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Träfflista för sökning "AMNE:(HUMANITIES Arts) ;lar1:(lu)"

Sökning: AMNE:(HUMANITIES Arts) > Lunds universitet

  • Resultat 1-10 av 4641
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1.
  • Chavarria Aldrete, Bertrand (författare)
  • Unveiling the invisible : Documentary film
  • 2022
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • Unveiling the invisible (2022) is a short film about the Artistic Research project by Bertrand Chavarría-Aldrete, PhD candidate at Lund University in the form of a workshop for the blind and visually impaired.
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4.
  • Chavarria-Aldrete, Bertrand (författare)
  • Le geste et son double : Plastic Extension of Étude 6 by Heitor Villa-Lobos
  • 2023
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • Plastic extension of Étude IV pour guitare by Heitor Villa-Lobos.Le geste et son double is a study of shadows, gestures and left hand positions issued from Étude VI for guitar by Heitor Villa-Lobos.Installlation with paintings, screen and light projector
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  • Chavarria Aldrete, Bertrand (författare)
  • Rihmstrom : Plastic extension of Über di Linie VII by Wolfgang Rihm
  • 2022
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • Rihmstrom is a prepared (acrilyc painting, ink and graphite) canvas (200x80cm) to be walked through by the violinist during the performance of Über die Linie VII Wolfgang Rihm. This plastic extension was created with the performance of violinist Rachel Koblyakov.
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7.
  • Chavarria Aldrete, Bertrand, et al. (författare)
  • specchio di perfezione : Plastic extension of Fugue BWV 1005 by J. S. Bach
  • 2022
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • specchio di perfezione is a light installation on screen for the Fugue BWV 1005 by Johann Sebastian Bach where by the violinist during the performance plays inside the light and shadows of the installation. This plastic extension was created with the performance of violinist Rachel Koblyakov. 3 light projectors, 1 screen (300x200cm minimum)
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8.
  • Sjöström, Kent (författare)
  • Skådespelaren i handling : Strategier för tanke och kropp
  • 2007
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • In the thesis, that has its basis in my educational work at Malmö Theatre Academy, I discuss how actors in training solve the problem of embodying the role ? how they, from their ideas, feelings, thoughts and knowledge create the physical actions of the role. My discussion has its basis in how the training in acrobatics can form a sort of model for the strategies needed by the actor to perform on stage. An initial point for this thesis is the question about where the actor finds her motive for the role's physical action: in the role's future or in the role's past? A second starting point for the thesis is how the actor's imagination or conceptions affect her physical actions. These two starting points can be summarized in my research question: How are the cognitive strategies of the actor affecting the scenic actions of the role? A first step in answering the research question is found in the written evaluations of the students, concerning how acrobatics can function as a cognitive model for scenic action. The second step in answering this question takes its starting point in the students? description of their work with scenic situations and from these testimonies, more specific qualities appear. Here, two approaches are basic: first, that the students work with their imagination to create a stimulating and sensory objective for their scenic task, and second, that the spoken line, as well as the purely physical action, are tools in solving this task. These two approaches are summarized in the terms goal image and verbal action. My methodical grasp of the entirety of the thesis can be summarized in the function of the reflecting practitioner. To interpret the accounts of the students, a more specific and qualitatively focused method was required. In my interpretation of the students? descriptions of their work, I have focused on two qualities. The first is how the work has lead to the students being rid of a form of negative self-awareness, having focused outward. The second is how the work has lead to increased specificity and concretion in scenic choices. However, the research question has not only been seen from a student perspective. Through my references to the experiences, instruction and standpoints of several other theatre practitioners, I have shown an approach where cognitive strategies are central to physical action. There, I have also wanted to focus on how cognitive strategies are dependent on the form of verbal expression of the scenic task. How one formulates one's task is central to the physical action.To illuminate the work with the actor's cognitive strategies further, I have throughout the thesis referred to different theories of action and emotion. Within these I have looked for experiences that can change and strengthen the knowledge of the actor's physical actions.
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9.
  • Bengtsen, Peter (författare)
  • The Street Art World
  • 2014
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • In recent years, street art has become embedded in popular culture and received growing attention from the art market and art institutions. Work by street artists has entered galleries, auction houses and museums, and some artists have been given the opportunity to create large-scale sanctioned public art projects. Simultaneously, widespread photographic documentation of street artworks and the circulation of images online have provided artists with a potentially global audience. The Street Art World investigates street art as a relatively newly established field within contemporary art. With the American sociologist Howard S. Becker’s notion of “art worlds” as a central point of departure, the book seeks to characterise street art by studying and participating in the everyday interaction among the artists, gallerists, collectors, critics, curators, bloggers and street art enthusiasts that make up the social environment (the street art world) in which the term street art is continuously given its meaning. Major themes addressed in the book include: (1) The social construction of the meaning of the term street art and the resulting difficulties in formally defining what street art is. (2) The often contradictory attitudes within the street art world towards art history and the institutions of art. (3) The relationship between street art, the art market and the institutional art world. (4) The relationship between street art and public art. (5) Street art’s potential to affect the viewer’s perception of public space, and the possible challenges the increasing digital mediation of street art may pose to bringing this potential to fruition. While the book presents central characteristics of the street art movement, it also acknowledges that it is not feasible to pin down the nature of street art once and for all, since street art is a product of complex social processes.
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