1,720,959 research outputs found
Towards Bodydialogue : developing a process for enhancing the actor's physicalisation skills in rehearsal and performance
No full textBodydialogue is a coherent and simple system of exercises, rehearsal techniques, principles and aesthetic values which in application enhance the actor's ability to physicalise dramatic action and behaviour. It can be applied directly within a rehearsal process to heighten the physical life of a play or performance event, or it can be taught separately as a system for providing student actors with concrete skills in movement, stagecraft and physical characterisation.\ud
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Unlike many other movement systems taught in drama schools, such as Mime, Dance, Acrobatics or Alexander, which are grounded in their own discipline base, Bodydialogue is grounded in Stanislavsky's Acting through the Method of Physical Action, and as such is centered in the discipline of text-based Acting. It is thus first and foremost an approach to Acting via Physical Action and Physical Behaviour, rather than a study of Movement, or a movement genre.\ud
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This thesis describes the development and application of Bodydialogue physicalisation techniques to a workshop production of miss julie downunder - an adaptation of Strindberg's Miss Julie - and situates the place of these techniques within contemporary Acting discourse
Out of the Box Festival for 3 to 8 year olds (Artistic Director)
No full textThe Out of the Box Festival was founded in 1994 by the Queensland Performing Arts Centre and has been held biannually\ud
ever since both within and around the centre in what is now known as the Cultural Precinct at Southbank. It\ud
is unique in Australia in that it caters entirely to children aged 8 years and under, with a highly curated program of\ud
ticketed performance events, workshops and free arts-based events. It is attended by school and kindergarten\ud
groups and by families, and besides engaging children in high quality arts experiences, the festival is also a platform\ud
for advocating the developmental and educational benefits of the arts for children.\ud
Dr Mark Radvan was the artistic director of the 2008 festival, with responsibility for developing the curatorial\ud
direction of each festival, for creating and programming its events, and for working with festival partners The\ud
Queensland Art Gallery, The Queensland Museum, The State Library of Queensland and The Queensland Theatre\ud
Company.\ud
Radvan designed selected and commissioned works to demonstrate how the arts create memorable, celebratory\ud
and immersive experiences that stimulate children’s imagination, their curiosity and confidence about the material\ud
world and the cultures of its people. A core event was an outdoor music and dance performance space featuring\ud
entirely Indigenous performers that was not only the beating heart of the festival, but served to underlie the\ud
importance of mainstreaming awareness of our first peoples in the increasingly culturally diverse communities of\ud
children attending
The Tashi project 2004-2010 : developing methods for creating theatre works that fully engage children aged between 3 and 10
No full textOver a seven-year period, Mark Radvan directed a suite of children’s theatre productions adapted from the original Tashi stories by Australian writers Anna and Barbara Fienberg. The Tashi Project’s repertoire of plays performed to over 40,000 children aged between 3 and 10 years old, and their carers, in seasons at the Out of the Box Festival, at Brisbane Powerhouse and in venues across Australia in two interstate tours in 2009 and 2010. The project investigated how best to combine an exploration of theatrical forms and conventions, with a performance style evolved in a specially developed training program and a deliberate positioning of young children as audiences capable of sophisticated readings of action, symbol, theme and character. The results of this project show that when brought into appropriate relationship with the theatre artists, young children aged 3-5 can engage with sophisticated narrative forms, and with the right contextual framing they enjoy heightened dramatic and emotional tension, bringing to the event sustained and highly engaged concentration. Older children aged 6-10 also bring sustained and heightened engagement to the same stories, providing that other more sophisticated dramatic elements are woven into the construction of the performances, such as character, theme and style
Look
No full textA live theatre performance with two performers, for audiences of children aged between two and five years old
In the mouth of the imagination : positioning children as co-researchers and co-artists to create a professional children's theatre production
No full textIn recent decades a number of Australian artists and teacher/artists\ud
have given serious attention to the creation of performance forms\ud
and performance engagement models that respect children’s\ud
intelligence, engage with themes of relevance, avoid the cliche´s of\ud
children’s theatre whilst connecting both sincerely and playfully with\ud
current understandings of the way in which young children develop\ud
and engage with the world. Historically a majority of performing arts\ud
companies touring Australian schools or companies seeking schools\ud
to view a performance in a dedicated performance venue engage\ud
with their audiences in what can be called a ‘drop-in drop-out’ model.\ud
A six-month practice-led research project (The Tashi Project) which\ud
challenged the tenets of the ‘drop-in drop-out’ model has been\ud
recently undertaken by Sandra Gattenhof and Mark Radvan in\ud
conjunction with early childhood students from three Brisbane\ud
primary school classrooms who were positioned as co-researchers\ud
and co-artists. The children, researchers and performers worked in a\ud
complimentary relationship in both the artistic process and the\ud
development of product
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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