L' Aula de Teatre de la Universitat de Vic (ATUV) : una aproximació a la seva trajectòria

El present treball de recerca explora i descriu alguns dels aspectes més rellevants del que ha estat la trajectòria de l’Aula de Teatre de la UVic (ATUV) al llarg dels anys. Consta de dues parts diferenciades. En la primera, presento de forma breu alguns dels elements bàsics de caràcter històric que configuren la relació del teatre amb l’educació, fent una especial referència al teatre universitari a l’estat espanyol i a Catalunya. La segona part del treball es desdobla, a la vegada, en dues perspectives. En una, dono compte de l’evolució realitzada per l’Aula de Teatre de la Universitat de Vic, des del punt de vista de la seva organització, característiques i funcionament, i produccions. S’ha fet una memòria descriptiva dels 18 anys de trajectòria de l’ATUV. La segona perspectiva aporta la visió del conjunt de persones (estudiants i exestudiants) que han passat per l’ATUV i que fan, a partir d’un qüestionari tramès prèviament, una valoració dels objectius de dinamització cultural de la Universitat que es proposa l’aula, així com dels aspectes de formació humanística que comprenen el treball de valors, d’habilitats i d’actituds com a procés de creixement personal que han viscut en la seva experiència a l’ATUV..

Methodology for studying the numerical speed of sound in finite differences schemes

The space and time discretization inherent to all FDTD schemesintroduce non-physical dispersion errors, i.e. deviations ofthe speed of sound from the theoretical value predicted bythe governing Euler differential equations. A generalmethodologyfor computing this dispersion error via straightforwardnumerical simulations of the FDTD schemes is presented.The method is shown to provide remarkable accuraciesof the order of 1/1000 in a wide variety of twodimensionalfinite difference schemes.

Silta yksilöstä yhteisöön : ryhmätyö teatterin tekemisen välineenä

This final thesis focused on experimental knowledge of working in the group. The topic was approached from the perspective of the theatre group director. The thesis itself contains two practical theatre group examples. One is a youngsters' theatre group called La Drama, directed by the author during 2004/2005. The other one is the author's own final artistic production, named Protasio - Kohtaamisia Afrikassa (Protasio - Meeting in Africa), which opened in January 2006. The group leader's role is presented as an important personal tool in theatre, and one that it is important to develop in a professional way. The director's role is to be the promoter of the process, the inspirer and a strong group leader. A person who is in this role will lead the group through the creative process using the community. The thesis identifies and advocates good practice, and ideas of how to create theatre with a group-based method. These analyses can offer useful ideas and knowledge to the beginner in the field of theatre direction.

A Review of the Revitalize Iowa's Sound Economy Program, Administered by the Department of Transportation, July 1, 1986 through June 30, 2004

Other Audit Reports - Review

Mito, tragedia y metateatro en el teatro espanol del siglo XX : ensayo sobre el cuerpo y la conciencia en el drama

RÉSUMÉMythe, tragédie et méta-théâtre sont des termes techniques provenant de disciplines comme l'anthropologie, l'histoire, la théorie et la critique littéraires. Malgré le fait que l'on puisse les assigner à des périodes historiques déterminées, ce sont des notions qui ont encore un sens à la fois actuel (elles sont indispensables pour comprendre le théâtre contemporain) et concret (à travers les différentes poétiques qui les reconfigurent, elles affectent le spectateur d'une certaine façon, ont un effet déterminé sur son corps et sa conscience). Je propose donc de les définir synthétiquement en fonction de l'effet qu'ils produisent sur le spectateur qui est conçu comme une unité de corps et de conscience. Le corps étant défini comme le lieu des émotions, la conscience sera la connaissance que le sujet acquiert de soi et du monde en fonction de ces émotions. Or, le mûthos génère des émotions que la tragédie purge à travers le phénomène de la catharsis. En revanche, le méta-théâtre interrompt le processus émotif de la conscience. Tout en appuyant mes définitions sur des notions de psychologie, neurologie et physique quantique, j'oppose tragédie et méta-théâtre de la façon suivante: la tragédie produit une forme de conscience incarnée chez le spectateur, alors que le méta-théâtre n'aboutit qu'à une forme de conscience cartésienne ou vision désincarnée. J'applique ensuite cette conception à une série de pièces importantes de l'histoire du théâtre espagnol au XXe siècle qui comportent toutes une part de réécriture d'un ou de plusieurs mythes. Je constate une généralisation du traitement méta-théâtral de la réécriture, au détriment non du tragique, mais de la tragédie proprement dite. Par conséquent, je diagnostique un déficit d'incarnation dans le théâtre espagnol au XXe siècle.

Drama i espectacle operístic : la dialèctica entre espai i temps en el Parsifal de Herheim i el ritus com a obra d’art del futur

Parsifal és, segons la manera en què es mire, l’excepció dins el llistat de drames musicals wagnerians pel tractament sense precedents que fa de motius catòlics en un lloc i un moment com la recentment unificada Alemanya, on la construcció de la identitat nacional passava per un model social i cultural concret i, per tant, també religiós. Però una òptica diferent ens pot apropar a una ingent quantitat de paral·lelismes entre el model artístic expressat per Wagner en els seus escrits teòrics de joventut i alguns dels elements estètics i ideològics de la seua darrera obra. L’espectacle operístic en l’actualitat continua sent fruit de la societat en què es gesta i per això Stefan Herheim utilitza una visió diacrònica de la recepció d’aquesta obra wagneriana com a un dels motius principals sobre els quals construirà una dramatúrgia densa i meditada en què es durà a terme fins a les seues últimes conseqüències una revisió en clau contemporània del concepte d’obra d’art del futur.

Traduir Oscar Wilde: vicissituds pràctiques i implicacions teòriques

A partir d’uns quants entrebancs en la tasca de la traducció al català de l’obra An Ideal Husband d’Oscar Wilde (anomenats 'anècdotes'), s’observen i s’analitzen determinats conceptes teòrics sobre la traducció i algunes consideracions generals sobre l’especificitat de la traducció teatral (dites 'categories'), com són els de funcionalitat, representabilitat, fluïdesa, visibilitat, equivalència, reescriptura, fidelitat, adequació, acceptabilitat o estrangerització. La consideració d’aquests valors manejats per la teoria de la traducció entra aquí en diàleg amb les vicissituds de la pràctica de la traducció dramàtica, diàleg del qual resulta una reafirmació d’alguns d’aquests valors i, per contra, l’evidència de l’escassa productivitat (almenys amb caràcter universal) d’alguns altres

Where sound position influences sound object representations: a 7-T fMRI study.

Evidence from human and non-human primate studies supports a dual-pathway model of audition, with partially segregated cortical networks for sound recognition and sound localisation, referred to as the What and Where processing streams. In normal subjects, these two networks overlap partially on the supra-temporal plane, suggesting that some early-stage auditory areas are involved in processing of either auditory feature alone or of both. Using high-resolution 7-T fMRI we have investigated the influence of positional information on sound object representations by comparing activation patterns to environmental sounds lateralised to the right or left ear. While unilaterally presented sounds induced bilateral activation, small clusters in specific non-primary auditory areas were significantly more activated by contra-laterally presented stimuli. Comparison of these data with histologically identified non-primary auditory areas suggests that the coding of sound objects within early-stage auditory areas lateral and posterior to primary auditory cortex AI is modulated by the position of the sound, while that within anterior areas is not.

Mourning becomes Electra d'Eugene O'Neill: Èsquil i Plató per a crear un drama fosc?

The fundamental debt of E. O'Neill's Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author's hypothesis, O'Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader's right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O'Neill's work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author's article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O'Neill's drama bearing in mind the above mentioned Platonic parameter.

Mourning becomes Electra de Eugene O'Neill: ¿Esquilo y la caverna de Platón para crear un drama oscuro?

The fundamental debt of E. O'Neill's Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author's hypothesis, O'Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader's right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O'Neill's work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author's article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O'Neill's drama bearing in mind the above mentioned Platonic parameter.

Affective state and voice : cross-cultural assessment of speaking behavior and voice sound characteristics : a normative multicenter study of 577 + 36 healthy subjects

BACKGROUND: Human speech is greatly influenced by the speakers' affective state, such as sadness, happiness, grief, guilt, fear, anger, aggression, faintheartedness, shame, sexual arousal, love, amongst others. Attentive listeners discover a lot about the affective state of their dialog partners with no great effort, and without having to talk about it explicitly during a conversation or on the phone. On the other hand, speech dysfunctions, such as slow, delayed or monotonous speech, are prominent features of affective disorders. METHODS: This project was comprised of four studies with healthy volunteers from Bristol (English: n = 117), Lausanne (French: n = 128), Zurich (German: n = 208), and Valencia (Spanish: n = 124). All samples were stratified according to gender, age, and education. The specific study design with different types of spoken text along with repeated assessments at 14-day intervals allowed us to estimate the 'natural' variation of speech parameters over time, and to analyze the sensitivity of speech parameters with respect to form and content of spoken text. Additionally, our project included a longitudinal self-assessment study with university students from Zurich (n = 18) and unemployed adults from Valencia (n = 18) in order to test the feasibility of the speech analysis method in home environments. RESULTS: The normative data showed that speaking behavior and voice sound characteristics can be quantified in a reproducible and language-independent way. The high resolution of the method was verified by a computerized assignment of speech parameter patterns to languages at a success rate of 90%, while the correct assignment to texts was 70%. In the longitudinal self-assessment study we calculated individual 'baselines' for each test person along with deviations thereof. The significance of such deviations was assessed through the normative reference data. CONCLUSIONS: Our data provided gender-, age-, and language-specific thresholds that allow one to reliably distinguish between 'natural fluctuations' and 'significant changes'. The longitudinal self-assessment study with repeated assessments at 1-day intervals over 14 days demonstrated the feasibility and efficiency of the speech analysis method in home environments, thus clearing the way to a broader range of applications in psychiatry. © 2014 S. Karger AG, Basel.

A Nondestructive Method for Determining the Thickness of Sound Concrete on Older Pavements, HR-250, 1983

The primary purpose of this project was to assess the potential of a nondestructive remote sensing system, specifically, ground penetrating subsurface interface radar, for identification and evaluation of D-cracking pavement failures. A secondary purpose was to evaluate the effectiveness of this technique for locating voids under pavements and determining the location of steel reinforcement. From the data collected and the analysis performed to date, the following conclusions can be made regarding the ground penetrating radar system used for this study: (1) steel reinforcement can be accurately located; (2) pavement thickness can be determined; (3) distressed areas in pavements can be located and broadly classified as to severity of deterioration; (4) voids under pavements can be located; and (5) higher resolution recording equipment is required to accurately determine both the thickness of sound pavement remaining over distressed areas and the depth of void areas under pavements.