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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 3 of 3 (0.046 seconds)Spelling suggestions: "subject:"iim moriarty"" "subject:"iim moriartys""
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Healing maori through song and dance? Three case studies of recent New Zealand music theatre.Johnston, Emma Anne January 2007 (has links)
This thesis investigates the way "healing" may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the "colonised" Maori and the "colonial" non-Maori, "healing" is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera. Wagner's attempts to regenerate German culture through his music dramas can be compared to Maori renaissance idea(l)s of cultural "healing" through a "return" to Maori myths, traditions and song and dance.
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Actor Alone: Solo Performance in New ZealandParker, George January 2008 (has links)
This thesis explores solo performance in New Zealand. That solo performance has been widely used in New Zealand's relatively brief theatre history is usually ascribed to the economy, manoeuvrability and adaptability of the form - common reasons for the popularity of solo performance elsewhere as well. But this thesis considers solo performance as a kind of theatre that has been suited to New Zealand in a distinctive way. In particular, I argue that solo performance has emerged on the margins of mainstream theatre in New Zealand as a means of actively engaging with a sense of isolation that typifies the post-colonial New Zealand experience. The ability of the solo performance to move between remote rural settlements and urban centres has connected these New Zealand communities in a way that is unusual for theatre in New Zealand. Furthermore, a solo performer speaking directly to an audience about the experience of living in New Zealand allows for an intimate interaction with a traditionally stoic and laconic masculine society. In this thesis, I make a case for three solo performances where it is possible to see, in the representation of a search for what it means to be a New Zealander, a theatrical contribution to nation-building: The End of the Golden Weather (1959), Coaltown Blues (1984) and Michael James Manaia (1991). However, in a subsequent chapter, I look at solo performances in New Zealand that might better be understood within global movements such as feminism and multiculturalism. I argue that this shift has depleted the power that the form once held to comment upon New Zealand identity and to assist in the search for national identity. I conclude the thesis by considering how ongoing theatre practice may be informed by the experience of solo performance in New Zealand.
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The Rebellious Mirror,Before and after 1984:Community-based theatre in AotearoaMaunder, Paul Allan January 2010 (has links)
In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream.
With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production.
In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common.
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