Movement for actors

In the arts, qualitative usage of the center of attention (CA) has long been successfully employed by visual artists. For dance, a center of attention was defined by Kasia Williams in a paper at the 2012 Bridges conference as a means for mathematically studying how choreographers and dancers tend to create and manipulate the CA in dance works. It is quantitatively calculated by an interpreter of video frames assigning weights to the dancers based on the choreographer’s intent as applied to dancer configurations and locations on stage as the performance proceeds. Using Excel and Mathematica, the authors have been exploring methods of calculating and displaying the CA as a trajectory along with statistical and other quantifiers from analyses of a variety of dance performances. The hope is that the center of attention might emerge as a new useful tool in understanding, classifying, and improving audience enjoyment. Once quantified, there is the possibility that other dance parameters m...

Neoinstitutional theory has a legitimate space in a broad debate in the field of Social Sciences such as Sociology and Political Science. With a concentrated focus on state institutions, regional or national political actors and public policies, it gains ground with the expansion of the state sphere and its instruments of action in society. Its defenders believe they have appropriate theoretical and methodological tools to capture a plausible explanation for contemporary phenomena. Neoinstitutionalism aims to address various contemporary issues.

By the term "globalization" in this paper at the most general level, I mean an objective process that results from the confrontation of various social subjective projects of conservative institutionalization, the reformist reshaping or radical alteration of the existing, historically specific form of social relations of conflict/cooperation, interdependent action of people during the reproduction of their own lives on local, regional and planetary scales. I would like to examine the source of the conflicting theoretical interpretations of the phenomenon denoted by the term "globalization", as from these interpretations more or less explicitly are derived various recommendations for practical and political action, representing the socially structured interest of the respective interpreters.

O artigo que apresentamos é resultado de nossa busca por uma metodologia para o ensino de artes que resultou em processo de investigação que utiliza elementos constitutivos da vida cotidiana como mecanismo de preparação das habilidades requeridas à formação do performer. Partindo da premissa de que existe estreita relação entre as práticas de transmissão de memórias e a performatização da vida cotidiana, se compreende que as memórias corporais podem se constituir em estratégia para a formação interdisciplinar em artes. E, ao intensificar o caráter dramático inerente às memórias corporais de atores sociais concretos, nos envolvemos em processo criativo que intensificou o caráter dramático inerente às nossas práticas cotidianas. Memórias corporais foram evocadas como ponto de partida para a imersão em proposta que permitiu-nos o domínio de um saber/fazer que habilita intérpretes de memórias. Palavras chave: Memórias, corpo, ensino de arte, interdisciplinaridade, arte.

Dance choreography is a system of techniques used to create new dances. The choreographer devises body movements using internal and external cues to express feelings and concepts, from the most abstract ideas to very concrete human situations in a highly creative manner. In 3D Tele-immersive Environments (3DTI) the choreographer has exponentially more options to create new body movements in the new dance since the 3DTI technology offers an array of visual stimulations, called Digital Options, which influence ...

DisPatch is the title of a dance work that was partly the outcome of research into ways in which movement in space might successfully correlate to the parameters of sound. The process of making the work in workshops, rehearsals and performance both altered our view of, and added to the background research. It became evident in this process that certain outcomes, whilst alien to musically conventional ears, were nevertheless valid and interesting sonic translations of the choreography. The performance demonstrated how issues within and between disciplines can be re-problematised through the creative and innovative use of technology. It is our contention that in this work is evidence for a disseminable "knowledge increase" that is intrinsic to "The Work", a primary assessable criteria in traditional textbased research (Biggs. 2002, Melrose. 2002). The question that is central to any assessment of intrinsic knowledge in a work of art is how the work demonstrates or explains this knowledge. And this question is examined in light of our reading of DisPatch. Extrinsic to DisPatch were a number of other contextualising influences by which spectators were able to inform their interpretation of the work. Program notes, an informal verbal explanation of some of the enabling technology, the venue and its attendant architecture, ritual, expectation and the broader cultural context of performance/concert-going.

The aversion to joining dance with technology has a distinctly sexist edge, which makes Analivia Cordeiro's M 3×3 revolutionary-politically, technically, and aesthetically. The female body is traditionally associated with maternity, nature, emotion, and purity, so the incursion of technology into that sacred domain can be seen as especially unsettling: it threatens to sully the divinely feminine source of organic life by transgendering it with the man-made, masculine, rational, mechanical surrogate. Following this (il)logic, it is more acceptable for a male choreographer to use computers to program a dance performed by women because the computer serves to maintain conventional patriarchal domination. In 1973, for Analivia Cordeiro, a nineteen-year-old female choreographer from Latin America, to program a computer by herself to score a dance performed by women, strikes me as an egregious transgression of European patriarchal ontology. M 3×3 is a revolutionary act that violates gendered and geopolitical divides: that men program machines and women dance to those cyborg dreams, and that technological (and artistic) innovation emerges in the northwest quadrant of the globe, which colonizes the rest. In M 3×3 the white, male authority is no longer in control. Instead, a teenage Latina has hijacked the computer, the supreme device of masculine rationality. On top of that, she has (mis)used it to allow other postcolonial female bodies to expressively contest the relationship between control and freedom in masculinist, technological society, to contest, in particular, an extreme form of control exacted by Brazil's military dictatorship. More than a decade before Donna Haraway's "A Cyborg Manifesto" (1985), Cordeiro saw and used the computer as a great equalizer: "It flattened the field. It put everybody at the same level." 7 M 3×3 is a monumental artistic accomplishment. It occupies a special place beside early innovations in computer dance beginning in the 1960s, including works by Beaman, Noll, and John Lansdown. Without knowing the work of these precursors, Cordeiro exceeded them in concept and artistry. Indeed, to restrict the context of M 3×3 to dance does an injustice to this highly interdisciplinary work.

Choreography is an embodied and complex creative process that often relies on ‘co-imagining’ as a strategy in generating new movement ideas. Technology has historically been used as a tool to augment creative opportunities in choreographic process, with multiple choreographic support tools designed to function as a ‘blank slate’ for choreography. However, few of these tools support creative authoring with interactive or generative components. Cochoreo is a sub-module for generating body positions as keyframes that catalyze creative movement, as part of the movement sketching tool idanceForms (idF). Cochoreo catalyzes movement sketching by using parameters from Laban Movement Analysis, an existing movement framework, to generate unique keyframes that are used as seed material for choreographic process. idF is a creativity support tool that engages with choreographers’ creative movement process by design. This paper presents the design of Cochoreo and evaluations from our pilot study ...

Este artículo propone los resultados de la intervención psicopedagógica, denominada "El Cuerpo y el Sonido: identificando interacciones y nuevos lenguajes". Surge en lo Postgrado en Educación Especial de la Escuela Superior de Educación de Paula Frassinetti (2017), donde investigamos de qué forma los recursos sonoros y sensoriales pueden estimular los procesos de interacción en los niños y jóvenes con Necesidades Educativas Especiales. Este trabajo constituye, incluso, una investigación preliminar para estudiar los ciclos clínicos interaccionales, integrados dentro del Doctorado en Ciencia y Tecnología de las Artes (Universidad Católica Portuguesa – Escola das Artes), donde estamos desarrollando, el prototipo instrumental Digital Sock como estímulo interactivo en intervenciones psicopedagógicas. El marco teórico aborda diferentes modelos psicopedagógicos envolviendo el cuerpo y el sonido, en los que nos basamos para desarrollar un modelo de actuación que vendrá a soportar ...

Este articulo propone los resultados de la intervencion psicopedagogica, denominada "El Cuerpo y el Sonido: identificando interacciones y nuevos lenguajes". Surge en lo Postgrado en Educacion Especial de la Escuela Superior de Educacion de Paula Frassinetti (2017), donde investigamos de que forma los recursos sonoros y sensoriales pueden estimular los procesos de interaccion en los ninos y jovenes con Necesidades Educativas Especiales. Este trabajo constituye, incluso, una investigacion preliminar para estudiar los ciclos clinicos interaccionales, integrados dentro del Doctorado en Ciencia y Tecnologia de las Artes (Universidad Catolica Portuguesa – Escola das Artes), donde estamos desarrollando, el prototipo instrumental Digital Sock como estimulo interactivo en intervenciones psicopedagogicas. El marco teorico aborda diferentes modelos psicopedagogicos envolviendo el cuerpo y el sonido, en los que nos basamos para desarrollar un modelo de actuacion que vendra a soportar ...

Thinking Brains and Bodies brought together a team of researchers spanning cognitive science (Catherine Stevens, David Kirsh), cognitive neuroscience (Mike Nicholls), dance (Kim Vincs, Elizabeth Old, Scott deLahunta)and social anthropology (James Leach)to work in close collaboration with Garry Stewart and the Australian Dance Theater to address research questions concerning embodied cognition in real-world and experimentally controlled settings. To begin the project and prepare for these studies Leach, Stevens, Vincs and deLahunta recorded four 'cognitive interviews' with Stewart, ADT's Associate Artistic Director Elizabeth Old, and the dancers working in the company at that time.

English abstract: Choreographers may exploit digital technologies to create augmented choreographies where the behavior of dancers determines the behavior of projections, lighting and other scenographic effects. The paper recalls our ongoing activity concerning the development of an end-user software framework for augmented choreography and it summarizes the state-of-the-art of choreographer-oriented notation systems and tools. Finally the paper describes our strategy for building an end-user language for augmented ...

Choreography is an embodied and complex creative process that often relies on ‘co-imagining’ as a strategy in generating new movement ideas. Technology has historically been used as a tool to augment creative opportunities in choreographic process, with multiple choreographic support tools designed to function as a ‘blank slate’ for choreography. However, few of these tools support creative authoring with interactive or generative components. Cochoreo is a sub-module for generating body positions as keyframes that catalyze creative movement, as part of the movement sketching tool idanceForms (idF). Cochoreo catalyzes movement sketching by using parameters from Laban Movement Analysis, an existing movement framework, to generate unique keyframes that are used as seed material for choreographic process. idF is a creativity support tool that engages with choreographers’ creative movement process by design. This paper presents the design of Cochoreo and evaluations from our pilot study ...

Human movement analysis is a research field pursued by different disciplines in both art and science. Approaches include the physiological study of walking, anthropological research into non-verbal communication and the practice of choreography when it involves observing, describing and representing dance. The shared aim is to break down movement into parts that can then be re-described in relationship to some whole. As a part of this process, movement analysis makes use of various instruments or tools for recording movement from the humble pencil to 3-D digital motion capture technologies.

The Tele-immersive Dance Environment (TED) is a geographically distributed, real-time 3-D virtual room where multiple participants interact independent of physical distance. TED, a highly interactive collaborative environment, offers digital options with multiple viewpoints, enhancing the creative movement composition involved with dance choreography. A symbiotic relationship for creativity and design exists between dance artists and computer scientists as the tele-immersive environment is analyzed as a creativity and learning tool. We introduce the advancements of the interactive digital options, new interface developments, user study results, and the possibility of a computational model for human creativity through Laban Movement Analysis.

Com o intuito de conhecer, compreender e documentar o processo de criação coreográfica solista composta e interpretada pela própria bailarina-coreógrafa, propus-me criar, observar, refletir sobre e descrever o processo de criação coreográfica da obra ‘Inspiração’, assumidamente tornando conscientes e documentando todas as fases, desde a conceção, composição e ensaios, até à apresentação final ao público. ‘Inspiração’, a obra solista de 45 minutos, conjuga as linguagens da Dança e do Yoga, numa aproximação à Dança Extemporânea, tendo como ponto de partida a descoberta do movimento natural do corpo da bailarina-coreógrafa que passou pelo processo coreográfico de forma autónoma e em relação privilegiada com os seus processos intuitivos. De acordo com o regime de Doutoramento em Artes (Diário da República, 2013), para além de incluir a criação artística produzida, esta dissertação apresenta uma estrutura que conjuga os quesitos da investigação universitária. De carácter eminentemente qu...

O ator, em seu processo de trabalho, recorre a técnicas corporais estilizadas para desenvolver a sua presença física, técnicas essas consolidadas por outras tradições. O nosso objetivo é o de criar um sistema de treinamento para o ator, fundamentado nas técnicas corporais da lide campeira do gaúcho. Acreditamos que as atividades da lide são manifestações vivas que contém a energia, o vigor, a eficácia e a precisão, elementos que são também encontrados nos princípios defendidos por Meyerhold, Etienne Decroux, Jacques Lecoq e Eugenio Barba no que concerne a presença física do ator/dançarino. Para alcançar esse objetivo, a equipe passou por um processo de aprendizagem nas fases: instrumentalização corporal (Mimo de Ação, Análise de Movimentos e Acrobacia); pesquisa de campo numa fazenda (observação e registro das atividades de pealar, domar, tirar o leite, fazer a lingüiça, isolar o animal no tronco, tosquiar e laçar, tendo sido as quatro últimas também executadas. Seleção e análise dessas atividades (Mimo 023 de ação, decodificação, estilização e codificação de cada atividade). Durante este processo foram criadas nove (9) partituras de movimentos que contemplam os princípios básicos que definem a presença física do ator conforme os autores já citados. A próxima etapa da pesquisa consistirá na verificação da eficácia do sistema de treinamento através de uma criação artística e da transmissão deste para um grupo de alunos selecionados.(PIBIC-CNPq/UFRGS-PROPESQ/UFRGS).

A abordagem do Sistema de movimento de Verchinina e sua dança moderno-expressionista enquanto objeto de estudo visou não somente resgatar a artista e sua inquestionável contribuição à dança brasileira e internacional, mas também rastrear a genealogia, a linhagem de um pensamento e prática sobre a arte do movimento à qual estou vinculada enquanto intérprete e criadora, no campo das artes cênicas, há aproximadamente 10 anos. Tratou-se, portanto, de pensar também em termos mais acadêmicos a minha trajetória artística bastante influenciada pelos princípios da dança moderna de Nina Verchinina e pelo teatro, e elucidar para as novas gerações o porquê de trazer para a cena, hoje, a pesquisa de Nina Verchinina. Essa perspectiva e inquietação vêm acompanhando meu trabalho mais diretamente desde o ano 2000 quando comecei a desenvolver meus próprios trabalhos cênicos solos como criadoraintérprete. Portanto, essa reflexão une teoria e prática, na busca por "novas" perspectivas para o treinamento e a criação cênica do intérprete contemporâneo, partindo das minhas próprias influências artísticas. Assim, o trabalho pretendeu recuperar a paternidade, ou melhor, a maternidade do legado da inovadora pesquisa de movimento de Nina Verchinina no Brasil e seu desdobramento para o que veio a se constituir nos anos 90 como dança contemporânea, e também revelar as

Choreography is an embodied and complex creative process that often relies on 'co-imagining' as a strategy in generating new movement ideas. Technology has historically been used as a tool to augment creative opportunities in choreographic process, with multiple choreographic support tools designed to function as a 'blank slate' for choreography. However, few of these tools support creative authoring with interactive or generative components. Cochoreo is a sub-module for generating body positions as keyframes that catalyze creative movement, as part of the movement sketching tool idanceForms (idF). Cochoreo catalyzes movement sketching by using parameters from Laban Movement Analysis, an existing movement framework, to generate unique keyframes that are used as seed material for choreographic process. idF is a creativity support tool that engages with choreographers' creative movement process by design. This paper presents the design of Cochoreo and evaluations from our pilot study with university dance students.

DisPatch is the title of a dance work that was partly the outcome of research into ways in which movement in space might successfully correlate to the parameters of sound. The process of making the work in workshops, rehearsals and performance both altered our view of, and added to the background research. It became evident in this process that certain outcomes, whilst alien to musically conventional ears, were nevertheless valid and interesting sonic translations of the choreography. The performance demonstrated how issues within and between disciplines can be re-problematised through the creative and innovative use of technology. It is our contention that in this work is evidence for a disseminable "knowledge increase" that is intrinsic to "The Work", a primary assessable criteria in traditional textbased research (Biggs. 2002, Melrose. 2002). The question that is central to any assessment of intrinsic knowledge in a work of art is how the work demonstrates or explains this knowledge. And this question is examined in light of our reading of DisPatch. Extrinsic to DisPatch were a number of other contextualising influences by which spectators were able to inform their interpretation of the work. Program notes, an informal verbal explanation of some of the enabling technology, the venue and its attendant architecture, ritual, expectation and the broader cultural context of performance/concert-going.

AGRADECIMENTOS À Profa. Dra. Inaicyra Falcão dos Santos, que, há quatro anos, me acolheu como orientanda e me ajudou a reencontrar meu próprio mito. Ao Prof. Dr. Samuel Mendonça, que, além de me iniciar em minha trajetória no gongfu, ajudou-me a retomar meu caminho artístico-acadêmico todas as vezes que cogitei me desviar dele. À Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES), pela concessão de bolsa de estudos que viabilizou a realização desta pesquisa. Aos meus familiares: meu esposo Augusto Andraus, meu filho Caíque Andraus e meus pais, Luís Alberto Pereira Machado e Simone Maria Baruco Machado, pelo apoio que me deram nos muitos dias (e noites) em que abandonei meus afazeres cotidianos para o mergulho na escrita. A todos os professores do Departamento de Artes Corporais da UNICAMP, em especial Júlia Ziviani, Marília Vieira Soares e aos demais membros da Comissão Julgadora. A Marília de Andrade, por ter me iniciado na pesquisa acadêmica em Artes. A Daniela Gatti e Grácia Navarro, que me deram a oportunidade de aprimoramento didático e de desenvolvimento da parte prática da pesquisa mediante participação do Programa Estágio Docente,

In 1996, Pablo Ventura turned his attention to the choreography software Life Forms to find out whether the then-revolutionary new tool could lead to new possibilities of expression in contemporary dance. During the next 2 decades, he devised choreographic techniques and custom software to create dance works that highlight the operational logic of computers, accompanied by computer-generated dance and media elements. This article provides a firsthand account of how Ventura's engagement with algorithmic concepts guided and transformed his choreographic practice. The text describes the methods that were developed to create computer-aided dance choreographies. Furthermore, the text illustrates how choreography techniques can be applied to correlate formal and aesthetic aspects of movement, music, and video. Finally, the text emphasizes how Ventura's interest in the wider conceptual context has led him to explore with choreographic means fundamental issues concerning the characteristics of humans and machines and their increasingly profound interdependencies.

A partir da pesquisa de doutorado em Artes que tem como objeto de estudo os aspectos cognitivos presentes na experiencia da Ritmica Corporal proposta por Ione de Medeiros, foi analisada a proposta da pratica da Ritmica de Jaques- Dalcroze. Jaques-Dalcroze tratou o corpo e seus movimentos expressivos como conteudo, meio e fim da aprendizagem da musica, ou seja, como condicao e processo para essa aprendizagem. Sua proposta de corporificacao do ensino da musica teve forte repercussao em pedagogos musicais, terapeutas corporais e tambem em atores e bailarinos. O objetivo deste texto e apresentar alguns indicios da provavel ressonância de seu sistema na danca moderna do seculo XX. A metodologia utilizada foi a pesquisa de referencias, realizada em livros do referido artista-pedagogo, teses de doutorado e sites especificos. Como resultado, foram localizadas tres provaveis artistas disseminadoras dos principios dalcrozianos na danca do inicio do seculo XX, alem do reiterado impacto promovi...

This lecture-demonstration reflects on a research-informed teaching project in which teaching staff in dance and music technology collaborated on technical and pedagogic research and artistic creation in interactive dance. Our primary aim was to throw light on how interactive technologies might challenge and develop the ways in which students in dance and music technology engage in creative practice. Through the exploration of a set of technologies and conceptual approaches, the research has revealed very particular compositional structures and methods. Experimental sketches were developed with a particular focus on emergent behaviour and richly behavioured audio-visual feedback systems that were both controlled by and influenced the dancers. The demonstration presents our approaches and offers methodologies and strategies for the use of new technologies in dance pedagogy.

Este estudo é conseqüência de um novo pensamento e de uma mudança paradigmática possibilitados pela crise da pós-modernidade. Este trabalho não pretende ficar circunscrito aos saberes definidos na modernidade, tão lineares e positivistas, ao contrário, ele se propõe a criar um terceiro elemento ainda não estabelecido, que é fruto do hibridismo entre algumas áreas de

A presente pesquisa aborda um Processo Criativo em Dança que traz como principal reflexão o saber sensível do corpo. Considero aqui, portanto, como foco de análise, questões sobre o artista-criador que trabalha com o corpo e sua multiplicidade de possibilidades e potencial criativo, no contexto da expressão poética da dança. Delimito uma dinâmica de investigação prática para trabalhar com os estímulos dos sentidos da percepção e, através dessas sensibilizações, estudar possibilidades de movimentação de artistas-criadores. Para tal, estabeleço diálogo com as propostas metodológicas de Patrícia Leal. Para a fundamentação conceitual o trabalho estabelece diálogos com os conteúdos apresentados por diversos autores que tratam do saber sensível, da experiência, do corpo, dos sentidos, e das relações com o espaço e com a Dança Contemporânea. Os procedimentos metodológicos definidos para alcançar os objetivos estabelecidos, foram organizados nos seguintes aspectos: a) experimentação prática; b) análise bibliográfica; c) registro e análise dos alcances práticos. A pesquisa, nesse contexto, gerou um resultado artístico, a presente dissertação e um DVD, contendo todo o material analisado (diários de pesquisa, fotos, filmes).

A presente pesquisa aborda um Processo Criativo em Dança que traz como principal reflexão o saber sensível do corpo. Considero aqui, portanto, como foco de análise, questões sobre o artista-criador que trabalha com o corpo e sua multiplicidade de possibilidades e potencial criativo, no contexto da expressão poética da dança. Delimito uma dinâmica de investigação prática para trabalhar com os estímulos dos sentidos da percepção e, através dessas sensibilizações, estudar possibilidades de movimentação de artistas-criadores. Para tal, estabeleço diálogo com as propostas metodológicas de Patrícia Leal. Para a fundamentação conceitual o trabalho estabelece diálogos com os conteúdos apresentados por diversos autores que tratam do saber sensível, da experiência, do corpo, dos sentidos, e das relações com o espaço e com a Dança Contemporânea. Os procedimentos metodológicos definidos para alcançar os objetivos estabelecidos, foram organizados nos seguintes aspectos: a) experimentação prática; b) análise bibliográfica; c) registro e análise dos alcances práticos. A pesquisa, nesse contexto, gerou um resultado artístico, a presente dissertação e um DVD, contendo todo o material analisado (diários de pesquisa, fotos, filmes).

6 3.3 Human-centered concepts in digital dance literature A. From frozen to live media B. Body incorporates the technology: Metaphysical Extension C. Body and technology "in dialogue"? 3.4 Conclusion CHAPTER 4. Technological performance in staged digital dance 4.0 Introduction 4.1 From quantity to quality: The effectiveness of technological performance 4.2 Establishing evaluative criteria of technological performance for digital dance 4.3 Analyzing technological performance in digital dance A. Quantification of technological performance B. Qualitative dimensions of technological performance 4.4 Discussion of the framework of technological performance 4.5 Conclusion CHAPTER 5.

Contemporary choreographers often interact directly with dancers when exploring their ideas, but lack adequate tools for capturing and documenting their work. Although our first study of choreographers and dancers revealed diverse strategies for recording choreographic fragments, we found that they all worked in terms of constraints, which they represented via spatial diagrams, as movement qualities or with their own personal notation system. This led to the design of Knotation, a mobile pen-based tool that lets choreographers sketch their own representations of choreographic ideas and render them interactive. In study two, Knotation served as a technology probe to support the contrasting practices of three professional choreographers. We revised Knotation based on their input, and ran a third structured observation study with six professional choreographers. Knotation easily supported both dance-then-record and record-then-dance strategies. Participants used and appropriated Knotation's advanced features, including the combination of interactive timelines and floorplan diagrams, to represent and explore complex choreographic structures.

This study is a focus on the intrapersonal evaluation of communication using the subject of LGBTQ+ individuals through dance. Individuals that identified as part of the LGBTQ+ community were recruited from the Bryan/College Station, Texas area to share their coming out stories and impactful aspects of their lives with the researchers. The researchers then created a solo dance piece within a modern-day dance genre that was presented to the participants. The participants reported back to the researchers how they identified with the piece and to what degree it represented their individual story. The researchers used the feedback to determine the effectiveness of dance as a storytelling medium. Dance as a form of communication has been seen throughout human development in most cultures, with styles that include movement for the sake of movement and movement for the sake of storytelling. The creation of modern-day forms of dance have gravitated towards the former as opposed to the more t...

The Improvisational Theater Space is an interactive stage where human actors can perform accompanied by virtual actors. Virtual actors are modeled as animated \Media Creatures" that are behavior-based automous software agents. We used Arti cal Life programming methods and behavior-based design to avoid rigid scripting of performers and media interaction. Media Creatures allow content t o b e a c t i v e and to present i t s e l f t o t h e u s e r b y dynamically adapting to the context of the interaction. We used Media Creatures to create an engaging Improvisational Theater Space where the user/performer is involved in an improvisational dialogue with a typographic actor. The Improvisational Theater Space uses real time computer vision, speech recognition and and speech a n l a ysis to sense the perfomer's actions on stage. VHS NTSC Videotape included Note: The Improvisational Theater Space is available as an interactive installation. It uses an SGI Indy and an SGI Indigo 2

A integração de áreas artísticas no ensino do teatro tem a finalidade de enriquecer o aprendizado permitindo explorar de forma aprofundada diferentes saberes necessários à construção do domínio técnico do ator. Esse trabalho traz a revisão teórica estruturante, metodologia e atividades desenvolvidas na disciplina Voz e Movimento I, do curso de Bacharelado em Artes Cênicas da UNIRIO (Universidade Federal do Estado do Rio de Janeiro). A abordagem é vinculada às atividades de pesquisa e extensão em voz e movimento do Projeto "Teatro, equilíbrio e tensão: o ator como objeto e agente na ação social" cujo objetivo é trabalhar a interpretação e a expressão vocal, nas emoções dos atores, a partir de situações que reflitam desafios cotidianos da convivência e relações humanas.

Recent advances in deep learning have enabled the extraction of high-level features from raw sensor data which has opened up new possibilities in many different fields, including computer generated choreography. In this paper we present a system chorrnn for generating novel choreographic material in the nuanced choreographic language and style of an individual choreographer. It also shows promising results in producing a higher level compositional cohesion, rather than just generating sequences of movement. At the core of chor-rnn is a deep recurrent neural network trained on raw motion capture data and that can generate new dance sequences for a solo dancer. Chor-rnn can be used for collaborative human-machine choreography or as a creative catalyst, serving as inspiration for a choreographer.

Baseado em relatorios sobre as praticas de Kalarippayatt – luta marcial indiana - vivenciadas por alunos do 4o ano do curso de graduacao em Artes Cenicas da Universidade Estadual de Campinas durante o primeiro semestre de 2013, este artigo pretende realizar uma reflexao sobre a incidencia desta pratica dentro do processo de formacao do artista da cena. A ponderacao sobre esta pratica aplicada ao contexto de formacao dos artistas da cena visa a articulacao e desenvolvimento de um pensamento que transcenda a visao de arte como puro entretenimento, transformando os alicerces das relacoes entre atuante–obra– publico. Esta proposta se apoia nos estudos realizados pelo Prof. Dr. Phillip Zarrilli na utilizacao do Kalarippayatt como elemento para o treinamento do ator, e no conceito de preexpressividade estudado e desenvolvido no campo da Antropologia Teatral por Eugenio Barbana. A analise dos relatorios sera realizada com base na proposta de Laurence Bardin para a analise de conteudos.

O treinamento O Caminho do Ator Buscador foi organizado a partir das minhas diferentes vivencias como atriz, visando analisar e compreender as necessidades do ator em seu processo de formacao. Tendo como meta a autonomia do ator, os principios que retornam, ou seja, os principios que estao na base do trabalho do ator, conforme a Antropologia Teatral, estiveram tambem na base de construcao desse caminho. O grupo de atores que o vivenciou, atores-em-treinamento, puderam verificar as contribuicoes deste em seus processos de formacao, ao mesmo tempo em que foram sujeitos dessa construcao.

Este artigo é fruto de um estudo que se dedica a compreender os princípios da conexão corpo-voz no trabalho do artista cênico (ator, cantor, dançarino, performer). Partindo do canto e da dança como chaves de compreensão do movimento corporal e vocal, este estudo aponta para a construção de uma prática que exercite as dimensões corporais e vocais do ator conjuntamente, levando em consideração para isso princípios como a ação física, tonicidade, trabalho psicofísico, apoio respiratório, esforço e oposições, entre outros. O objetivo é compreender princípios desenvolvidos em diferentes abordagens do corpo e da voz no treinamento do ator que podem ser utilizados em um trabalho que tenha a perspectiva da integração corpo-voz como foco da criação de materiais cênicos para o teatro.

Parallax is a contemporary dance work that integrates live performance and stereoscopic illusions. This performance work was designed to demonstrate the transformative potential of stereoscopic technology for contemporary dance. Parallax explores how the technology can change the traditional theatrical idea of space. We propose that the theatrical space is overlaid by a stereoscopic space that is best defined as a square pyramid. The stereoscopic image within the theatre environment creates a new area for the, choreographer, dancer and audience to experience dance and opens new creative possibilities. First, the choreographer needs to negotiate a different form of perceived space, and to work with both live and animated bodies. Second, the dancer may become less central and more part of a technical system, and s/he is required to negotiate digital environments and objects that are invisible to them. Finally, the audience experience of the stereoscopic dance performance is significan...

e performing arts, and dance in particular, have been considered as intangible cultural heritage by UNESCO since 2003. is acknowledgement re ects the importance of preserving the knowledge generated within this art form for future generations. Nevertheless, what and how this sensible material should be preserved is still lacking clear methodological approaches. When considering creative processes, this seems an even more daunting task, as it goes beyond simply documenting the nal product of a creation. Recent advancements in technology has allowed to consider other approaches of capturing data apart from video or photography, which are mostly static and have a single viewpoint. In this paper we describe how 3D data capture and point cloud visualization techniques have been used to capture and document João Fiadeiro's choreographic and compositional processes. Together with Fiadeiro we have identi ed a subset of core concepts of his method which have then been used to conduct two improvisation sessions involving Fiadeiro's dancers and himself. ose concepts have been used as the basis for the development of new visualization techniques that be er illustrate, in an interactive system, the complexity of Fiadeiro's creative process.

A partir da perspectiva do corpo como percepção e expressão do sujeito no mundo, o presente artigo analisa a comunicação corporal do educador como fonte primária e constante de informação. Trata-se de uma pesquisa descritiva, de abordagem qualitativa, do tipo participante, com 28 professores de educação física. Os resultados evidenciaram a concretude de uma ação corporal possível de ser provocada e alterada, vislumbrando o potencial pedagógico no que se refere à devida e consciente exploração do espaço pelos sujeitos pesquisados. Concluiu-se ainda que o entorno espacial caracteriza-se como cenário pedagógico àquele que se propõe a ensinar.