137 research outputs found
‘What Moves Them’ An investigation into the use of the techniques of Pina Bausch and the strategy of ‘creativity cards’ in the creation of a piece of dance theatre that communicates the brutalities of sex trafficking.
No full textThis thesis documents a process of practice-led research in which I drew on the techniques of Pina Bausch and a particular methodological and choreographic approach to making material – ‘creativity cards’ – in order to create a piece of dance theatre that communicated the brutalities of sex trafficking. The thesis concludes that the form of dance theatre together with the methodology of ‘creativity cards’ and Bauschian techniques such as the use of repetition, the use of ‘violence’ and the use of ‘memeplex’ (a specific characteristic movement species that can be found across Bausch’s work),
enabled me as a choreographer to establish a relationship between the performer and the audience. The combination of form, techniques and methodology used in the research project engaged the audience in such a way that they empathised with the performer and were encouraged to think about what was being presented on stage in The Body Shop. This engagement between audience and performer meant that the project was successful in conveying the brutal realities of sex trafficking
Richard Bausch, 31st Annual ODU Literary Festival
No full textRichard Bausch is the author of 10 novels and seven collections of short stories, including Take Me Back (1981), which was nominated for the PEN/Faulkner Award; Hello to the Cannibals (2003); and Thanksgiving Night (2006). His short stories have appeared in numerous anthologies, including Best American Short Stories, O. Henry, and Pushcart. He has received National Endowment for the Arts and Guggenheim fellowships, the Lila Wallace-Reader’s Digest Writer’s Award, and the Award in Literature from the Academy of Arts and Letters. Previously professor of English at George Mason University, Bausch holds the Lillian and Morrie A. Moss Chair of Excellence at the University of Memphis
Audience manipulation? Subverting the fourth wall in Pina Bausch’s Kontakthof (1978) and Nelken (1982)
No full textPina Bausch’s Tanztheater breaks everyday behaviour into its most elemental fragments, and fundamental aspects of stage etiquette are constantly challenged, not least the barrier between performer and spectator known as the fourth wall. Accordingly, the hierarchy of the theatre space is thrown into question, and the audience’s preconceived notions of boundaries, appropriate behaviour and expectations are left open ended. In the following article, two case study examples of Bausch’s works—Kontakthof (‘Meeting Place’, 1978) and Nelken (‘Carnations’, 1982)—have been selected in order to demonstrate the range of techniques Bausch employs in manipulating the fourth wall. Both are lengthy in duration and extremely complex, layered works of dance theatre, illustrating Bausch’s varied methods of audience manipulation at what I have identified as a ‘golden period’ in her career. This article explores the process of audience manipulation through Bausch’s peripatetic use of the fourth wall, illustrating that, as dance theatre has evolved, the performance event has become increasingly confrontational and direct, engaging with the audience in a more provocative manner, and calling into question the limits of the theatre space.Publisher PD
Bausch & Lomb Optical Co., manufacturers of photographic lenses, shutters, prisms, etc. : branch office and warerooms, 130 Fulton Street, New York City ... factory and main office, 515-545 North St. Paul Street, Rochester, N.Y.
No full text"Supplement to catalog of photographic lenses. Zeiss-convertible anastigmat lenses and ray filters" (8 pages)--laid in."Photographic lenses, shutters, prisms"--Cover.Mode of access: Internet
Alexithymia and script-driven emotional imagery in healthy female subjects: no support for deficiencies in imagination
No full textBausch, S., Stingl, M., Hartmann, L. C., Leibing, E., Leichsenring, F., Kruse, J., Stark, R. & Leweke, F. (2011). Alexithymia and script-driven emotional imagery in healthy female subjects: no support for deficiencies in imagination. Scandinavian Journal of Psychology 52, 179-184. Alexithymia is associated with a limited access to inner emotional processes. Furthermore, alexithymia is assumed to be characterized by a limited ability to use imagination. To evaluate the frequently proposed thesis of a reduced imagination ability in alexithymic persons, 25 high and 24 low alexithymic women self-rated their imagination ability. Furthermore, the electrodermal activity (EDA) during script-driven emotional imagination was determined and valence, arousal, and vividness of the respective imaginations were rated. Our results indicate no significant differences between high and low alexithymic women in the self-rated imagination ability, the EDA during imagination and the ratings of valence, arousal and vividness. The study provides evidence that healthy high alexithymic women are capable of differentiated emotional imagination
The Stories of Richard Bausch
No full textIn a collection of forty-two short stories, the author explores his fascination with the everyday details of human relationships and considers the dramatic roots of common interactions.https://corescholar.libraries.wright.edu/dlpp_all/1113/thumbnail.jp
The stories of Richard Bausch
No full textIn a collection of forty-two short stories, the author explores his fascination with the everyday details of human relationships and considers the dramatic roots of common interactions
The Experience Theater choreographed by Pina Bausch
No full textA theater where the spectator is involved in all senses, offering welcoming conditions. In the work of Pina Bausch, everyday body behavior is not just a matter of style; her dance develops content with a proper writing, inviting the spectator to experience a poetic reality. For this purpose, the article initially presents a historical line of Tanztheater, its attributes and interrelationships, closing with the specific characteristics of four works of the choreographer, created in the period comprising the initial two decades (1974-1989) of her fruitful production, and which were watched live by the author of the text
Orixás na obra de Pina Bausch : estudo das personagens bauschianas na perspectiva mística do Candomblé brasileiro
No full textMestrado em Performance Artística - DançaO presente estudo resulta de uma comparação de sete trabalhos coreográficos
da artista contemporânea alemã, Pina Bausch, e as danças e rituais da religião
afro-brasileira denominada Candomblé. As personagens de Bausch, em sua
dança-teatro, têm movimentos, gestualidades, características e simbologias
que nos remetem a estas mesmas características existentes nas danças e
movimentos dos Orixás. A autora da tese vislumbrou essa ideia, sonho, tendo
em vista a grande utilização das músicas brasileiras e das visitas da ilustre
coreógrafa em seu país, mais especificamente, em sua cidade natal, Salvador.
Local onde nasceu a religião do Candomblé, na qual os negros escravizados
se juntavam para reforçar suas crenças e sentirem-se como indivíduos; pois
eram tratados pelos senhores de escravos como animais sem alma! O que
facilita essa comparação é a diversidade cultural do corpo de baile da
companhia de dança-teatro, Wuppertal Tanztheater, onde é possível encontrar
bailarinos, de diversos países, com vivências diferenciadas, proporcionando à
coreógrafa uma gama de possibilidades performáticas. Portanto, esta nova
visão trazida pela autora da tese é uma forma de percepção que procura unir
dois universos distintos: o da cultura alemã de Bausch, mais racional e directo;
com o da autora da tese, brasileira, mais lúdico e simbólico.The present study results a comparison of seven choreographic works of the
artist German contemporary, Pina Bausch, and the dances and rituals of the
religion called afro-Brazilian Candomblé. The personages of Bausch, in its
dance-theater, have movements, gestudes, characteristics and symbologies
that in send to these same existing characteristics to them in the dances and
movements of the Orixás. The author of the thesis glimpsed this idea, dream, in
view of the great use of Brazilian musics and the visits of the illustrious
choreograph in its country, more specifically, in its native city, Salvador. Place
where the religion of the Candomblé, was born, in which the enslaved blacks if
joined to strengthen its beliefs and to be felt as individuals; therefore they were
dealt with by you slaves as animal without soul! What it facilitates this
comparison is the cultural diversity of the body of ball of the dance-theater
company, Wuppertal Tanztheater, where it is possible to find dancers, of
diverse countries, with differentiated experiences, providing to the choreograph
a gamma of performances possibilities. Therefore, this new vision brought for
the author of the thesis is a perception form that it looks to join two distinct
universes: of the German culture of Bausch, more rational and direct; with the
one of the author of the thesis, Brazilian, more playful and symbolic
Orixás na obra de Pina Bausch : estudo das personagens bauschianas na perspectiva mística do Candomblé brasileiro
No full textMestrado em Performance Artística - DançaO presente estudo resulta de uma comparação de sete trabalhos coreográficos
da artista contemporânea alemã, Pina Bausch, e as danças e rituais da religião
afro-brasileira denominada Candomblé. As personagens de Bausch, em sua
dança-teatro, têm movimentos, gestualidades, características e simbologias
que nos remetem a estas mesmas características existentes nas danças e
movimentos dos Orixás. A autora da tese vislumbrou essa ideia, sonho, tendo
em vista a grande utilização das músicas brasileiras e das visitas da ilustre
coreógrafa em seu país, mais especificamente, em sua cidade natal, Salvador.
Local onde nasceu a religião do Candomblé, na qual os negros escravizados
se juntavam para reforçar suas crenças e sentirem-se como indivíduos; pois
eram tratados pelos senhores de escravos como animais sem alma! O que
facilita essa comparação é a diversidade cultural do corpo de baile da
companhia de dança-teatro, Wuppertal Tanztheater, onde é possível encontrar
bailarinos, de diversos países, com vivências diferenciadas, proporcionando à
coreógrafa uma gama de possibilidades performáticas. Portanto, esta nova
visão trazida pela autora da tese é uma forma de percepção que procura unir
dois universos distintos: o da cultura alemã de Bausch, mais racional e directo;
com o da autora da tese, brasileira, mais lúdico e simbólico.The present study results a comparison of seven choreographic works of the
artist German contemporary, Pina Bausch, and the dances and rituals of the
religion called afro-Brazilian Candomblé. The personages of Bausch, in its
dance-theater, have movements, gestudes, characteristics and symbologies
that in send to these same existing characteristics to them in the dances and
movements of the Orixás. The author of the thesis glimpsed this idea, dream, in
view of the great use of Brazilian musics and the visits of the illustrious
choreograph in its country, more specifically, in its native city, Salvador. Place
where the religion of the Candomblé, was born, in which the enslaved blacks if
joined to strengthen its beliefs and to be felt as individuals; therefore they were
dealt with by you slaves as animal without soul! What it facilitates this
comparison is the cultural diversity of the body of ball of the dance-theater
company, Wuppertal Tanztheater, where it is possible to find dancers, of
diverse countries, with differentiated experiences, providing to the choreograph
a gamma of performances possibilities. Therefore, this new vision brought for
the author of the thesis is a perception form that it looks to join two distinct
universes: of the German culture of Bausch, more rational and direct; with the
one of the author of the thesis, Brazilian, more playful and symbolic
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