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The experience of female ballet danc...

Gray, Kendra Michelle.

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The experience of female ballet dancers: A grounded theory.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The experience of female ballet dancers: A grounded theory./
作者:	Gray, Kendra Michelle.
面頁冊數:	137 p.
附註:	Director: Mark A. Kunkel.
Contained By:	Dissertation Abstracts International63-06B.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3057144
ISBN:	0493725512

The experience of female ballet dancers: A grounded theory.
Gray, Kendra Michelle.

The experience of female ballet dancers: A grounded theory. - 137 p.

Director: Mark A. Kunkel.

Thesis (Ph.D.)--Auburn University, 2002.

This study investigated the experience of female ballet dancers and a theory was developed about the origin and effects of this experience. Gordon's (1983) <italic>Off Balance</italic> contains interviews and accounts of the experience of dancers, and was used as the primary data source for the theoretical portrayal. Gordon's text is an appropriate data source in that she captures the behavioral and emotional components of ballet and their consequences in dancers' lived experience.

ISBN: 0493725512Subjects--Topical Terms:

610547
Dance.

The experience of female ballet dancers: A grounded theory.
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245 1 0 $a The experience of female ballet dancers: A grounded theory.
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500 $a Director: Mark A. Kunkel.
500 $a Source: Dissertation Abstracts International, Volume: 63-06, Section: B, page: 2992.
502 $a Thesis (Ph.D.)--Auburn University, 2002.
520 $a This study investigated the experience of female ballet dancers and a theory was developed about the origin and effects of this experience. Gordon's (1983) <italic>Off Balance</italic> contains interviews and accounts of the experience of dancers, and was used as the primary data source for the theoretical portrayal. Gordon's text is an appropriate data source in that she captures the behavioral and emotional components of ballet and their consequences in dancers' lived experience.
520 $a Established methods of grounded theory (i.e., Strauss & Corbin, 1990) were used to develop a theoretical account based on Gordon's text. The dissertation author gleaned 260 “meaning units” from the text, and through categorization of these items identified central components of dancers' experience as follows: dancers as (a) Fantasy Creatures (“Children of our imagination…”), (b) Machines (“Mere Machines…”), (c) Slaves (“Nothing short of slavery…”), (d) Children (“Emotionally trapped in an unending childhood…”), and (e) Artists (“…Artists, not people”), each feeding the core construct of dancers as A Breed Apart (“They are not ordinary people with ordinary desires, they are a breed apart”). Based on these categories a theoretical account of dancers' essential experience was developed, and some possible dynamics from which these experience derive were suggested. In the discussion of Fantasy Creature items, Freudian notions of art and culture were incorporated as they may explain dancers' apparent experiences as sacrificial lambs, or as containers for others' fantasy projections. Also noted was a sense of imprisonment in dancers' experience as machine-like, as slave-like, and feminist and social psychological perspectives of group dynamics and power structure were incorporated. Also included were psychodynamic perspectives in the interpretations of dancers as child-like, developmentally stifled, and their symbiotic relationship with ballet mothers and instructors. Finally, psychoanalytic perspectives in understanding dancers' experience of sacrifice and tenuous transcendence through their art were considered, with art interpreted as a compromise formation. The study's limitations and implications for future research are also discussed.
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