DOCSLIB.ORG

Giving Voice Bro 09 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

International Festival of the Voice 2009 18 - 26 April, Wroclaw, Poland HARMONIC ACCORD: ENCOUNTERS THROUGH SONG SPOTKANIE W PIESNI´ 2 Giving Voice 11 stanowi specjaln edycję festiwalu; Giving Voice International Festival of the Voice współorganizuj go Center for Performance Research Contents z Walii oraz Instytut im. Jerzego Grotowskiego we Harmonic Accord Wrocławiu.Tegoroczny festiwal odbywa się w ramach Venues & Access - 2 obchodów Roku Grotowskiego 2009. Encounters through Song Przez 7 dni Wrocław będzie go´scił niespotykan ró˙znorodno´s´c tradycji Giving Voice 11: A festival of extraordinary voices from around the world including those from: Armenia, Austria, głosowych całego swiata:´ Armenii, Austrii, Korsyki, Gruzji, Gwinei, Iranu,Włoch, Harmonic Accord - 3 Corsica, Georgia, Guinea, Iran, Italy, Kurdistan, Mongolia, North America, Palestine, Poland, Kurdystanu, Mongolii, Ameryki Północnej, Palestyny, Polski, Sardynii, Serbii, Sardinia, Serbia, Spain, the Ukraine and Wales. Hiszpanii, Ukrainy oraz Walii. Calendar - 4 Poprzez dzielenie się ideami oraz praktyk w ramach ró˙znych warsztatów, How to Create Giving Voice springs from a strong events programmed for the Year of our questions embrace: aesthetics; pokazów i dyskusji, festiwal gromadzi praktyków, nauczycieli, teoretyków, belief in the voice’s ability to Grotowski 2009 in addition to this technique; the culturally specific; uzdrowicieli zainteresowanych prac z głosem, którzy niekoniecznie mieli Your Own Experience - 4 communicate beyond language and special edition of Giving Voice, matters of repertoire; archaism and the okazję do spotkania na drodze swej praktyki. Workshops - 5 - 14 cultural difference, and that working information of which may be found on relationship of tradition to innovation with the voice can allow people, from www.grotowski-institute.art.pl. and mutation; collectivity, polyphony Temat festiwalu - Spotkanie w pie´sni - wywodzi się tak˙ze ze wspólnych dla CPR wherever they come, to enjoy and and chorus; legacy and legitimacy. i Instytutu Grotowskiego, zainteresowa´n pie´sniami i tradycjami pie´sniarskimi, Talks and Presentations – 15 & 16 The theme of this edition - Encounters value the riches of difference as well as a w szczególno´sci zawartym w pie´sni oraz w spiewie´ jako spotkaniu Through Song - springs also from But above all Giving Voice: Harmonic Evening Performances the recognition and celebration of a potencjale wyra˙zania i zbli˙zania ludzi. Spotkanie to dokonuje się nie tylko w mutual and long-held interests of CPR, Accord is simply about ethos, and common humanity. sferze muzyki i na pograniczu kultur, ale jest tak˙ze zdarzeniem o charakterze and presentations - 17 - 24 the Grotowski Institute - and its encounter with others through song; introspekcyjnym i wspólnotowym, w którym uwa˙zny akt spiewania´ oraz Giving Voice is an established biennial associate theatre company,Teatr ZAR - the festival brings together many konieczny akt słuchania mog pomóc nam zrzuci´c wyjałowion z wra˙zliwo´sci Booking Information - 25 international event mounted in Wales on the ‘inspiration’ of song and extraordinary voices from around the by the Centre for Performance traditions of song, and in particular the world.We are delighted to welcome powłokę codzienno´sci i poł czy´c się na nowo z samymi sob . Jest powrotem The Centre for Performance dozród ´ ła, powrotem do dz´więku. Research (CPR). It aims to advance the expressive and connective potential of back some voices returning to Giving Research, Grotowski Institute appreciation and understanding of the song and the act of singing as Voice, and also the many who are new Pytania, jakie zadajemy sobie w poszukiwaniu teatru z ducha muzyki, expressive voice and celebrate its encounter. Encounter that is not only to the festival and who include those obejmuj – cho´c tak˙ze wykraczaj poza - estetykę, technikę,okre´slone przez and Festival Sponsors - 26 - 27 many and varied manifestations across musical and intercultural, but encountered by Teatr ZAR on their kulturę kwestie repertuarowe, relację tradycji i innowacji, wspólnotowo´s´c, time and culture. Sharing ideas and introspective and communal, where expeditions in search of living sources polifonię, dziedzictwo i prawowito´s´c. practice through workshop, the attentive act of singing and of traditional music, some unknown Rok 2009 jest dedykowany Jerzemu Grotowskiemu.Tegoroczna edycja opiera performance, and discussion, the necessary act of listening can help us outside their ethnographic context. się na inspiracji płyn cej z bogatej i pionierskiej pracy Grotowskiego nad festival brings together those - shed the de-sensitised skins of In addition to a feast of performances, pie´sni i głosem w pracy aktorskiej. performers, teachers, scholars, healers - everyday life, and vitally re-connect us concerts and presentations, there will who have an interest in the voice but to ourselves, to others, and to the Informacje o festiwalu, a tak˙ze innych wydarzeniach odbywaj cych się w be a wide array of workshops and work who may not necessarily meet in the present through connecting with the sessions, offering the opportunity to ramach Roku Grotowskiego 2009 znajduj się na stronie usual course of their practice. past; to re-source, re-sound, re-sonate. www.grotowski-institute.art.pl encounter particular forms of singing Harmonic Accord: Encounters It may be - as asserted by two other practically (the texture, harmonies, through Song is a special edition of voice pioneers, Alfred Wolfsohn and melodies and demands), as well as Giving Voice hosted by the Grotowski Roy Hart - that ‘the voice is the muscle training and practical work on voice Institute in Wroclaw, Poland.The year of the soul’.Despite an increasing focus support and release. WROCLAW Instytut im. Jerzego Grotowskiego 2009 marks several important on the ‘visual’in contemporary theatre Join us for an uplifting and Rynek-Ratusz 27, 50-101 Wroclaw Lower Silesia’s historic capital,WROCLAW is one of anniversaries of the Polish theatre and performance practice, there is a resounding compendium of the oldest and most beautiful cities in Poland. Tel./fax (0048) 71 34 34 267 director, Jerzy Grotowski , and, in growing interest in the performance performances, voice workshops, Situated at the foot of the Sudety Mountains, upon tribute, our aims of resourcing and body being ‘all ears’ (listening, Tel./fax (0048) 71 34 45 320 talks, seminars and lecture- the Odra River and cut through by its numerous resounding in this edition take receiving, sourcing), working beyond demonstrations. Meet with other tributaries and canals, it is an exceptional city of 12 Email: [email protected] inspiration from Grotowski’s profound and with ‘the tyranny of the eye’ voice enthusiasts and artists from - performances - discussion workshops - presentations islands and over one hundred bridges.The city has Web: www.grotowski-institute.art.pl. and pioneering work on song and the (taking, mis-taking, habitualising). In around the world. a vibrant cultural scene, its theatre tradition www.rokgrotowskiego.pl voice in action.There are many other seeking theatre out of the spirit of music, enjoying worldwide renown. Several low cost airlines fly direct to Wroclaw from GIVING VOICE - FOR CHILDREN WITH AUTISM All donations received will be divided a host of international airports. Frequent bus equally to the following charities: services link the airport to the city centre which Autism is one of the most significant but least researched has an extensive bus and tram network.Wroclaw is developmental disorders, characterised by various symptoms: Autism Speaks (UK): a leading autism research foundation investigating the causes and biological also very well connected by road and rail. significantly, impairments in social interaction and communication; about a third to a half of individuals with autism mechanisms of autism. For further information on the city of Wroclaw do not develop enough natural speech to meet their daily Autism Cymru (Wales) promotes the please visit www.wroclaw.pl communication needs. Autism imposes an extremely heavy establishment of high quality services for people financial and emotional burden on those affected and those who with autism spectrum disorders in Wales. care for them, and many families become socially isolated. The Foundation for Children ‘Help on Time’ Please support the GIVING VOICE CAMPAIGN FOR CHILDREN (Poland): a nationwide programme of care for WITH AUTISM. There will be an opportunity to make cash disabled children with the aim to rescue their A large print or audio version donations during the Festival, or you can send donations via lives, bring them back to health, support their of any publicity material is Paypal to ‘[email protected]’; (or contact CPR by that email or education, improve their difficult economic on +44 (0) 1970 622133 for alternative donation methods). situation. available on request. 3 THREE DAY WORKSHOP one workshops, of different arange can choose from You for are that the workshops butnote that evening, chosen workshop,your and theperformances the workshop onfrom the talks following booked for: ontheday/s all events to thatinclude access available are Carnets Festival ground-breaking presentations. thefull festival, attend unable to are If you 1-and3-day changing performance, andhear witha leadingteacher inaworkshop immerseyourself 19 -26April: allevents to access moneygiving you for value canseealife- you eachday good exceptionally offers Carnet Festival
Recommended publications
  • Birth and Evolution of Korean Reality Show Formats

    Birth and Evolution of Korean Reality Show Formats

    Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the
  • Listen Carefully

    Listen Carefully

    1 Listen Carefully Ellen Foyn Bruun1 Norwegian University of Science and Technology NTNU, Drama and Theatre Studies Abstract Voice and sounding is an integrated element in dramatherapy, as in acting and life in general. In this article I reflect on voicework that focuses on the intimate relationship between breathing, sounding and an embodied sense of self. The notion of listen carefully emphasises the receptive aspect of arts practice and introversion as a foundation for authentic and healthy expression. I address ‘the presence of absence’ and our ability to listen with awareness to what is implicit and not yet made conscious. I have been inspired by feminist philosopher Adriana Cavarero who proposes a philosophy of voice that challenges logo-centric Western philosophical thinking. Her work underpins the relationship between voice and identity. I shall draw from my experience of three different approaches that integrate vocal somatic exploration and a holistic approach to life and health. These are the legacy of Roy Hart and Alfred Wolfsohn, Movement with touch and sound (Sesame), and Fitzmaurice Voicework®. This article caters for a broad professional community that is interested in the field of voice in drama and theatre practice for educational and therapeutic purposes. Key words: dramatherapy, voicework, healthy self-regulation, philosophy of voice, Roy Hart and Alfred Wolfsohn, Sesame approach, Fitzmaurice voicework® Introduction Each individual has their unique way of breathing which for most people enables sounding. As dramatherapists we relate to body, breathing and voice in many ways. This article will present how voicework has become a core field of interest for me as a drama practitioner, teacher, therapist and researcher.
  • Contesting and Appropriating Chineseness in Sinophone Music

    Contesting and Appropriating Chineseness in Sinophone Music

    China Perspectives 2020-2 | 2020 Sinophone Musical Worlds (2): The Politics of Chineseness Contesting and Appropriating Chineseness in Sinophone Music Nathanel Amar Electronic version URL: https://journals.openedition.org/chinaperspectives/10063 DOI: 10.4000/chinaperspectives.10063 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 June 2020 Number of pages: 3-6 ISSN: 2070-3449 Electronic reference Nathanel Amar, “Contesting and Appropriating Chineseness in Sinophone Music”, China Perspectives [Online], 2020-2 | 2020, Online since 01 June 2020, connection on 06 July 2021. URL: http:// journals.openedition.org/chinaperspectives/10063 ; DOI: https://doi.org/10.4000/chinaperspectives. 10063 © All rights reserved Editorial china perspectives Contesting and Appropriating Chineseness in Sinophone Music NATHANEL AMAR he first special issue of China Perspectives on “Sinophone Musical itself as a more traditional approach to Chinese-sounding music but was Worlds” (2019/3) laid the theoretical foundation for a musical appropriated by amateur musicians on the Internet who subvert accepted T approach to Sinophone studies (Amar 2019). This first issue notions of Chinese history and masculinity (see Wang Yiwen’s article in this emphasised the importance of a “place-based” analysis of the global issue). Finally, the last article lays out in detail the censorship mechanisms for circulation of artistic creations, promoted in the field of Sinophone studies by music in the PRC, which are more complex and less monolithic than usually Shu-mei Shih (2007), and in cultural studies by Yiu Fai Chow and Jeroen de described, and the ways artists try to circumvent the state’s censorship Kloet (2013) as well as Marc Moskowitz (2010), among others.
  • Badilu Assefa Ayana Advisor: Fikadu Adugna (Phd)

    Badilu Assefa Ayana Advisor: Fikadu Adugna (Phd)

    THE EXPANSION OF PROTESTANTISM AND CULTURE CHANGE AMONG THE SAYYOO OROMO, WESTERN OROMIA A THESIS SUBMITTED TO THE SCHOOL OF GRADUATE STUDIES, ADDIS ABABA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS IN SOCIAL ANTHROPOLOGY By: Badilu Assefa Ayana Advisor: Fikadu Adugna (PhD) November 2014 Addis Ababa, Ethiopia 1 DECLARATION I, the under signed, declare that this thesis is my original work done under the guidance of Fekadu Adugna (PhD), and has not been submitted for a degree in any other university. All sources materials used for the thesis have been duly acknowledged. Name: Badilu Assefa Ayana Signature: ___________________ Place: Addis Ababa University Date: ____________________ APPROVED BY BOARD OF EXAMINERS ________________________ __________________ ________________ Advisor signature Date ________________________ _______________ _______________ External Examiner Signature Date _______________________ ______________ _______________ Internal Examiner Signature Date 2 Acknowledgements I would like to express my deepest gratitude and heartfelt thanks to my advisor, Dr. Fekadu Adugna, for his scholarly assistance in reading and correcting this thesis. His corrections and critical remarks from the preparation of the proposal to the completion of the thesis were very useful and constructive. I owe special thanks to my former instructors, Dereje Fufa and Jira Mokonin of Jimma University, who were influential in my decision to conduct this research on the topic. Their fascinating lectures and stimulating teaching, and support have been an incredible source of inspiration. I am greatly indebted to all my informants without whose contributions my work would not have been possible; especially, Mitiku Tucho, Tesfaye Megersa, Mihratu Dhuguma, Gemechu Tafese for offering kindness and answering my questions with patience and openness and providing me with productive information.
  • THENEWYORKER.Pdf

    THENEWYORKER.Pdf

    A 1940 self-portrait of Salomon (1917-1943), whose autobiographical work “Life? or Theatre?” is an early example of the graphic novel. Courtesy the Jewish Historical Museum © Charlotte Salomon Foundation n February, 1943, eight months before she was murdered in Auschwitz, the I German painter Charlotte Salomon killed her grandfather. Salomon’s grandparents, like many Jews, had !ed Germany in the mid-nineteen-thirties, with a stash of “morphine, opium, and Veronal” to use “when their money ran out.” But Salomon’s crime that morning was not a mercy killing to save the old man from the Nazis; this was entirely personal. It was Herr Doktor Lüdwig Grünwald, not “Herr Hitler,” who, Salomon wrote, “symbolized for me the people I had to resist.” And resist she did. She documented the event in real time, in a thirty-"ve-page letter, most of which has only recently come to light. “I knew where the poison was,” Salomon wrote. “It is acting as I write. Perhaps he is already dead now. Forgive me.” Salomon also describes how she drew a portrait of her grandfather as he expired in front of her, from the “Veronal omelette” she had cooked for him. The ink drawing of a distinguished, wizened man—his head slumped inside the collar of his bathrobe, his eyes closed, his mouth a thin slit nesting inside his voluminous beard—survives. Salomon’s letter is addressed, repeatedly, to her “beloved” Alfred Wolfsohn, for whom she created her work. He never received the missive. Nineteen pages of Salomon’s “confession,” as she called it, were concealed by her family for more than sixty years, the murder excised.
  • “PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju

    “PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju

    TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan.
  • Why Do Singers Sing in the Way They

    Why Do Singers Sing in the Way They

    Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor.
  • JANUAR UND FEBRUAR 2019 02|03 Aktuell EXPLORE DANCE: LUCIA GLASS’ POPUP-STÜCK AUFFÜHRUNGEN | PROJEKTE 06.02

    JANUAR UND FEBRUAR 2019 02|03 Aktuell EXPLORE DANCE: LUCIA GLASS’ POPUP-STÜCK AUFFÜHRUNGEN | PROJEKTE 06.02

    JANUAR UND FEBRUAR 2019 02|03 aktuell EXPLORE DANCE: LUCIA GLASS’ POPUP-STÜCK AUFFÜHRUNGEN | PROJEKTE 06.02. PROBEBÜHNE EINS S. 05 Ab Januar arbeitet die Hamburger Choreographin Lucia Glass im Rahmen von explore dance – Tanzpakt Stadt-Land-Bund als Artist in Residence an der Stadtteilschule MOVING HEADS S. 08 Blankenese. Dort entwickelt sie ihr mobiles und an verschiedensten Orten spielbares 14.01. HANS-JÖRG KAPP | EVA RESCH EXZESSIVE KLANGREDUKTION S. 06 25.01. OMAR RAJEH ZEITGENÖSSISCHER TANZ IM LIBANON PopUp-Stück Die Choreographie der Dinge und Geräusche (AT). Gemeinsam mit S. 10 28.01. ESSENTIALS TRANSITIONPROZESSE IN DER TANZKARRIERE Schüler*innen verschiedener Jahrgangstufen erforscht sie die Wirkung von Gegen- S. 09 11.02. RALF PETERS DIE EXTREME STIMME ständen und ihren Geräuschen auf unsere Bewegung und erprobt die Verbindung S. 07 19.02. ROUND TABLE TANZ MIT SCHULE zwischen zeitgenössischem Tanz, somatischer Körperpraxis und der eigenen Wirk- samkeit auf der Bühne. Premiere wird die Arbeit voraussichtlich Ende April feiern, WORKSHOPS S. 11 17.01. - 23.03. VHS-KURS TANZ IM GESPRÄCH S. 12 pünktlich zu unserem Festival explore dance - Tanz für junges Publikum (Save the 25.01. MASTERCLASS TANZTHEATER WUPPERTAL PINA BAUSCH S. 10 date: 30.04. - 04.05.2019). 29.01. CAROLIN ECKERT TRANSITIONBERATUNG S. 12 EMPOWERING DANCE 01.02. LEHRER*INNENWORKSHOP MOVING GENDER PROFITRAINING S. 13 Vom 09. bis 11.01. findet am K3 das erste intensive Arbeitstreffen des in dieser Spielzeit 14.12.18 - 06.01.19 TRAININGSPAUSE neu im Rahmen des EU-Programmbereichs Erasmus+ gestarteten Forschungsprojekts 07. - 10.01. RAKESH SUKESH PAYATT INTRANSIT Empowering Dance – Developing Soft Skills statt.
  • HOW BODY IMAGE INFLUENCES VOCAL PERFORMANCE in COLLEGIATE WOMEN SINGERS by Kirsten Shippert Brown Disser

    HOW BODY IMAGE INFLUENCES VOCAL PERFORMANCE in COLLEGIATE WOMEN SINGERS by Kirsten Shippert Brown Disser

    MY BODY, MY INSTRUMENT: HOW BODY IMAGE INFLUENCES VOCAL PERFORMANCE IN COLLEGIATE WOMEN SINGERS by Kirsten Shippert Brown Dissertation Committee: Professor Randall Everett Allsup, Sponsor Professor Jeanne Goffi-Fynn Approved by the Committee on the Degree of Doctor of Education Date: May 19, 2021 Submitted in partial fulfillment of the requirements for the degree of Doctor of Education in Teachers College, Columbia University 2021 ABSTRACT This dissertation is about the influence of body image on classical vocal performance in collegiate women singers. Those trained in classical singing are familiar with the phrase, “your body is your instrument.” A focus on the physical body is apparent in the vocal pedagogical literature, as is attention to singers’ mental and emotional states. But the intersection of emotions and the body—how one thinks and feels about their body, or body image—is largely absent from the vocal pedagogical literature. As voice teachers continue to necessarily address their students’ instruments (bodies), the field has not adequately considered how each singer’s relationship with their instrument (their body) might affect them, as singers and as people. This initial foray sought answers to just two of the myriad unanswered questions surrounding this topic: Does a singer’s body image influence her singing? If so, when and how? It employed a feminist methodological framework that would provide for consciousness-raising as both a method and aim of the study. Four collegiate women singers served as co-researchers, and data collection took place in three parts: a focus group, audio diaries, and interviews. The focus group was specifically geared towards consciousness-raising in order to provide co-researchers with the awareness necessary for examining their body image.
  • The Deadly Power of the Living Voice

    The Deadly Power of the Living Voice

    The Deadly Power of the Living Voice Thorey Sigthorsdottir Sustained Indepented Project MA in Advanced Theatre Practice Central School of Speech and Drama 20th September 2012 ! "! Index 1. The Beginning 2. The Background 3. Methodology 4. The Voice Workshop 5. $%&!'()&*+&,-& 6. The Results Bibliography Appendice A Nadine George. Appendice B Guy Dartnell ! #! 1. The Beginning ‘With these battlefield voices, there was no limitation of range, their voices expressed and screamed terror and agony through every range.’ (Wolfsohn: Braggins: Harrow Times book reviews 10th May 2012) These are the words of Alfred Wolfsohn, describing in writing his experience as a young man, of listening to his fellow soldiers dying in the battlefields of the First World War. A survivor of the war but these sounds hunted him as well as his traumatic experience and he lost his singing voice. This experience led him into exploration of the voice in a totally new way. A life changer for many of his students and a pioneer of the exploration of the phenomenal of the human voice and its expression. The stories of Wolfsohn and his followers Roy Hart and my work with Roy’s follower Nadine George are the inspiration for my interest in exploring the possibilities of the voice as a creative tool in devising theatre. ! When I started my research for theatre groups that were using the voice in a specific way devising theatre I came across names as The Roy Hart Theatre, Grotowski Institute, Odin Teater, Song of the Goat, Guy Dartnell, TeatrZar, and The Pan Theatre Paris, to name some.
  • Chinese Music Reality Shows: a Case Study

    Chinese Music Reality Shows: a Case Study

    Chinese Music Reality Shows: A Case Study A Thesis Submitted to the Faculty of Drexel University by Zhengyuan Bi In partial fulfillment of the requirements for the degree of Master of Science in Television Management January 2017 ii © Copyright 2017 Zhengyuan Bi All Right Reserved. iii DEDICATION I dedicate this thesis to my family and my friends, with a special feeling of gratitude to my loving parents, my friends Queena Ai, Eileen Zhou and Lili Mao, and my former boss Kenny Lam. I will always appreciate their love and support! iv ACKNOWLEDGMENTS I would like to take this opportunity to thank my thesis advisor Philip Salas and Television Management Program Director Al Tedesco for their great support and guidance during my studies at Drexel University. I would also like to thank Katherine Houseman for her kind support and assistance. I truly appreciate their generous contribution to me and all the students. I would also like to thank all the faculty of Westphal College of Media Arts & Design, all the classmates that have studied with me for these two years. We are forever friends and the best wishes to each of you! v Table of Contents DEDICATION ………………………………………………………………………………..iii ACKNOWLEDGEMENTS…………………………………………………………………...iv ABSTRACT……………………………………………………………………………………vii Chapter 1: Introduction………………………………………………………………………..1 1.1 Introduction………………………………………………………………………………...3 1.2 Statement of the Problem…………………………………………….................................3 1.3 Background…………………………………………………………………………………4 1.4 Purpose of the study…………………………………………………………………….....5
  • Panel Pool 2

    Panel Pool 2

    FY18-19 PEER REVIEW PANELS Panel Applicants (November deadline) This list contains potential panelists to be added to the pool for peer review panels. Approved panelists may be called upon to serve on grant panels in FY2018-2019 or FY2019-2020. Click a letter below to view biographies from applicants with corresponding last name. A .............................................................................................................................................................................. 2 B ............................................................................................................................................................................... 9 C ............................................................................................................................................................................. 18 D ............................................................................................................................................................................. 31 E ............................................................................................................................................................................. 40 F ............................................................................................................................................................................. 45 G ............................................................................................................................................................................