Dance-based physical theatre as a sub-strand of Physical Theatre, is positioned as a continuum of dance. Dance-based physical theatre performers are encouraged to embrace their personal uniqueness and previous dance training, when creating and expressing movement. The intended meaning embedded in dance-based physical theatre is often misunderstood or not grasped by audience members. This study incorporates emotion into a dance-based physical theatre performance to determine whether audience members are able to perceive the emotions as intended by the choreographer and portrayed by the performer. The thesis statement of this study is that both the meaning as well as the intent of a physical theatre performance can be enhanced through the incorporation and deliberate application of emotion. The investigative question of this study is: How does an audience perceive and distinguish the intended emotions in a dance-based physical theatre performance? The aim of this study is to determine whether a South African audience can perceive the intended emotions portrayed in a dance-based physical theatre performance. This study suggests that there are two primary scholarly discourses relating to how human beings perceive emotions in themselves and in others. One discourse regards emotion as humanly congruent, suggesting that humans are able to express and perceive emotions such as fear, anger, disgust, happiness, sadness and surprise, regardless of cultural and personal differences (Roether et al. 2009:1); the second discourse regards emotion as personally unique, suggesting that cultural differences, as well as personal circumstances and unique bodily and facial features play a role in how emotion is expressed and perceived (Masuda et al. 2008:378). These two discourses on emotion are considered throughout the study. It is further suggested that emotion is perceived through ‘four domains’ namely: facial expressions; body attitude and orientation; breathing patterns; as well as voice and sounds that are produced. This study draws on qualitative, quantitative and practice-based research approaches in order to answer the investigative question. Elements of accepted scholarly approaches, such as: Effector Patterns (EP) drawing on the work of Bloch (2015) and Bond (2017); Laban Movement Studies (LMS) drawing from the Effort Elements and Factors, as well as the Shape category (Wahl 2019; Bradley 2009); and Lessac Kinesensics (LK) drawing from the body NRG’s (Lessac 2019; Lessac & Kinghorn 2014) are integrated to formulate ‘three strategies’ to facilitate the embodiment of three emotions: anger, fear and disgust. These three emotions are portrayed randomly throughout the dance-based physical theatre performance choreographed specifically for this study. Combining the two opposed discourses concerning emotion turned out to be valuable. This study concludes that emotion in performance comprises both humanly congruent and personally unique aspects. A significant number of audience members perceived emotion through both a humanly congruent and a personally unique lens. The audience recognised the different emotions portrayed in the performance. The final conclusion of this study was based on the analysis of the raw data collected by the Mobile Application that was specifically designed for this study. It was deduced from the analysed data that 51% of the audience members perceived more than 50% of the emotions that were portrayed in the performance. The conclusion my thus be drawn that emotion is both humanly congruent and personally unique, and that the intent of a dance-based physical theatre performance can possibly be enhanced by embracing and applying emotion. / Dissertation (MA Drama)--University of Pretoria, 2020. / Drama / MA (Drama) / Unrestricted

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This thesis is an investigation of processes involved in the praxis of Tseil-Waututh knowledge systems, stemming from the longhouse and its value to people of Tsleil-Waututh nation in structure and to people in content and delivery. I journeyed through the process of writing a performance from a dance, the Swan Dance. It was under Len George's care and through this process that I learned to reflect and thus, revalue my body, mind and heart. I learned to love song and sound and to sense my relatives unconscious being, here in Toronto. I felt a sense of community, consciously, unprecedented in my adult life, except in one-on-one relations with siblings and my mother and in reflection. In reflection, I could not name this process, this understanding, but in spurts of words and recollections. It is in this light that the value of Tsleil-Waututh dance and its process of learning came. I turned the light onto this process and the light reflected back onto me, its birth and journey and my participation inside of it. It has inspired a writer to help stop the violence against women, by showing a purpose to, through a belief in tradition. Out emerged a people, warm and beautiful, dancing and singing and speaking. / Seabird Island Band, the Ontario Federation of Friendships Centres.

This article engages with audience perception of emotion in a physical theatre performance. Two primary, yet conflicting, scholarly discourses relating to how human beings perceive emotions in themselves and in others are discussed: Emotion as Humanly Congruent, and Emotion as Personally Unique. There are four expressive/behavioural domains through which humans perceive and observe emotion. These include: facial expressions; body attitude; breath and voice and speech. The perception of three emotions namely anger, fear and disgust are incorporated in this paper. This article discusses audience perception of the three mentioned emotions with reference to the four expressive/behavioural domains whilst highlighting the ways in which the two scholarly discourses are combined when perceiving emotion in theatre performances. Data was collected and discussed in relation to the two scholarly discourses to determine whether the audience members could perceive the three emotions portrayed in a physical theatre performance. Keywords: Physical Theatre; Emotion; Perception of Emotion; Audience Perception / Dissertation (MA (Drama))--University of Pretoria, 2020. / Drama / MA (Drama) / Unrestricted

This study aims to identify my personal choreographic approach to physical theatre-making and then to experientially expand on it by engaging with Joanne Butterworth‘s five-tier Didactic-Democratic spectrum model for choreography. Being accustomed to, and trained predominantly in, one mode of approaching choreography has become limiting. Butterworth‘s model may aid me in expanding choreographically in the context of physical theatre-making. My research is located in a qualitative paradigm. I use an auto-ethnographic, practice-as-research approach to conduct my research. To apply my practice-as-research approach, I use concrete experience, reflective observations, abstract conceptualisation and active experimentation as outlined by Kolb‘s Experiential Learning Cycle. Kolb‘s model provides an overall structure to this study, but is also the way in which I frame and read each of the three separate choreographic processes that I use in the study. The concrete experience I consider in this study is The Entertainer, a work which I choreographed in 2017. To establish a baseline for my research, I retrospectively reflect on The Entertainer to locate it on Butterworth‘s model by using units of analysis that link to the five tiers of the model. These units of analysis are the choreographer‘s role; performer‘s role; choreographer‘s input; performer‘s input; pedagogical positioning of social interaction; instruction methods; and the pedagogical positioning of performers. By using these units of analysis to consider The Entertainer, I position my initial approach to physical theatre choreography along the spectrum of Butterworth‘s model. I then use Kolb‘s abstract conceptualisation to plan how I will move beyond my initial approach to choreography as located on Butterworth‘s model. I do this by selecting tiers that lie to the extremes of my initial approach on the model. I employ Kolb‘s active experimentation, to choreograph two works, WALK and Swem, that each align with one of the extremes. I utilise the extremes since they are the furthest removed from each other and, as a result, challenge me to approach choreography in two ways that are not just completely different from each other, but also from my initial choreographic approach. Each of the three choreographic processes in this study (consisting of a choreographic approach and a resulting choreographic product) starts a new cycle of Kolb‘s Experiential Learning. I use each rehearsal period, along with panel and performer reflections, to create a thick description by means of a choreographic score based on the choreographic approach of each work. To create these three choreographic scores (the physical documentation of the rehearsal period), I also utilise other auto-ethnographic tools, such as journaling and reflective questions. Each score serves as concrete experience that I retrospectively analyse to locate the choreographic approach on Butterworth‘s model. To choreograph WALK and Swem, I utilised a rehearsal period spanning three weeks with the same three performers to calibrate reflection by asking them to complete reflection sheets based on rehearsals. Three panel members were required for expert analysis and therefore have at least a Master_s degree (with choreography as focus) and at least three years‘ experience of choreographing in physical theatre. These panel members attended two rehearsals of each choreographic work and, like the performers, completed reflection sheets in order to mediate my subjective experience of each choreographic approach for a thicker description of the choreographic instance. The panel also completed reflection sheets based on choreographic tracks (see following paragraph) observable in performance to mediate their experience of each choreographic product with my own subjective view. I identify similarities between a greater range of inputs (my own perspective, the perspective of the performers and the panel), to layer my thick description of the choreographic process as a whole. Since Butterworth‘s model is focused on choreographer-performer interaction and roles, it focuses on the choreographic approaches (rehearsals) and not on the choreographic products that result from each approach. I therefore highlight choreographic tracks that link to Laban Movement Studies. These are the treatment of the theme; general space usage; approach to the kinesphere; utilisation of shape; dynamics of movement (Effort); application of elements of choreographic craft; incorporation of soundscape; arrangement of choreographic structure; and integration of structural components/ assimilation methods. / Dissertation (MA (Drama))--University of Pretoria, 2019. / Drama / MA (Drama) / Unrestricted

This project investigates the previously unrecognised significance of the ways in which the Embodied Theatre practices of Suzanne Bing (1885-1967) and Michael Chekhov (1891-1955) utilised forms of what I term Embodied Play as a constituent part of their actor training processes. A methodology is developed in the introduction which draws on Foucault's notion of genealogy and Feminist approaches to historiography in order to trace and review accounts of these often marginalised play practices in order to re-configure the contributions of Bing and Chekhov in historical terms. It also challenges notions of authenticity and singular 'ownership' of technique by considering the importance of collaborative cross-fertilisation with other practitioners. This research includes a broader exploration of the literature, histories and discourses about the variety of practices that are often problematically classified as Physical Theatre in relation to the identification of the key components of Bing and Chekhov's pedagogy. The first chapter presents this mapping in tandem with the argument that McDermott's term of Embodied Theatre is more appropriate for Bing and Chekhov's practice. The second chapter further refines the frame of analysis to Embodied Play. Chapters three and four consider how Chekhov and Bing respectively used forms of Embodied Play. Chapter five considers how Bing and Chekhov extended their methods of Embodied Play in training which led to radical approaches to working collaboratively with text and writers. It concludes that this movement from the use of play solely for the acquisition of discrete skill or character creation to extended forms of Embodied Play enabled them to train actors to work as empowered creators of small-scale performance in their Schools/Studios, and ultimately to engage in devising processes for professional productions. Consequently, this helps to fill the gap in scholarship on the early experiments in devised Embodied Theatre. In conclusion the focus on Bing addresses the either inadequate, or absent, analyses of her practice in many of the existing historical studies which are dominated by the patrilineal narratives of Jacques Copeau and Michel Saint-Denis. The consideration of Chekhov's practice also challenges the current discourse on play centring on Le Jeu and presents the argument for an expanded term able to consider different artists not just those from the French male lineage. Concurrently, this focus on Chekhov's use of Embodied Play has added to the scholarship on his pedagogic and theatre-making practices.

This paper considers two purposes for actor training—textual interpretation and devising original works—through the teaching of a class based on contemporary theatrical clown and physical theatre exercises which are then applied to Samuel Beckett’s Waiting for Godot. Devised work can be used to interpret a script, and a script can be used as a jumping-off point to devise new works. Beginning with an explanation of the teaching methods for the class, the paper then gives a background of clowns who performed in Beckett’s plays, and analyzes various productions' use of games to enliven text. Exercises from the class are used as examples of exploring the uncovering of clown personas and the application of games to both Beckett scene-work and invented theatre pieces. The students’ final performances are examined to demonstrate the effectiveness of the classwork, confirming that textual interpretation and devising are complementary instead of opposing practices.

It is the purpose of this thesis to explore the different principles of mask performance in modern theatre and the unique relationship it allows the actor to develop with an audience. The author uses exercises from her training experience with different mask artists such as Teatro Punto, Familie Floz, Torbjorn Alstrom, and Marcello Bartoli. These exercises document a process of training the body in preparation for the mask, how to perform with mask, and how to connect with an audience. The mask is used as a tool to discover an engagement of work that activates both body and imagination of the performer as well as the observer.

The public's perception of war is influenced by every media story they see, every account they read, and every story they hear. News telecasts and newspapers tend to lean towards a focus of the grand narratives of war such as political involvement and overarching strategy. Media such as books and film can tell a more personal narrative of the events of war and attempt to display how war "really is" through the use of written and visual language that focuses more on how things happened as opposed to simply what happened. Theatre provides a unique perspective on war as the audience and performers are in a shared space with performed events of war that are live and embodied by individual performers. Theatre's unique attributes focus the audience towards a perception of the individual and his/her experience in war through the embodiment that is happening right in front of the audience. Physically based theatre narrows that existing theatrical focus to the body specifically in a way that makes the individual physical experience of the soldier the primary narrative. The politics and strategies of war will always be a secondary focus to the human body in the theatrical context. In this thesis, I examine two productions that come out of the United Kingdom in 2007: The National Theatre of England's War Horse and The National Theatre of Scotland's Black Watch. Through a close reading of these two productions I demonstrate physical-theatre's ability to highlight the human experience and importance in war as it focuses on the individual body and its relationships with other individuals. As these works are accessed through an examination of the visual and stylized language of physical theatre, the creation and recollection of memory in war stories, and the significance of gender in war, the humanizing representations imbedded in physical-theatre become evident. This thesis comes as the United States and the United Kingdom are involved in conflicts across the globe; some in continuation of the same conflicts that existed at the time these two productions were produced. Soldiers have continued to face astonishing hardships in these endeavors. By highlighting the individual experience and human involvement in war, theatre going public perception can be drawn towards an awareness of the individuals who go to war and away from alienating images of and idealized soldier figures fighting for an overarching political cause.

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