acase@tulane.edu / This thesis focuses on the process and collaborative methodology of design-led, devised theatre to achieve an innovative, visually arresting theatrical show. A devised theatrical production is a non-traditional form in which the performative material is generated in collaboration with the cast, director and designers, without a pre-existing script. This theatrical work entitled Clytemnestra, is based on the Ancient Greek classical plays The Oresteia by Aeschylus. I strove to investigate design-based strategies for devising performance, capturing and exploring the emotional experience of the characters and world. These included Clytemnestra’s experience of loss, longing, love and madness. The aim of this project was to explore the process where costume, puppetry, lighting and scenic design elements initiate the devised process and to investigate the intersectionality of these mediums. The thesis has taken the form of a two-year writing and design process, a twelve-week design build, a six-week rehearsal process, and culminated in a theatrical production that visually and performatively showcased this process in April 2018. / 1 / Hannah Lax

This study of Primus Theatre is evidence of many things. First and foremost it is a long overdue print recognition of Primus Theatre's substantial artistic accomplishments and its important contribution to the development of theatre-making in English-speaking Canada. In examining the various factors contributing to the founding of the theatre company and the extremely challenging conditions in which company members functioned over the years, it remains truly remarkable that Primus Theatre existed at all. Three central determinations emerge from the examination of Primus Theatre's practice. The theatre company truly was a pioneering venture in English Canada. Company members established an "as-if-permanent" ensemble that engaged in the creation of original performance work drawn from research that emerged from their regular training practice. The company adopted a theatre-making practice generated by the Odin Theatre in Denmark and then adapted it to vastly different cultural and fiscal contexts. It can also be determined that the origins of the company are inextricably bound to Artistic Director Richard Fowler's personal artistic journey. His strong sense of the creative and communal potential for theatre not only fuelled his own creative journey but also inspired National Theatre School students to launch their own acts of courage. The third determination arising from this study is that, while all aspects of Primus Theatre's creative practice can be linked to that of the Odin Theatre, this relationship can most accurately be described as an imprinting, rather than as an extension, of Odin Theatre practices. The conscious and unconscious permutation and advancement of the practice, driven by the technical and creative needs and interests of the young Canadian company and deeply affected by substantial financial hardships and creative set-backs, forced Primus to emerge as a unique theatrical entity developing from a particular and identifiable geneology. This study of the establishment of Primus Theatre also provides evidence that the substantial hardships faced by company members did not dissuade them from advancing their practice of continued exploration of form and expression. The study provides evidence not only of Primus Theatre's substantial body of creative work but also of its substantial pedagogical efforts. Subsequently, a new generation of theatre artists has been inspired by and trained in this alternative theatre-making model, and are making their own contributions to the continued redefinition of theatre in English Canada.

This study of Primus Theatre is evidence of many things. First and foremost it is a long overdue print recognition of Primus Theatre's substantial artistic accomplishments and its important contribution to the development of theatre-making in English-speaking Canada. In examining the various factors contributing to the founding of the theatre company and the extremely challenging conditions in which company members functioned over the years, it remains truly remarkable that Primus Theatre existed at all. Three central determinations emerge from the examination of Primus Theatre's practice. The theatre company truly was a pioneering venture in English Canada. Company members established an "as-if-permanent" ensemble that engaged in the creation of original performance work drawn from research that emerged from their regular training practice. The company adopted a theatre-making practice generated by the Odin Theatre in Denmark and then adapted it to vastly different cultural and fiscal contexts. It can also be determined that the origins of the company are inextricably bound to Artistic Director Richard Fowler's personal artistic journey. His strong sense of the creative and communal potential for theatre not only fuelled his own creative journey but also inspired National Theatre School students to launch their own acts of courage. The third determination arising from this study is that, while all aspects of Primus Theatre's creative practice can be linked to that of the Odin Theatre, this relationship can most accurately be described as an imprinting, rather than as an extension, of Odin Theatre practices. The conscious and unconscious permutation and advancement of the practice, driven by the technical and creative needs and interests of the young Canadian company and deeply affected by substantial financial hardships and creative set-backs, forced Primus to emerge as a unique theatrical entity developing from a particular and identifiable geneology. This study of the establishment of Primus Theatre also provides evidence that the substantial hardships faced by company members did not dissuade them from advancing their practice of continued exploration of form and expression. The study provides evidence not only of Primus Theatre's substantial body of creative work but also of its substantial pedagogical efforts. Subsequently, a new generation of theatre artists has been inspired by and trained in this alternative theatre-making model, and are making their own contributions to the continued redefinition of theatre in English Canada.

THE DOUBTFUL HERO: AN ARTIST’S JOURNEY By Heather N. Falks, MFA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre at Virginia Commonwealth University Virginia Commonwealth University, 2015 Director: Noreen Barnes Graduate Studies Director, Department of Theatre This thesis documents my role as director of Time Tells, an ensemble based, multi-media, devised theatre piece. I address my specific responsibilities when leading an ensemble to create new work and produce it for the public. I identify the problems the ensemble faced and account how I mediated when dealing with conflict. Additionally, I include important professional influences such as, director and author, Anne Bogart and her nine Viewpoints; and the work of director and activist, Augusto Boal and the Theatre of the Oppressed. I explain how exercises from Viewpoints and Theatre of the Oppressed aided my approach to team building and helped the ensemble establish a common language for communication. A shared vocabulary and sense of community allowed the ensemble to freely explore character and relationships, which led to formation of the Time Tells story.

Two works, Static and The Fictional Life of Historical Oddities represent the dichotomy and symbiosis of two different models of playwriting I have pursued while at the University of Texas. This thesis reflects back on the processes that lead to these plays through periods of generation, revision and refinement. I've sought to find not only distinctions but areas of overlap. / text

This paper describes my learning journey as I began to flesh out my system of devising and the resultant aesthetic. The research subject was the production of a new movement play titled Medea Myth. This one act play is a totally devised piece without any text. Unlike some devised work, this play is meant to tell a clear story and was focused on cross-disciplinary collaboration. In investigating the work, I have broken it up into three distinct phases: Inception, beginning at the inciting incident and ending with the first clear storyline; Development, picking up that storyline and developing it to a sequence of full scenes; Production, where the scene sequence is finalized and the show is polished. Concluding each chapter is a section on the learning outcomes of each phase and how I will adjust my methodology in the future. I chose to write this paper in the style of a guide to producing similar work using my experiences with Medea Myth as an object lesson.

This dissertation seeks to address the pivotal ecological and technological realities of the twenty-first century, currently giving rise to new patterns of existence and new paradigms of human inquiry. This study will ask how technological innovation and environmental urgency have altered the ways in which human beings think, and thus perceive the world around them, changing human behavior, or non-behavior, and calling forth new imperatives for the arts, and namely for the Theatre. Most significantly, the dissertation attempts to traverse the shadow-lands, between our ecologies and our technologies, exploring those essential points of convergence in the borderlands where Eco-Theatre and New Media must find a precious balance. As digital media and new technologies continue to transcend previously conceived barriers, so do new opportunities present themselves. New forms emerge, bridging cultures, facilitating connections of thought beyond national geographic boundaries. Rising to the challenge, seeking a global, even playing ground in a liminal age of shifting, invisible borders, this dissertation addresses the current need for re-envisioning of our positionality as artists, and as citizens of the world. In conclusion, the dissertation points toward a methodology of interdisciplinary creative collaboration, of global community-based social practice art, of theatre ecology, and of active new media strategies to address the needs of this decisive age.

No description available.

Made available in DSpace on 2016-12-08T16:51:58Z (GMT). No. of bitstreams: 1 pris.pdf: 4311980 bytes, checksum: bafee12551265a1d4a5a87d194fe83cf (MD5) Previous issue date: 2012-09-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Considerando a lacuna de textos teatrais escritos por mulheres e/ ou que contemplem assuntos relacionados ao universo feminino, o grupo de pesquisa (Em) Companhia de Mulheres, da UDESC/ Florianópolis, formado para a execução desta pesquisa, propôs-se a criar seu próprio texto e espetáculo dentro do método devised theatre. A partir das sete demandas estabelecidas pelo women¿s liberation movement, nos anos 1970, o grupo desenvolveu uma temática voltada às causas feministas, optando pela questão da legitimação da relação homo afetiva perante a lei e sua aceitação pela família e sociedade. Esta dissertação descreve como o grupo atingiu seus objetivos, desde a sua formação, passando pelas formas de organização até as estratégias de criação, que culminaram na criação do texto e espetáculo Jardim de Joana. Para refletir sobre este processo, a prática do grupo é colocada em diálogo com os procedimentos utilizados pela prática teatral feminista bem como com os conceitos que permeiam a teoria teatral feminista

No description available.