The relationship between performer and spectator is a constant topic in theatre since audiences are essential to any performance. Some contemporary performances strive to blur the line between the two by allowing audiences to participate during the show. Often, audience participation is despised and therefore avoided by spectators and theatre practitioners. However, Blue Man Group thrives on it due to their authentic character, adaptable narrative, and accessible space. Through my examination of the show as an audience member, I theorize that these three elements control the audience's willingness to participate in the production and in turn make the entire experience more rewarding and memorable as performer and spectator share roles in order to create this performance. Chris Wink, Matt Goldman, and Phil Stanton co-founded Blue Man Group in 1987, and received their first official venue in 1991. Blue Man Group is a ninety-minute variety show that utilizes rock music, theatrical vignettes, and experiments with science, art, and modern technology to explore the ways in which humans express and communicate. This unprecedented show performs in multiple locations daily throughout the United States, Germany, and has also captivated audiences of all ages around the world. The most popular and recognizable element to the show is the humanoid Blue Man character. He does not speak or make large facial expressions. Instead, he mainly observes intently and follows commands, much like a spectator. His original physical attributes, honest behavior and communication, and authoritative presence through three performers grant him authenticity. His unique personality draws in an audience's interest and investment in the character and the entire production. The co-founders identify the Blue Man Group adaptable narrative as “Neo-Vaudeville”, mixing many forms of science and art together. The cast, crew, and audience take part in the show through tribal training, developing communitas as they watch and learn, call and respond, to the show's commands. The pieces that contain audience participation utilize various types of invitation, coaxing audiences into participation in effective ways. Through an exploration of visual and aural perception, spatial fluidity, and technology, Blue Man Group's use of space connects its audiences to the performance and helps them consider more deeply their connections with others. Thus people often participate during the show and enjoy doing so. This level of investment and excitement is necessary for successful audience participation. Thus Blue Man Group is a blue print for how live theatre can form a powerful relationship with audiences.

The work of my MFA thesis exhibition comes directly out of the physical processes that constitute my studio practice. It is work that embodies the labour of my hands and the decisions that guided them in their struggle with unfamiliar materials. Drawing inspiration from subjects as diverse as physics and fiction to create a sculptural arrangement, the work is intended to engage with its audience in an active way through acoustic appropriation and physical presence. As an artist, I set up an environment to be explored, establishing boundaries and also possibilities.

The work of my MFA thesis exhibition comes directly out of the physical processes that constitute my studio practice. It is work that embodies the labour of my hands and the decisions that guided them in their struggle with unfamiliar materials. Drawing inspiration from subjects as diverse as physics and fiction to create a sculptural arrangement, the work is intended to engage with its audience in an active way through acoustic appropriation and physical presence. As an artist, I set up an environment to be explored, establishing boundaries and also possibilities.

No description available.

This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.

No description available.

No description available.

The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces. The study provides a historical context and development of new trends in public and collaborative community arts, contextualises the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History)

The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces. The study provides a historical context and development of new trends in public and collaborative community arts, contextualises the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History)