257 resultados para ballet


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This paper aims to show the beginning of habitus and the bodily hexis construction of male ballet dancer and female player soccer. Firstly, the habitus and the bodily hexis are established by the cultural inheritance of families (advices, likes, choices, prohibitions, and work divisions). After, they are restructured by the most diverse fields where this people act, mainly in the school, specifically at Physical Education classes (in the specialized places where these classes occur). Thus, it is possible to verify the success or the failure of their path lives and the possibility of a social ascent by the choice of these practices as professional career.

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Pós-graduação em Saúde Coletiva - FMB

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O projeto experimental Passé: balé bauruense em um ato e nove cenas é um livro-reportagem de perfis de pessoas que moram em Bauru e são ligadas ao balé clássico. Os entrevistados escolhidos pertencem a três gerações: são três idosas, três adultas e três jovens. Entre os nove perfilados, estão bailarinos e professores de balé clássico. O objetivo do projeto é resgatar, através da história oral de vida, e registrar, através do Jornalismo Literário, fragmentos da história da dança bauruense, pouco documentada, e retratar a paixão que as pessoas ligadas ao balé clássico sentem pela dança

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Studies of subjective time have adopted different methods to understand different processes of time perception. Four sculptures, with implied movement ranked as 1.5-, 3.0-, 4.5-, and 6.0-point stimuli on the Body Movement Ranking Scale, were randomly presented to 42 university students untrained in visual arts and ballet. Participants were allowed to observe the images for any length of time (exploration time) and, immediately after each image was observed, recorded the duration as they perceived it. The results of temporal ratio (exploration time/time estimation) showed that exploration time of images also affected perception of time, i.e., the subjective time for sculptures representing implied movement were overestimated.\

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Igor Stravinskij (1882-1971) utilizzò di sovente fonti preesistenti come parte integrante del proprio artigianato compositivo. In questa tesi dottorale ho studiato il processo creativo di Stravinskij negli anni Venti sulle musiche di Pëtr Il'ič Čajkovskij (1840-1893). Nella prima parte della dissertazione ho indagato la Sleeping Princess (1921) e il successivo Mariage d’Aurore (1922-1929), entrambi allestiti dai Ballets russes di Sergej Djagilev (1872-1929). Dopo aver localizzato e contestualizzato le fonti manoscritte e i materiali d’uso, ho ricostruito le ri-orchestrazioni effettuate da Stravinskij della Danse russe (Coda del Pas de deux n. 28) e del Presto del Finale (n. 30), che erano a tutt’oggi inedite. La ricerca sulla Sleeping Princess si è rivelata fondamentale per la conseguente analisi del Baiser de la Fée (1928, Ballets de Mme Ida Rubinstein), balletto basato su pezzi pianistici e romanze per voce e pianoforte di Čajkovskij. Grazie allo studio dello Skizzenbuch VIII, della partitura pianistica manoscritta e di tutte le fonti rinvenute, ho gettato ulteriore luce sul processo compositivo di Stravinskij sulle fonti čajkovskiane. Ho rinvenuto nuove appropriazioni che finora non erano note.

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Tis the season of the National Basketball Association finals and the beginning of the Professional Women's Basketball Association. The skills of collaboration and teamwork required to achieve the ballet of basketball is learned by players over a number of years. On school grounds everywhere, children are learning the techniques and skills necessary to play the game of basketball. Recently, I saw a coach on the sidelines screaming at a young player to make her free-throws, and if she missed, she would have to run laps. This reminded me of traditional services to families which threaten, or at best demand a certain level of performance of parents without providing any true "coaching". I often watch our college coach work from a strengths perspective with the team on minute techniques such as the match-up defense and in-bounds plays. This is the approach that family preservation must employ with families, programs, and their communities.

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The development of expertise for two groups of rhythmic gymnasts was studied where a group of elite (Olympic) gymnasts was compared to a group of sub‐elite (International) gymnasts. Structured interviews were used to collect retrospective information about the gymnasts’ health, training resources, level and ranking, and hours spent in training activities. The gymnasts rated practice activities during the last period of their development (age 16 and older) with respect to their perceived physical effort, mental concentration, and fun. The Olympic gymnasts were involved in significantly fewer activities and sports throughout their development compared to the International gymnasts. All gymnasts reported engaging in five practice activities of warm‐up, ballet, technique training, routines, and conditioning in their rhythmic gymnastics training. Olympic gymnasts allocated substantially more time to the practice activities of ballet, technique, routines, and conditioning, compared to the International gymnasts. Olympic gymnasts also rated their health as lower than the International gymnasts. All gymnasts reported that the practice activities of technique and routine training required more physical effort and mental concentration than warm‐up, ballet, and conditioning. The Olympic gymnasts reported experiencing less fun in their participation overall. The findings of this study provide a comprehensive description of early activity involvement, training activities, training resources, and health and injury ratings of expert level rhythmic gymnasts and help to further the understanding of how to assess sport expertise development

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I. En bateau.--II. Cortège.--III. Menuet.--IV. Ballet.

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Cover title.

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Author's pseud., V. Svi︠e︡tlov, at head of title.

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Imprint varies.

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Vol. 11 is Neue Folge, 1904.

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From the ballet "El amor brujo."

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Antep.

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Mode of access: Internet.