This thesis, comprised of a stage play and exegesis, asks whether the Mike Leigh Method, commonly used by Auteur directors could be adapted to benefit a playwright during the redrafting and development process. I seek to answer this question by examining differing methodologies of drama creation and charting my process as I work to redraft my character driven stage play Deceased Estate through the adaptation and application of the Mike Leigh Method. I contend that Leigh’s method affords a set of honed and proven guidelines that can help the playwright get to the heart of the character driven drama and offer an adapted method template that can be used and furthered by other Playwrights wishing to develop their work in this manner.

3D Motion capture is a medium that plots motion, typically human motion, converting it into a form that can be represented digitally. It is a fast evolving field and recent inertial technology may provide new artistic possibilities for its use in live performance. Although not often used in this context, motion capture has a combination of attributes that can provide unique forms of collaboration with performance arts. The inertial motion capture suit used for this study has orientation sensors placed at strategic points on the body to map body motion. Its portability, real-time performance, ease of use, and its immunity from line-of-sight problems inherent in optical systems suggest it would work well as a live performance technology. Many animation techniques can be used in real-time. This research examines a broad cross-section of these techniques using four practice-led cases to assess the suitability of inertial motion capture to live performance. Although each case explores different visual possibilities, all make use of the performativity of the medium, using either an improvisational format or interactivity among stage, audience and screen that would be difficult to emulate any other way. A real-time environment is not capable of reproducing the depth and sophistication of animation people have come to expect through media. These environments take many hours to render. In time the combination of what can be produced in real-time and the tools available in a 3D environment will no doubt create their own tree of aesthetic directions in live performance. The case study looks at the potential of interactivity that this technology offers.

Thesis (MA (Hons.)) -- University of Western Sydney, 2003. / "Exegesis in partial fulfilment of the requirements for Master of Arts (Honours)" Bibliography : leaves 54-57.

Thesis (M.M.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 67-70).

Thesis (M. Mus.)--University of Canterbury, 2008. / Typescript (photocopy). Includes bibliographical references (leaves 75-83). Also available via the World Wide Web.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 163-172). Also available in electronic format on the Internet.

Thesis (M.F.A.)--University of Central Florida, 2010. / Adviser: Julia Listengarten. Includes bibliographical references (p. 119-121).

Thesis (MChor)--University of Melbourne, Faculty of the Victorian College of the Arts and Music, 2010. / Typescript. Includes bibliographical references (leaves 65-69)

Submitted by Ronildo Prado (ronisp@ufscar.br) on 2017-08-21T20:14:17Z No. of bitstreams: 1 DissRDZ.pdf: 3221448 bytes, checksum: 1133eaf2dd24e632678370948993e7d0 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-21T20:14:27Z (GMT) No. of bitstreams: 1 DissRDZ.pdf: 3221448 bytes, checksum: 1133eaf2dd24e632678370948993e7d0 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-21T20:14:32Z (GMT) No. of bitstreams: 1 DissRDZ.pdf: 3221448 bytes, checksum: 1133eaf2dd24e632678370948993e7d0 (MD5) / Made available in DSpace on 2017-08-21T20:14:41Z (GMT). No. of bitstreams: 1 DissRDZ.pdf: 3221448 bytes, checksum: 1133eaf2dd24e632678370948993e7d0 (MD5) Previous issue date: 2017-02-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / The objective of this research was to develop a piece of software for digital image projection aimed at the practice of non - idiomatic improvisation. Through the development of this digital apparatus we propose that this kind of musical practice can be mediated by images generated instantaneously by a computer. Starting from this hypothesis, we developed the software called "Improvise", whose purpose is to generate dynamical images that allow sensory stimulation for musicians during the process of non-idiomatic improvisation. The software generates videos without sound tracks that may have their visual characteristics modified in real time. Therefore, the research explored the possibility of working with digital images, as well as with a wide range of computational processing capable of generating dynamic landscapes, pointing to new ways of relating the sonic and visual universes in context of musical practice. / O objetivo desta pesquisa foi desenvolver um software de projeção de imagens digitais voltado para a prática da improvisação musical não idiomática. Através do desenvolvimento desse aparato digital, propomos que essa prática musical possa ser mediada por imagens geradas instantaneamente por um computador. Partindo dessa hipótese, foi desenvolvido durante esta pesquisa o software chamado “Improvise”, cuja função é projetar imagens dinâmicas que atuem na estimulação sensorial de músicos no processo da improvisação musical não idiomática. O software gera vídeos sem faixas sonoras que podem ter suas características visuais modificadas em tempo real. A pesquisa explorou, portanto, a possibilidade de trabalho com imagens digitais, assim como de uma ampla gama de processamentos computacionais capazes de gerar paisagens dinâmicas, apontando para novas formas de relacionar o universo sonoro e visual em contexto de prática musical.

Följande studie handlar om Torsten Nilssons verk Crucifigatur, ett avantgardistiskt musikstycke för orgel komponerat 1968. Det ingår i en svit om sju stycken, kallade ”improvisationer”. Här möts organisten av en varierad notbild ömsom grafiskt ömsom traditionellt noterad. I studien beskriver jag min strategi för att lära mig verket, som innefattar både teoretiska studier samt lektioner och inspelningsanalys, och reflekterar över resultatet. Det ligger i styckets natur att det blir lika många tolkningar som organister, och det finns inga sanningar exakt hur det skall utföras. Ofta finns flera tänkbara och bra lösningar. Jag har i denna studie presenterat mina tankar och förslag på hur stycket kan utformas och instuderas, grundat på efterforskningar, notanalys och samtal med min lärare Nils Larsson. Den musikhistoriska kontexten har även getts stort utrymme. För den som är nyfiken på musiken, tiden eller stycket specifikt hoppas jag denna uppsats kan ge nya perspektiv och infallsvinklar.