Suchergebnisse

Wie wissen Soziologinnen und Soziologen, was sie wissen? Trotz der Internationalisierung der Soziologie bestehen nach wie vor starke sprachräumliche Unterschiede in der soziologischen Wissensproduktion, in eingesetzten Theorien, Methoden und Fragestellungen. Der nachfolgende Beitrag erläutert die Entwicklung und Ausprägung der Unterschiedlichkeit soziologischer Wissenskulturen im Hinblick auf den Einsatz qualitativer bzw. interpretativer Ansätze seit den 1960er Jahren in Deutschland und Frankreich. Er stützt sich auf ein von uns 2012-2014 geleitetes Forschungsprojekt und dessen empirische Grundlagen: Dokumentenanalysen und Interviews. Wissenskulturen werden als die Arten und Weisen der Produktion und Legitimation von (hier: soziologischem) Wissen verstanden. Diesbezüglich lässt sich von der Erkenntnisproduktion als dem zentralen Handlungsproblem soziologischen Forschens sprechen. Während für die französischsprachige Soziologie diagnostisch von einer Lösung dieses Erkenntnisproblems durch die den Forschenden zugeschriebenen Kompetenzen und Inspirationen ausgegangen werden kann, schiebt sich im deutschsprachigen Raume eine prozedurale Legitimation durch Verfahren in den Vordergrund. Der Beitrag rekonstruiert exemplarisch die Ausgangssituation dieser Entwicklungen um die Wende zu den 1960er Jahren und bettet sie in die weitere Entfaltung der jeweiligen Soziologien ein. Er will damit zur gegenwärtigen Entwicklung einer reflexiven Soziologie beitragen. (Autorenreferat)

Military culture has occupied a central place in the constitution of constructive knowledge amongst the French intellectual elite since the beginning of the 17th century. The royal engineers , whose trade is rapidly institutionalized and developing in the 17th and 18th centuries, are important agents and vectors of this complex of practical knowledge backed by geometry, mathematics and the new physics. Despite the recent scientific advances in structural mechanics and strength of materials, it is mainly the knowledge in geometry and mathematics that are put forth in the military architecture and engineering treatises as fundamental and strategic for the engineer, be they considered as prerequisites for access to the physical sciences, as necessary tools for good design and their in-field concretization, or as a reliable training method of rational thinking. Antoine d'Alleman is " Chevalier and citizen " of the city of Carpentras, which at the time was the capital of the Comtat Venaissin. He is a specimen of this generation of architects and engineers, having studied a good number of military and scientific treatises, implementing his knowledge throughout a long career as topographer surveyor and hydraulics engineer in this papal territory, an independent state landlocked in the French kingdom. He designed and conducted in the Comtat important civil engineering works representative of those undertaken in the neighboring French provinces by the Corps of military engineers: roads, dikes, canals, aqueducts and water supply for cities, cartography. He also designed important buildings, hospitals, churches and chapels, at Carpentras and Orange. Besides his professional activity, he undertook the project of writing a treatise of architecture. The review of the mathematical parts of these manuscripts informs us of the relationship that such an engineer could establish between theory and practice: a partial mathematization of the topographer surveyor's graphical and in-field operations, yielding a reliable foundation to ...

Because the organization has been, since a long time ago, analyzed as an open system, it necessarily includes communicational problematics which transcend it. Key issues that the organization reflects refers too to issues, ever discussed in other places. For example, the development of interactive corporate sites challenges the definition of public spaces, which has already been questioned for its symbolic dimension, reduced to the level of an event democracy, for example in the case territorial communication. Interactivity proclaimed still raises the question of the exploitation of the diversity displayed by the company, the French pragmatic sociology has already critically debated the intentionality and reference to the connectionist society within the project-based-City. In some ways convincing with regard to the application of scientific tools already tested elsewhere, analogies let open, however, the question of modeling, when the environment is playing along with its own cultural characteristics, as it is in the case of business sites in Tunisia.

Augustin Marie Morvan, M.D. (1819-1897), born in Lannilis (France), chose to practice medicine in a poor rural area among his own people, even though his titles and reputation could have made him a rich man in the city. He was an early activist in favour of a public healthcare system and stood in support of the impoverished on many occasions. Having first been elected mayor of his village and member of various local assemblies under the Second Empire, he was eventually elected as a left-wing member of the French Parliament under the Third Republic. He also was an accomplished scientist in spite of practicing far from Paris and the academic community. Two diseases are named after him: Morvan's disease is thought to be a rare form of syringomyelia combining analgesic paresis and multiple paronychiae whereas Morvan's fibrillary chorea (a.k.a. Morvan's syndrome) is an autoimmune disease targeting hippocampus and the neuromuscular junction and is primarily characterized by myokymia and central nervous system manifestations. This dissertation consists of a biography of Augustin Morvan, especially focused on his scientific work and his political commitment to public health and healthcare through the nineteenth century historical and scientific context, as viewed through the eyes of a contemporary observer. ; Le docteur Augustin Marie Morvan (1819-1897) de Lannilis fit le choix de pratiquer la médecine parmi les siens dans la campagne de basse Bretagne, quand ses diplômes et sa renommée lui auraient permis d'envisager un plus confortable exercice urbain. Engagé pour le développement de la santé publique et dans la lutte contre l'indigence, Augustin Morvan fut également un homme politique : maire et conseiller général sous le Second Empire puis député républicain sous la Troisième République. Il fut enfin un scientifique accompli qui, malgré son éloignement de la capitale, publia de nombreux articles dans les revues médicales de l'époque. Deux maladies portent son nom : le panaris analgésique de Morvan ou maladie de Morvan, forme rare de syringomyélie ; la chorée fibrillaire de Morvan ou syndrome de Morvan, maladie synaptique auto-immune voisine des neuromyotonies se manifestant par des myokymies ainsi que par une atteinte du système nerveux central. Ce travail de thèse consiste en une biographie du docteur Morvan, particulièrement centrée sur ses contributions scientifiques et sur son projet politique en faveur de la santé publique, placés dans le contexte historique et scientifique de l'époque, tout en y apportant le regard d'un observateur contemporain.

Augustin Marie Morvan, M.D. (1819-1897), born in Lannilis (France), chose to practice medicine in a poor rural area among his own people, even though his titles and reputation could have made him a rich man in the city. He was an early activist in favour of a public healthcare system and stood in support of the impoverished on many occasions. Having first been elected mayor of his village and member of various local assemblies under the Second Empire, he was eventually elected as a left-wing member of the French Parliament under the Third Republic. He also was an accomplished scientist in spite of practicing far from Paris and the academic community. Two diseases are named after him: Morvan's disease is thought to be a rare form of syringomyelia combining analgesic paresis and multiple paronychiae whereas Morvan's fibrillary chorea (a.k.a. Morvan's syndrome) is an autoimmune disease targeting hippocampus and the neuromuscular junction and is primarily characterized by myokymia and central nervous system manifestations. This dissertation consists of a biography of Augustin Morvan, especially focused on his scientific work and his political commitment to public health and healthcare through the nineteenth century historical and scientific context, as viewed through the eyes of a contemporary observer. ; Le docteur Augustin Marie Morvan (1819-1897) de Lannilis fit le choix de pratiquer la médecine parmi les siens dans la campagne de basse Bretagne, quand ses diplômes et sa renommée lui auraient permis d'envisager un plus confortable exercice urbain. Engagé pour le développement de la santé publique et dans la lutte contre l'indigence, Augustin Morvan fut également un homme politique : maire et conseiller général sous le Second Empire puis député républicain sous la Troisième République. Il fut enfin un scientifique accompli qui, malgré son éloignement de la capitale, publia de nombreux articles dans les revues médicales de l'époque. Deux maladies portent son nom : le panaris analgésique de Morvan ou maladie de ...

International audience ; Walls that divide are meant to be broken down. Twenty years after the fall of the Berlin Wall, the legacy of the East-West division can still be seen in the city's architecture, economy and overall culture. This paper examines Berlin's spatial and political history from the wall's beginnings to the long-term repercussions still being felt today. ; Les murs entre les hommes sont faits pour être détruits. Celui de Berlin, qui exprimait le refus de toute liberté migratoire dans les pays communistes, n'a pas manqué pas à la règle. Mais il laisse dans l'histoire architecturale, économique, comportementale, des traces visibles et son héritage géopolitique n'a pas fini d'exercer des effets.

International audience ; Walls that divide are meant to be broken down. Twenty years after the fall of the Berlin Wall, the legacy of the East-West division can still be seen in the city's architecture, economy and overall culture. This paper examines Berlin's spatial and political history from the wall's beginnings to the long-term repercussions still being felt today. ; Les murs entre les hommes sont faits pour être détruits. Celui de Berlin, qui exprimait le refus de toute liberté migratoire dans les pays communistes, n'a pas manqué pas à la règle. Mais il laisse dans l'histoire architecturale, économique, comportementale, des traces visibles et son héritage géopolitique n'a pas fini d'exercer des effets.

Collective management of scientific research equipment, commonly referred to as 'platform management', is both an object of science policy in life sciences, a specific management area for research organisations and laboratories and a place for experimentation and cooperation with research teams and equipment developers. As Keating and Cambrosio rightly point out, (2003) the technical and political dimensions are inextricably linked to the concept of platform. The interest of public authorities and genomics research players in platforms is in line with the history and sociology of science and economics, which play a key role in the question of instrumentation in the emergence of new systems for producing scientific knowledge and the conditions for increasing the economic and social returns of research. Mr Gaudillière (Gaudillière, 2000) stressed that the increased use of instrumentation in life sciences was part of a historical shift towards new instrumental logic, making very heavy use of equipment, automation and new information technologies to generate, store, analyse and represent vast amounts of data. Joerges and Shinn (2001) stress the role played by the development of instrumental research — through the creation of a lingua franca — in integrating increasingly specialised disciplinary fields. Several authors note the effects of a growing division of research work which requires specific skills (Hackett, 2004, Mangematin and Peerbaye, 2005, Arora and Gambardella, 1994) and the importance of the geographical location of such equipment, on the one hand, in order to exploit distributed and difficult to transportable research capacities, on the other, in order to generate dynamic innovation and cooperation between scientific teams. It should also be noted that genomics instrumentation is not consistent with traditional concepts inherited from physical sciences: these are less unique infrastructures built on strategically chosen sites than small instrument networks dispersed around certain local specialisation ...

In der soziologischen Ungleichheits- und Mobilitätsforschung hat das Klassenschema von Erikson, Goldthorpe und Portocarero (vgl. Erikson/Goldthorpe 1992) einen wichtigen Stellenwert. Die empirische Umsetzung erfolgt auf der Basis erwerbsstatistischer Angaben, die im Rahmen repräsentativer Umfragen in den meisten Gesellschaften regelmäßig abgefragt werden. Die komparative Ungleichheitsforschung, die auf die Entwicklung eines vergleichbaren Instrumentes zur Messung der sozialen Lage von Individuen, Familien oder Haushalten angewiesen ist, ist dabei mit einem spezifischen Problem konfrontiert: Die Datenquellen verschiedener Gesellschaften unterscheiden sich teilweise erheblich dann, wie erwerbsstatistische Informationen erhoben und kategorisiert werden. Auch im Zeitverlauf unterliegen die nationalen Erhebungen diesbezüglich einem Wandel. Dieser Beitrag schlägt eine an Datensätze der 90er und 80er Jahre angepasste Operationalisierung des EGP-Klassenschemas vor, die sich an den ursprünglichen Überlegungen der CASMIN-Forscher orientiert. Wir konzentrieren uns auf die Länder Deutschland, Großbritannien und Frankreich. Besonderheiten der von den nationalen statistischen Ämtern verwendeten Systematiken, zugrundeliegende Klassifizierungsprinzipien und historische Veränderungen werden skizziert und im Hinblick auf ihre Probleme für die Entwicklung eines für international vergleichende Studien geeigneten Klassenschemas beleuchtet." (Autorenreferat)

Introduction I examined how one may establish directorial and choreographic proficiency in the contemporary society of American musical theatre. I did so by completing an examination of five personal observations in my craft. These observations included: (1) Directorship and choreography of Welcome to Vegas, an original jukebox musical; (2) Mentorship on Theatre UCF's Nine as Assistant Director and Co-Choreographer; (3) Research on the methodologies of various directors and choreographers; (4) Directorship and choreography of Welcome to Broadway, an original jukebox musical; and (5) Assistant to the Program Director of Broadway Theatre Project. I evaluated parallels of my directing and choreography methodologies with those of noted directors and choreographers in the entertainment industry. These industry professionals include famed choreographer Ernest O. Flatt, Ron Field, Hermes Pan, Joe Layton, and Lee Theodore, acclaimed directors Harold Clurman, Dr. Louis E. Catron, and Jon Jory, and prolific director-choreographers Patricia Birch, Donald Saddler, Bob Avian, Bob Fosse, Tommy Tune, and Michael Bennett, as well as Professor Weaver. I have worked for people who believe that experience alone is enough to make one a successful director, choreographer, or director-choreographer. My experience working with and observations of professional directors, choreographers, and director-choreographers, however, has proven that it takes more than experience alone in order to succeed. I predicted the process of establishing my own directorial and choreographic proficiency will stem from a combination of inspiration, mentorship, trial and error, and experience. Background A director coordinates and mounts theatrical productions while unifying the script, design elements, and cast to serve the world of the play. By dictionary definition, a director is, "�a person who supervises the production of a show for stage or screen with responsibility for action and rehearsals" (Webster 414). Underneath the producer, the director serves as the apex of the production. As compared to directors, choreographers fill a more visually aesthetic capacity in musical theatre. A choreographer is "�a person who designs or arranges the movement of a dance" (Webster 259). The choreographer acts in lieu of the director wherever there is music and step sequence. This is the case with exception being given to the director-choreographer. In an interview with Svetlana McLee Grody, Donald Saddler, original member of the American Ballet Theatre, expressed, ".director choreographer really give a musical a whole concept, a patina of style. Their contribution is a good 40 - 50 percent of the success of the show" (Grody and Lister 16). Experiences I will explicitly reflect on four profound career proceedings. Each will be as an effort to learn to become a better director-choreographer. These observations will chronicle an insightful phase of my learning process. Welcome to Vegas Welcome to Vegas is an original jukebox musical I authored, produced, directed, and choreographed. It was intended that the production would be a cathartic experience for the audience, allowing them to escape from the confines of everyday life by entering the humorous, loquacious, and musical world of the play. The story chronicles the triumphs and misadventures of a struggling young man in New York. When this waiter-by-day, singer-by-night becomes the opening act of a famous Vegas lounge singer, he embarks on an outrageous and witty journey across America in his Pontiac GTO. The musical's book was written while I attended my first semester at the University of Central Florida. The absurd vignette-style scenes were inspired by the sketch comedy of The Carol Burnett Show and the staging of Ernest O. Flatt. The production rehearsed four days per week for nine weeks and utilized a cast of 17 performers who ranged in age from 6 to 67. During production numbers, I drew strongly on the choreographic and visual inspiration of Bob Fosse, utilizing knocked-knees, sickled feet, 1960s movement influence, and a significant use of props, white gloves, fishnet tights, and bowler hats. I used this choreographic and visual concept to create a fervent contrast to the set and costumes, which emulated the visual aesthetics of Stan Lee's comic books. Nine With music and lyrics by Maury Yeston and a script by Arthur Kopit, Nine is a dark musical based on Federico Fellini's 8 1/2 and catalogues ".the last days of a director's once brilliant career" (Kopit 66). As the Assistant Director and Co-Choreographer, I was mentored by and worked directly under Professor Earl Weaver, Artistic Director of Theatre UCF. Upon entering my apprenticeship, I anticipated an authoritarian relationship where I would serve as a supervisory assistant, without exploiting my creative skills. To my pleasant revelation, I served as an intimate and integral component of the production's artistic process, conceptualizing choreography, staging three numbers, and giving notes, in addition to the duties of a managerial assistant. I created a choreographic vision for my work by fusing the styles of the Parisian Folies Bergere with American burlesque, Metro-Goldwyn-Mayer Golden Age movie musicals, and, of course, Bob Fosse's sensual silkiness. I did this while attempting to blend with and compliment Professor Weaver's choreographic style that resided within his world of the production. Welcome to Broadway Welcome to Broadway is an original jukebox musical I authored, produced, directed, and choreographed. My directorial style was greatly influenced by Professor Weaver, after observing his methodologies on Nine. My choreographic style strongly had been inspired by Bob Fosse and Michael Bennett. The production opened and ran for a nearly sold out engagement. My intention for the show was to encapsulate all the magic of the MGM Golden Age movie musicals into 105 minutes, featuring a cast of 25 entertainers, ranging in skill from first production to Equity veteran. My script was highly inspired by the cliche romanticism of Hollywood hits, such as Casablanca, Royal Wedding, Holiday Inn, The Public Enemy, and White Christmas. The story picks up where Welcome to Vegas left off. Michael, the formerly struggling young artist, has now made a name for himself, has inherited a production company, and is about to open his first show on Broadway when things begin to go awry. A jealous, washed-up producer has concocted an outrageous scheme to get rid of Michael on opening night. Chaos ensues behind the scenes, while the show must go on in front of the curtain. My scenic vision was to capture the auspicious spectacle of Footlight Parade, Mary Poppins, and Singing in the Rain. In post-show reflection, I realized my production displayed some similarities to Susan Stroman's succinct comedic timing and physical humor and Hal Prince's fast, moment-to-moment pace, leading me to believe that, perhaps, I had been subconsciously influenced by their works. Broadway Theatre Project Broadway Theatre Project celebrating its 26th anniversary as a summer intensive that Playbill.com refers to as ".the world's most prestigious musical theatre arts education program for high school and college students" (Broadway Theatre Project web). Entering my third year with the project, I serve as the Assistant to the Program Director and Director of Public Relations. My contribution is both administrative and creative, as I work directly under Program Director/Music Director David Sabella-Mills, Co-Artistic Director Darren Gibson, and President/Co-Artistic Director Debra McWaters. Gibson has established himself as a performer and dance captain working with Broadway veteran Ann Reinking on the national and European tours of Fosse. In addition, he has staged ballets for the Richmond Ballet, the Boston Ballet, and the American Ballet Theatre. He is currently Education Director for TexARTS. Gibson is an excellent mentor because he has a wealth of knowledge he is willing to share with me. For instance, he has taught me that in order to be an outstanding choreographer, one must look deeper than merely studying other musicals; one must study how/by whom the choreographers of those musicals were initially inspired. By heeding his counsel, I will be able to go from modifying and/or re-teaching others' choreography to establishing my own choreography. McWaters has had an enviable career directing and choreographing on stages around the world, including Broadway. For 15 years, she served as Assistant then Associate Choreographer for Reinking on Chicago, Fosse, and The Visit. She is an excellent mentor for me because not only is she a disciple of Fosse's, but she has afforded me the opportunity to serve as her Assistant to the Choreographer for three numbers, including staging the original choreography to "Yellow Shoes." This will allow me to analyze and understand the inner workings of a true artistic genius who is seasoned in the craft I wish to pursue. Industry Professionals Additionally, I will research the styles, methodologies, and philosophies of numerous established industry professionals, including: Ernest O. Flatt Ernest O. Flatt was "a dancer, choreographer and director who won four Emmy Awards for his work in television" (Obituary: Ernest O. Flatt). He made his silver-screen debut as a dancer in Dancing in the Dark and his television debut as choreographer in Your Hit Parade. He danced with Gene Kelly in Singin' in the Rain, choreographed the movie Anything Goes, and his dancers were fixtures on The Judy Garland Show, The Entertainers, and The Steve Lawrence Show. Flatt's most lasting television work was for The Carol Burnett Show, on which he served as the choreographer for eleven years (Grody and Lister 24). Despite the fact that Flatt is primarily recognized as a television choreographer, I am compelled to study his work because I admire his style. Although it is reminiscent of years gone by, particularly with partnering, his work is still entertaining and holds value for contemporary theatre as classic musicals are being revived. Studying his work in-depth will serve to enhance my style by showing me how to vary my choreography so the dance numbers do not all look similar. In addition, Flatt believed that allowing the ensemble or solo performer to contribute too much was stifling to his creativity (Grody and Lister 32). On previous productions, I have fallen into this pitfall. Further study of his work will enable me to subscribe to his focus and not be so influenced by what dancers are comfortable doing, as opposed to what they can do in order to expand their personal growth and my growth as a choreographer. Harold Clurman One of the three founders of New York City's Group Theatre, Harold Clurman directed more than 40 productions and was nominated for several Tony Awards. In addition, he was a widely-feared theatre critic for over 30 years; he helped to shape American theatre by writing about it. I will specifically study On Directing, one of Clurman's seven published works on the art of directing. Elia Kazan, who is commonly referred to as one of the most honored and influential directors in Broadway and Hollywood history, has called this particular book "the most influential book on direction ever written" (Clurman Preface). I would be compelled to study Clurman based on Kazan's recommendation alone; however, I am even more motivated to do so because I am discovering that I closely practice his stated philosophy on directing, "Direction is a job, a craft, a profession, and at best, an art. The director must be an organizer, a teacher, a politician, a psychic detective, a lay analyst, a technician, a creative being�All of which means he must be a "great lover" of the art" (Clurman 14). By examining the work of a man who is credited with helping to shape American theatre and whose philosophy so closely matches mine, I desire to formally establish my methodology as a director. Jon Jory Jon Jory learned to act first-hand from his parents, who were successful Hollywood actors of the 1940's and 50's, earning his Actors' Equity card as a young child. He grew to prominence as a director in the early 60's and, since then, he has mounted over 1,300 professional productions. I will specifically study Jory's Tips: Ideas for Directors. Jory says that he worked "making the same mistakes for years that a tip or two by a peer or veteran could have shortcutted" (xiii). His goal with this book is to help directors improve their craft more quickly by passing along the tips he has learned over the years. I am compelled to study Jory because of his willingness to share his tips on what has made him a successful director for approximately one-half of a century spanning nine countries. In addition, he headed the Actor's Theatre of Louisville, Kentucky, for more than 31 years, which he helped to build into one of America's most respected regional theatre companies, earning him a special Tony Award for Achievement in Regional Theatre (Jory xv). Since one of my professional goals is to become an Artistic Director at a regional theatre, Jory is a perfect selection for my research. Bob Fosse Deeply inspired by Fred Astaire and coping with his own psychological and physical abnormalities, Bob Fosse created the most unique and stylized iconic movements and vocabularies in musical theatre history. His most lasting works included Chicago, Damn Yankees, Cabaret, Sweet Charity, and Pippin. Fosse is an eight-time Tony Award-winning consummate artist. Ben Vereen says, "To have worked with Bob Fosse is to have had your hand directly on the pulse of life. To have applied this world-recognizable style into your repertory is to truly know how to dance forever" (McWaters Foreward). I have had the good fortune of learning his distinct techniques from some of his disciples while studying at Broadway Theatre Project. I am compelled to study Fosse because he was a renowned producer, director, choreographer, playwright, screenwriter, dancer, and actor--all of which are aspirations of mine. According to Vereen, Fosse was often called "demanding," "strenuous," and a "task master," yet he was highly respected by his dancers (McWaters Foreword). Fosse's ability to earn respect while demanding perfection is a quality I hope to learn and emulate with further study of his work. Tommy Tune Tommy Tune, nicknamed Broadway's tallest tapper, is considered one of Broadway's most accomplished director-choreographers. He is a 10-time Tony Award winner. "Tommy is the first person in theatrical history to have won a Tony Award in four different categories: Best Featured Actor, Choreography, Best Actor, and Direction" (Grody and Lister 142). At the June, 2015 Tony Awards ceremony, he received a Lifetime Achievement Honor. I am compelled to study Tune's methodology because he is considered a living legend; he has been a big time showman for over 50 years. In addition, I am compelled to study Tune's philosophy because he speaks to me with respect to security as an artist. Tune says, "There is no such thing as security. You must always be willing to expect the unexpected because the journey is never what you expect it to be. So be prepared to be surprised" (Grody and Lister 149). I must learn to trust this philosophy as I face not only the uncertainty of life beyond graduation from the University of Central Florida, but also as I face each door that opens in my future. Michael Bennett Michael Bennett's fascination with West Side Story was the impetus for Bennett to become a director-choreographer of the standing of Jerome Robbins (Grody and Lister 114). As a director, choreographer, writer, and actor, Michael Bennett is a seven-time Tony Award winner. His choreographic works were highly athletic and engrossed in technique. He is best known for his work on Promises, Promises; Follies; Company; and A Chorus Line, and he was fortunate to have had the opportunity to be inspired by such greats as Bob Fosse, Michael Kidd, Ron Field, Lee Theodore, and Danny Daniels (Grody and Lister 114). I am compelled to study Bennett because our early backgrounds are similar: neither of us had dance lessons until we were in our teens, and neither of us could read music, although we both listened to a great deal of it. I am inspired to learn/practice Bennett's methodologies for overcoming these challenges, such as his recommendations to see every musical possible in order to see how good directors-choreographers work and to prepare for a show as far as possible ahead of time (Grody and Lister 101). In addition, I am compelled to study Bennett's technique of compensation when he could not choreograph a number as conceptualized due to the limited skill of the dancer(s) with whom he was working at the time (Grody and Lister 103). Studying and applying these methods and techniques when faced with challenges will enable me to be a better director-choreographer. Deduction It is essential for me to delve into extensive research of directorial and choreographic concepts and pedagogy because I strongly desire to learn the means by which one establishes proficiency as a Director-Choreographer artist. It will help me to answer such questions as: How does one begin to direct/choreograph a piece? How knowledgeable does one need to be with respect to music? How knowledgeable does one need to be with respect to different forms of dance? What affects one most with respect to choreographing a number? Is there value in working with assistants? Since my study will include not only my own personal experiences and observations, but also those of renowned professionals, it will enable me to formally establish my own unique style of directing and choreographing. ; 2015-12-01 ; B.A. ; Arts and Humanities, Dept. of Theatre ; Bachelors ; This record was generated from author submitted information.