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Making “Quare” Spaces: Re-membering Childhood as a Queer Practice of Indigenous African Place-makingMbatsha, Tandile 30 March 2023 (has links) (PDF)
Queers of colour are in real and constant danger as they are not seen to belong neatly to either Western queer culture (due to their blackness) or African culture (due to their queerness). This discursive violence legitimizes actual violence on black queer bodies. This research project uses performance as a tool to address black queer erasure and aims to debunk the tired claim that queerness is un-African. In my final thesis production and its accompanying explication, I engage with memory and practices of queer self-fashioning as a means of contesting oppressive, hegemonic, and heteronormative ideologies of gendered racial belonging. Memory thus serves as both a critical concept and an aesthetic impulse in my practice of queer space making. I use performances of intimate childhood memories of shame and othering to articulate how black queer subjects emerge in distinct relation and/or contra-position to the white Euro-American identity construct that dominates understanding of queer citizenship and politics. In so doing, I work towards naming and enacting a “quare” (Johnson, 2001, p. 8) politics that attends to the specificity of black queer lifeworlds. Producing a counterhegemonic queer space that is attentive to the potentially generative tensions between “queerness” and black African indigenous ontologies enables the envisioning and affirming of black African queer subjectivity in all its complexity. I use Johnson's critical reframing of ‘queer' as ‘quare' as the basis for my engagement with queerof-colour critiques of hetero- and homonormativity. Quare in this research study is deployed as part of various contemporary endeavours to locate racialised and class knowledge in identity. It is also used to articulate genderqueer and sexually non-conforming subjectivities such that ways of knowing are viewed both as “discursively mediated and as historically situated and materially conditioned” (Johnson, 2001, p. 13). The practice of self-reflexivity through performance is posited as a method for self-image fashioning in this study. Further, I show in my performance work that Johnson's (2001) construal of self-image-making and performativity have potential for restoring subjectivity and agency through the performance of self.
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Creating and inhabiting heightened theatrical landscapesMuftic, Sanjin 25 August 2023 (has links) (PDF)
This essay charts the theoretical background to my approach as a director with regards to creating and inhabiting Heightened Theatrical Landscapes. Primarily it deals with the role of the director as the actor's guide into to an extended space where the actor is the audience's envoy into the unlived human experience. It is a supporting document to my final production of The Possibilities by Howard Barker and it forms a partial fulfillment of an MA degree in Theatre & Performance as undertaken from the position of a director. The essay focuses particularly on the director's role whilst creating with the actors in rehearsals for a production. Firstly, I identify the term “Heightened Theatrical Landscape” and associate it with the works of other theatre practitioners, drawing particularly from the writings and productions of Antonin Artaud, Jerzy Grotowski and Howard Barker, and specifically inspired by the latter's Theatre of Catastrophe. I will stipulate the major characteristics of a Heightened Theatrical Landscape with respect to the requirements for the space, actor, audience, and theme. Secondly, I explain how I as the director prepare the foundation for the Heightened Theatrical Landscape, where I will place myself alongside director Peter Brook, and his theories on the director's role. In order for the actor to inhabit the Heightened Theatrical Landscape, I put forward David Rotenberg's acting system as my main director's tool for the process. After a short analysis of the actor's requirements towards inhabiting the Heightened Theatrical Landscape, I will discuss some of the main concepts of the system and give examples of its proposed application to my production of The Possibilities. My analysis will focus on why I believe this system is successful and how it shifts the role of the director into serving as a guide for the actor in placing himself in the Heightened Landscape. As my work is primarily with young actors, I will then articulate a need for methods of working with actors which address vocal and physical training in order to develop a form for the Heightened Theatrical Landscape. I firstly put forward a vocal method, as developed by Cicely Berry, to guide the actor towards the work on the text of this landscape. Consequently, I will introduce my understanding of Anne Bogart's Viewpoints as a complement to Rotenberg's system which addresses the actor's use of the body. I will clarify the principles that are shared between Viewpoints and Rotenberg's acting system before describing the application of Viewpoints within The Possibilities. Lastly, I reiterate my understanding of the combined theories of Rotenberg and Bogart, and how they form the main component of my directing toolbox which will become evident in my production of The Possibilities.
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Slamming into the visceral pleasure of language: the value of disordered spaces and its impact on contemporary vocal landscapesWoodward, Sarah Jane 23 August 2023 (has links) (PDF)
The premise of this research is that the creation of a disordered space will have a positive effect on the stimulation of a physical response to spoken language. In a disordered space, vocal delivery is foregrounded as physical activity and has a re-patterning effect on the vocal landscapes of young actors. A disordered space co-opts elements from the vocal art forms of the popular phenomenon of the Spoken Word Movement. Disordered spaces act as an intervention on the traditional notions of western theatre voice practice. Chapter 1: The term 'disordered spaces' is explored as an imaginative mental space, feeding off the energetic impulses created by anti-establishment notions of chaos and anarchy. The language based forms of the Spoken Word Movement invite new responses to stimuli that force a repatterning of vocal responses in the actor, with an emphasis on the visceral quality of speech. Chapter 2: I outline in further detail the specific vocal elements of the Spoken Word Movement that contribute to the creation of disordered spaces. The four main strands that influence this movement are Rap Music, Dub Poetry, Slam Poetry and Freestyle. Rhythmic qualities of dialect are examined as a means of re-patterning responses to text. There is an exploration of the paralinguistic elements of speech through the concept of beat-boxing. The status of the individual performer is reconsidered in terms of the ownership of material that occurs within the movement. Chapter 3: Vocal landscapes are analysed as a socio-linguistic reality that is affected by changes in dialect. The dialect of the Spoken Word Movement is classified as non-standard dialect, which is slang based. It is concluded that it is the flexibility of a young actor's vocal landscape that leads to the success of the co-option of vocal elements from the Spoken Word Movement. I propose ways of using this material as inspiration for an intervention on the traditional notions of western theatre voice.
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Staging The Illusion Director as MagicianHarders, Steven 01 January 1996 (has links)
This thesis serves as an examination of the process I underwent to arrive at answers to those questions. Chapter I examines differences between Pierre Corneille's seventeenth century L'Illusion Comique and Kushner's modern-day adaptation. Chapter II takes a closer look at textual analysis specific to Kushner's adaptation. Chapter III documents pre-rehearsal and designer collaboration. Chapter IV follows the production process from casting to performances. This chapter also includes many of the problems encountered and solutions reached. Chapter V, the summary, includes an assessment of the entire process, including; rehearsals, production, and my role as director. A summary of audience evaluations also is included in this chapter. The appendixes follow with a transcription of the audience discussion, backward analysis, floor plan, photos, and the playbill.
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The Invalid: A PlayBlumenstein, Robert 01 January 1979 (has links)
A playwright is confronted with a barrage of problems each time he attempts to write a playscript. As each problem is either solved, eliminated, or worked out on its own, the play grows closer to its life upon the stage. In writing The Invalid, I was spared not one of the many problems a playwright faces when he writes a play. am certain that I not only encountered, but solved many of the same problems that other writers encounter, in a manner not unlike their own. In fact, in this introduction, I present a few thoughts by other playwrights who have inspired much of my own work in the theatre. The problem I discovered to be central in the creation of The Invalid is that of creating character.
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Wolf: A ScreenplayCrane-Baker, Thompson 01 January 1980 (has links)
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre at Virginia Commonwealth University.
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TO CLOTHE A FOOL : A Study of the Apparel Appropriate for the European Court Fool 1300 - 1700Futcher, Virginia Lee 01 January 1979 (has links)
In order to design a costume for a period show, a costumer must unify the personality of the character in the appropriate historical style with the director's concept for the production. My study endeavors to aid the costumer in search of the historical clothes of the Medieval and Renaissance court Fool. Lack of time to do extensive research often imposes limitations on a designer's creativity. Through extensive research. into Medieval and Renaissance art, with the aid of Robert Armin's jest book, and descriptions of the household accounts of the period, I have compiled a document that will save a harried designer time and leg work.
There are several books available on the personality of the court Fool as presented in drama, and studies are available about the history of the court Fool. However, no one, to my knowledge, has collected and presented a study solely dedicated to the clothes of the court Fool. Costume book authors either ignore the Fool or present only one illustration. Many of the most interesting illustrations are in books printed in the 1800's; and, therefore, they are not available to most researchers. Als·o several of the books are written in French; and, therefore, they must be translated before the text can become valuable to most American designers. Some writers have concentrated on various special characters such. as servants or royalty; other writers have specialized in costume piece.s or special periods of clothing.
The plan followed in this study was first to carefully view the art of the Medieval and Renaissance courts. I studied paintings and etchings and searched for the court Fool in the background. Then I would sketch or xerox the Fool and isolate him from the rest of the picture. His clothing was analyzed by breaking it down into four categories: hood, bauble, coat, shoes. Note was taken of any other accessories such as swords or jewelry. The Fool's wardrobe is distinguished by several recurring traits. To be included in this study, traditional Fool's clothing must have ass's ears, bells, cockscomb, or some type of a tail. The Fool may carry one of several types of baubles or marottes. The basic garment may be either a tunic of varying length or a body suit. The shoes may be long and pointed, or they may reflect the contemporary fashion.
My second approach was to read source books containing documents pertaining to the household accounts of the period and literature providing references to the court Fools. From these. I gleaned such. information as money allotted for the Fool's clothes, descriptions of the clothing, insights into the social position of the Fool, and the function of the court Fool in the noble household.
In order to provide a study encompassing all the design possibilities, my third approach. was to scour costume books, assembling a series of costumes that prominent costume writers advocated for the court Fool. I included secondary sources because my purpose was to compile a document containing all the costume possibilities available for a designer. The secondary sources provided adaptations of the historical garments and stylized designs based on the writer's historical research.
Since there are. numerous fool characters in the plays of Shakespeare, children's· drama, and musicals like Once Upon A Mattress, my goal is to fill a void by providing a fingertip reference for a costume designer. My hope is that with the aid of the study a costume designer can quickly scan the various costume possibilities. Therefore, a designer could create designs for the court Fool of greater variety that would combine the personality of the character and the director's vision.
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MY YEAR AS A CHOREOGRAPHERHasch, Hannah R 01 May 2014 (has links)
My Year as a Choreographer analyzes the art and craft of dance choreography. My training as a theatre and dance student at East Tennessee State University from 2010-2014, culminated in my final senior capstone experience as a choreographer for two productions, the ETSU Division of Theatre and Dance’s 2014 Dance Concert and University School’s musical, Sleepy Hollow. Composing a new dance in a concert setting and choreographing for musical theatre provided significant material for analysis, and the following research compares the two processes. In addition, the research of the history and development of dance choreography and its modern practices created a better understanding of the artistic field. Both in theory and in practice, I explored the multitude of artistic responsibilities that are imperative to the process of a choreographer.
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Echoes: A Dance Composition and PerformanceVest, Jessica M 01 August 2013 (has links)
Echoes: A Dance Composition and Performance analyzes the creative process of choreographing a dance with aerial elements to convey an emotional narrative. My experiences as a theatre and dance Fine and Performing Arts Honors student at East Tennessee State University from 2013-2017, culminated with my final senior capstone project as director, choreographer, and performer of The Echoing Effect, performed February 9, 2017 at the Bud Frank Theatre. The following research of the history and development of aerial dance as an art-form created a better appreciation of the artistic field and informed how I approached the daunting task of composing expressive dance that seamlessly connected movement from the ground to the air on an aerial apparatus. Through research and practical application, I explored the world of the aerial dance choreographer, and this thesis serves as a record of my journey.
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An exploration in theatre designMead-Finizio, Margaret Ann 01 May 2014 (has links)
An exploration of Theatre Design with a focus on lighting designs created at the University of Iowa in the Theatre Arts Department.
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