scholarly journals Development of the dance-rock opera genre in the creative content of ‘Mykhailo Vodianoi’ Academic Theatre of Musical Comedy, Odesa

2021 ◽  
Vol 60 (60) ◽  
pp. 111-125
Author(s):  
Shchukina Yuliia
Keyword(s):  
Comparative Method ◽  
Main Idea ◽  
Reconstruction Method ◽  
Romeo And Juliet ◽  
Stage Design ◽  
Dance Training ◽  
Musical Comedy ◽  
Andrew Lloyd Webber ◽  
And Performance ◽  
Rock Opera

Background. Staging of rock opera began in Ukraine simultaneously in theaters of drama, opera and musical comedy in the mid-80s. The first drama and ballet performances were based on the works of Russian authors. From 1986 to 1993 Kharkiv Theater of Musical Comedy made stage production of rock operas based on the works of Alexander Zhurbin, Andrew Lloyd Webber and Alexey Rybnikov leaders of its repertoire policy. Since the 2000s, Odessa Theater of Musical Comedy has staged a dance-rock opera as a new modification of stage play with rock opera. The relevance of the article. Stage performances of dance-rock operas have not yet been sufficiently studied in Ukraine. Such Ukrainian musicologists as Olga Verkhovenko, Iryna Palkina, Halyna Filkevych fragmentarily have studied genre features and performance forms of dance-rock operas. In addition, some periodicals have covered these productions in their critical reviews. Methods. The work is based on a typological method, which made it possible to classify performances as a rock opera genre. The biographical method has also been applied to determine the artistic influences on the choreographer Heorhii Kovtun. The comparative method made it possible to separate the dancerock opera from other productions related to the genre of rock opera, as well as from apologetic performances that exploit already invented forms. When analyzing the performances, some elements of the reconstruction method were used. Results of the study. Odessa Musical Comedy Theater presented four performances in the genre of dance-rock opera, three of which were staged by Heorhii Kovtun. The first (and most successful) production with a new performance approach was the play “Romeo and Juliet” based on Shakespeare’s tragedy with music and libretto by Yevhen Lapeiko (Odessa). A new type of leading performers (selected at casting) appeared in the play. The type of rock opera artist represented by Kyryl Turychenko is characterized by freedom from musical comedy clichés. A pop singer with appropriate acting, athletic and dance training, he could sing when falling, climbing a two-story stage tower, or during a dynamic dance. Scenography by Stanislav Zaitsev showed a tendency towards brevity, constructiveness and simultaneous development of action in three stage dimensions. Other productions of Heorhii Kovtun – “The Canterville Ghost” and “Silicon Silly Woman.net” based on the works of Russian authors D. Rubin, A. Ivanov, O. Pantykin and K. Rubinsky developed rock opera principles invented by the choreographer rather than deepened them. The director of “The Canterville Ghost” did not quite clearly indicate the vector of the main idea. This led to the breakup of stage action into spectacular theatrical attractions with pyrotechnics and impressive stage design transformations. In fact, it is still not clear what the director was trying to recreate – a melodrama, a comedy with elements of satire or Guignol. The play “Tristan and Isolde” based on the works of the Ukrainian composer Alexander Nezhigai and playwright Serhii Piskuriov was staged by the theater director Vladimir Savinov. His ignorance of musical theater specifics contributed to the vocally and musically weak performance. Most of the action in the stage production was organized by the choreography of Anatolii Bedichev. Contrary to expectations, V. Savinov’s performance was also significantly inferior to Н. Kovtun’s performances in relation to libretto adaptation, stage design and tempo-rhythm of the performance. All rock-dance opera performances were aimed at teenage and youth audiences. Conclusions. Unlike rock operas of the previous decades, the production proposed by choreographer H. Kovtun is characterized by a synthesis of modern choreography, spectacular show, performance universalism and dynamс crowd scenes. As a choreographer, he did not pay much attention to the actors’ work on the characters. Vocally the singers gravitated towards the pop style (using microphones). Unlike earlier productions of rock operas in Ukrainian theater (with phonograms or symphonic jazz instrumentation of the theater orchestra), the troupe of Odessa Musical Comedy Theater performed rock operas with combined accompaniment (studio phonogram, theater orchestra, rock band). Further study of the multiple issues identified in the article requires a deep analysis of the repertoire, types of rock opera in the theater of musical comedy in Ukraine and the distinctive vocal and acting performance features.

Platform Independent Analysis of Probabilities on Multithreaded Programs

2013 ◽  
Vol 1 (3) ◽  
pp. 48-65
Author(s):  
Yuting Chen
Keyword(s):  
Operating System ◽  
Static Analysis ◽  
Main Idea ◽  
Experimental Results ◽  
Machine To Machine ◽  
Concurrent Program ◽  
Acceptable Accuracy ◽  
Multithreaded Programs ◽  
Independent Analysis ◽  
And Performance

A concurrent program is intuitively associated with probability: the executions of the program can produce nondeterministic execution program paths due to the interleavings of threads, whereas some paths can always be executed more frequently than the others. An exploration of the probabilities on the execution paths is expected to provide engineers or compilers with support in helping, either at coding phase or at compile time, to optimize some hottest paths. However, it is not easy to take a static analysis of the probabilities on a concurrent program in that the scheduling of threads of a concurrent program usually depends on the operating system and hardware (e.g., processor) on which the program is executed, which may be vary from machine to machine. In this paper the authors propose a platform independent approach, called ProbPP, to analyzing probabilities on the execution paths of the multithreaded programs. The main idea of ProbPP is to calculate the probabilities on the basis of two kinds of probabilities: Primitive Dependent Probabilities (PDPs) representing the control dependent probabilities among the program statements and Thread Execution Probabilities (TEPs) representing the probabilities of threads being scheduled to execute. The authors have also conducted two preliminary experiments to evaluate the effectiveness and performance of ProbPP, and the experimental results show that ProbPP can provide engineers with acceptable accuracy.

Reconnecting Dance and Physical Education through Dance Science

2022 ◽  
Vol 79 (1) ◽  
Author(s):  
Melonie B. Murray ◽  
Steven Ross Murray
Keyword(s):  
Physical Education ◽  
International Association ◽  
Academic Discipline ◽  
Fine Arts ◽  
Education Programs ◽  
Academic Field ◽  
Dance Training ◽  
And Performance ◽  
The 1960S ◽  
Performance Projects

This article traces the development of dance as an academic discipline from its infancy in physical education programs to its present state, noting the significance of the burgeoning field of dance science and how it is a catalyst for the reconnecting of dance to physical education. The academic discipline of dance originated in the early 20th century in American academe, particularly in women’s physical education programs. By the 1920s, dance emerged as a discrete discipline with Margaret H’Doubler’s founding of the first baccalaureate degree in dance at the University of Wisconsin. By the 1960s, the academic discipline of dance had shifted from its original mission of movement education for everyone to focus more on professional dance training for highly skilled performers. This philosophical shift saw many dance programs move from homes in physical education to the fine arts. During this time, dance also saw an increasing disciplinary emphasis on choreographic and performance projects, a trend still evident today. Dance science began to develop as an academic field in the early 1980s, and shortly after publications and conferences in the area were born. The professional association the International Association for Dance Medicine and Science was founded in 1990. With dance science’s emergence, dance and physical education began to realign, albeit often in departments of kinesiology. Today, with the development of dance science as a burgeoning field, dance and kinesiology are coming full circle, rejoining through their historical roots.

scholarly journals Relationship Between Performance Competence and Cardiorespiratory Fitness in Contemporary Dance

2019 ◽  
Vol 34 (2) ◽  
pp. 79-84
Author(s):  
Sarah C Needham-Beck ◽  
Matthew A Wyon ◽  
Emma Redding
Keyword(s):  
Cardiorespiratory Fitness ◽  
Contemporary Dance ◽  
Physical Conditioning ◽  
Dance Training ◽  
Specific Performance ◽  
The Mean ◽  
Physiological Demands ◽  
Performance Ability ◽  
And Performance ◽  
Level Of Experience

AIMS: While a foundation of basic cardiorespiratory fitness is beneficial for coping with the physiological demands of dance training and performance, the extent to which cardiorespiratory fitness levels are related to performance ability is not all-together clear. This study aimed to directly compare aerobic capacity (VO2peak) and anaerobic threshold (AT) to an aesthetic competence measure (ACM) in student contemporary dancers. METHODS: Participants were 18 contemporary dance students and all undertook a one-off treadmill test to volitional exhaustion in the week leading up to a performance to determine VO2peak and AT. In the same week, a final rehearsal for the performance was filmed to allow retrospective analysis of specific performance competence. RESULTS: Mean VO2peak values of 47.67 ± 5.84 ml/kg/min and AT values of 43.18 ± 7.72 ml/kg/min (90.68 ± 11.87 %VO2peak) were recorded, and the mean total ACM score was 52.67 ± 8.74. No significant correlations were found between cardiorespiratory fitness variables and ACM scores. Regression analyses revealed experience level to be the only significant predictor of total ACM score (p<0.05, R2=0.12, SEE=11.91). CONCLUSIONS: The range of choreography used for assessment may limit the present study; nevertheless, as level of experience did significantly predict ACM total score, it is suggested that vocational dance training may be developing the performance and technical skills of students but not sufficiently developing their physical conditioning.

scholarly journals Awareness and indicators of low energy availability in male and female dancers

2020 ◽  
Author(s):  
Nicola Keay ◽  
AusDancers Overseas ◽  
Gavin Francis
Keyword(s):  
At Risk ◽  
Relative Energy ◽  
Low Energy ◽  
List Type ◽  
Energy Availability ◽  
Full Time ◽  
Male And Female ◽  
Dance Training ◽  
And Performance ◽  
Low Energy Availability

AbstractObjectivesTo investigate awareness and indicators of low energy availability (LEA) in male and female dancersMethodsA dance-specific energy availability questionnaire (DEAQ) was developed and administered online internationally to dancers in full time training. The DEAQ drew on current validated, published questionnaires for LEA, linked to the clinical outcomes of relative energy deficiency in sport (RED-S). Questions addressed recognised physiological indicators and consequences of LEA in the context of dance, together with psychological drivers and aetiological factors specific to dance training. LEA was quantified using a scoring system to include these characteristics.Results247 responses to the DEAQ were analysed (225 female and 22 male), mean age 20.7 years (SD 7.9) with transition to full time training at 15.0 years (SD 7.9) and 85% practising ballet. Psychological, physiological and physical characteristics consistent with LEA were reported by 57% of the female dancers and 29% of male dancers, indicating a risk of RED-S. The unique nature of dance training, in terms of demands and environment, was found to be potentially influential in development of this situation. Less than a third (29%) of dancers were aware of RED-S.ConclusionThis study found dancers to be a specific group of high-level exercisers displaying indicators of LEA and consequently at risk of developing the adverse clinical health and performance consequences of RED-S. Awareness of RED-S was low. The DEAQ has the potential to raise awareness and be a practical, objective screening tool to identify dancers in LEA, at risk of developing RED-S.Summary boxesWhat are the new findings?Dancers reported many recognised indicators of low energy availability (LEA) and consequently are at risk of developing the adverse health and performance outcomes of relative energy deficiency in sport (RED-S).Few dancers in this study demonstrated an awareness of RED-S.The unique nature of dance training, in terms of demands and environment, was found to be influential in the development of LEA in dancersThe DEAQ is the first questionnaire specific to dancers. Applying a scoring system to the responses from the DEAQ can provide an objective assessment of LEAHow might this study impact on clinical practice in the future?As LEA and subsequent risk of RED-S is not matched by awareness, providing educational resources for dancers is important. A British Association of Sport and Exercise Medicine website has been developed by the research team for both athletes and dancers www.health4performance.co.ukThe DEAQ has the potential to be a practical, objective, screening tool to identify male and female dancers worldwide in LEA. By identifying these dancers, support could be targeted to modify dancer behaviours to reduce the risk of dancers developing the adverse health and performance sequelae of RED-SEarly identification of dancers at risk of developing RED-S is of particular importance when situations arise out of dancers’ control, such as lock down in pandemics COVID-19 or time off dancing due to illness/injury. Targeted support may be required as a dancer’s tendencies towards exercise dependence and disordered eating patterns may increase as a way to seek control and combat uncertainty.

edged: Exploring the porous boundaries between teaching philosophy, dance performance and choreographic practice

2020 ◽  
Vol 11 (1) ◽  
pp. 43-57 ◽  
Author(s):  
Louis Laberge-Côté
Keyword(s):  
Creative Process ◽  
Porous Body ◽  
Teaching Philosophy ◽  
Dance Performance ◽  
The Past ◽  
Dance Training ◽  
The Creation ◽  
Guiding Principles ◽  
And Performance ◽  
Porous Boundaries

Over the past four years I have developed The Porous Body, a teaching philosophy that promotes the practice of heightened physical and mental malleability in dance training by following four fundamental guiding principles: flow, playfulness, metaphor and paradox. As my process deepened, I wondered: what would happen if I applied The Porous Body to my choreographic practice? How might this framework prove fruitful during a creative process? What kind of choreographic work would emerge from this experiment? This article is an artist’s reflection on an artistic experiment; it describes the first choreographic process to which I applied The Porous Body’s guiding principles, and which led to the creation and performance of edged, a solo work exploring the porous edges between inner/outer, planned/unplanned, control/surrender, pleasure/struggle and terror/courage.

Design and Validation of New Exhaust Manifold for 3.8 L Turbocharged-Intercooled Diesel Engine

2006 ◽  
Author(s):  
Tejsing A. Gaikwad
Keyword(s):  
Thermal Analysis ◽  
Diesel Engine ◽  
Pressure Drop ◽  
Experimental Method ◽  
Flow Pattern ◽  
Comparative Method ◽  
Exhaust Manifold ◽  
Degree Polynomial ◽  
Profile Design ◽  
And Performance

Few Engine Layout and Performance related concerns made way for design and development of new Exhaust Manifold (EM). New EM is designed using 5th degree Polynomial Profile Design (PPD) technology. Existing EM is tested to measure various parameters such as flow pattern, pressure drop across manifold and on skins temperature mappings. Two approaches were studied to validate new EM on the basis of results obtained by CFD and Thermal Analysis as follows, 1. Comparative Method. 2. Experimental Method. The paper aims at presenting the above design and validation approaches for upcoming EM designs.

scholarly journals Using developmental evaluation methods with communities of practice

2016 ◽  
Vol 23 (2/3) ◽  
pp. 141-155 ◽  
Author(s):  
Christine van Winkelen
Keyword(s):  
Communities Of Practice ◽  
Community Of Practice ◽  
Comparative Method ◽  
Evaluation Methods ◽  
Developmental Evaluation ◽  
Change Initiatives ◽  
Content Type ◽  
Structural Mechanism ◽  
Support Resources ◽  
And Performance

Purpose This paper aims to explore the use of developmental evaluation methods with community of practice programmes experiencing change or transition to better understand how to target support resources. Design/methodology/approach The practical use of a number of developmental evaluation methods was explored in three organizations over a nine-month period using an action research design. The research was a collaborative process involving all the company participants and the academic (the author) with the intention of developing the practices of the participants as well as contributing to scholarship. Findings The developmental evaluation activities achieved the objectives of the knowledge managers concerned: they developed a better understanding of the contribution and performance of their communities of practice, allowing support resources to be better targeted. Three methods (fundamental evaluative thinking, actual-ideal comparative method and focus on strengths and assets) were found to be useful. Cross-case analysis led to the proposition that developmental evaluation methods act as a structural mechanism that develops the discourse of the organization in ways that enhance the climate for learning, potentially helping develop a learning organization. Practical implications Developmental evaluation methods add to the options available to evaluate community of practice programmes. These supplement the commonly used activity indicators and impact story methods. Originality/value Developmental evaluation methods are often used in social change initiatives, informing public policy and funding decisions. The contribution here is to extend their use to organizational community of practice programmes.

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