanja. Tijelo neprestano postaje i kao takvo - ono je glagol, aktivnost, sila. Ova teza ne istražuje samo tijelo kao silu postajanja, već i postajanje te sile - na molekularnoj, iskustvenoj i relacijskoj razini. Kao što kaže Manning, tijelo je uvijek više nego "jedno". Ovdje pokušavamo pristupiti fizičkim, iskustvenim i relacijskim postajanjima tijela u pokretu. Ono što pomiče tijelo iz stanja bivanja u stanje postajanja jest pokret. Ova teza pokušava pokazati kako pokret nikada ne prestaje. Kontinuitet pokreta također je i kontinuitetom postajanja. Tijelo nikada nije samo forma, već forma-sila. Pokret otvara tijelo prema njegovom postajanju silom. Tijelo u pokretu nije formom ekspresije, već poljem-silom ekspresivnosti. Pokret povezuje tijelo s njegovim poljem ekspresivnosti gdje tijelo počinje plesati svoj potencijal činjenja, proizvođenja i postajanja. Tijelo nikada nije unaprijed zadano ili dovršeno - na fizičkoj, iskustvenoj ili relacijskoj razini - već je kontinuiranim pokretom. Pokret čini tijelo, dakle, tijelo je pokret. Ne plešemo s tijelom, već plešemo tijelo kao takvo. Tijelo je partitura, tijelo-partitura, vlastitog postajanja. Ne zanima nas što je, na primjer, srce, već nas zanimaju molekularna, iskustvena i relacijska postajanja srca; zanima nas samo ono što srce može postati. Organi nisu ekspresije, već tokovi, intenziteti, polja ekspresivnosti. Ova je teza pokušaj mapiranja tih tokova - performativnih i konceptualnih - te njihova preusmjerenja spram novih postajanja.Cette thèse n'explore pas ce qu'est le corps, mais ce qu'un corps peut devenir. Elle explore le corps comme un événement en train de se faire à travers les concepts tels que le Corps sans Organes (Antonin Artaud, Gilles Deleuze et Félix Guattari), le bodying (Erin Manning), le corps en train de se faire (Erin Manning) et le devenir (Gilles Deleuze et Félix Guattari). Ce que tous ces concepts ont en commun est l'état de devenir. Ici, le corps devient, et en tant que tel - c'est un verbe, une activité, une force. Cette thèse explore non seulement le corps comme une force de devenir, mais elle explore également le devenir de cette force - au niveau moléculaire, expérientiel et relationnel. Comme le dit Manning, un corps est toujours plus qu'un corps. Ici, nous essayons d'aborder les devenirs physiques, expérientiels et relationnels d'un corps en mouvement. Ce qui bouge le corps de l'état d'être vers l'état de devenir est le mouvement. Cette thèse tente de montrer comment le mouvement ne s'arrête jamais. Nous bougeons toujours, donc, il y a une continuité de devenir. Un corps n'est jamais uniquement une forme, il est une force-forme. Le mouvement est celui qui ouvre le corps vers son devenir de force(s). Un corps en mouvement n'est pas une forme d'expression, mais une force d'expressivité. Le mouvement relie le corps à sa force d'expressivité où le corps commence à danser ses capacités à faire, à produire et à devenir. Le corps n'est jamais prédéterminé ou fini - au niveau physique, expérientiel ou relationnel - il est un mouvement continu. Le mouvement fait le corps, par conséquent, le corps lui-même est un mouvement. Nous ne dansons pas avec le corps, nous dansons le corps lui-même. Le corps est une partition, un corps-partition, de son devenir. Nous ne nous intéressons pas, par exemple, à ce qu'est un cœur, mais nous sommes intéressés par les devenirs moléculaires, expérientiels et relationnels d'un cœur ; nous sommes intéressés par ce qu'un cœur peut devenir. Les organes ne sont pas des expressions, mais des flux, des intensités, des champs d'expressivité. Cette thèse tente de cartographier ces flux - performatifs et conceptuels - et de les réorienter vers de nouveaux devenirs

Building an Instructional Model for the High School of the 21st Century

High schools are the last frontier of change in the K-12 educational setting. In order to meet the needs of today\u27s students, teachers must create systemic change. This research studied ways to build an instructional model for high schools of the 21 st century. The sources were selected from published literature about brain research, lesson design. school reform and studies of education systems between countries. The design of an instructional model for high schools was developed, using the research from literature reviews. Teaching methods, not teachers are at the heart of this reform