Technology has long ago been acknowledged as one of the leading components in the work of modern theatre directors. However, little attention has been paid to the specific medialities of technology into the formation of directing models and their crucial contribution to the development of the role of the theatre director. This research sets out to examine and compare the directorial work of three well-known directors (Elizabeth LeCompte, Rabert Lepage and Kalie Mitchell) relating to the use of the medialities of technology and technology's impact on the production of particular theatrical aesthetics, as well as to the developmental identity of the aforementioned three directors. It also presents a historical background of key issues surrounding the relationship between director's theatre and technology, and formulates a homogenous systematic theoretical framework by discussing major premises of this specific type of director's theatre. In an attempt to extend previous efforts to formulate directing theatre theories based on acting systems and dramaturgy, a methodological approach is adopted based on data (such as printed and audio-visual material, attendance at productions and rehearsals, as well as training in courses on media arts, directing, production and stage management, lighting and sound design, philosophy and film theory) in order to study the theatrical effects of the use of technology. This thesis argues that the directing models of fragmentary technology. totalising technology and technological hybridisation through three key techniques, namely the use of technology-based collaborators, old and new media and techno-acting, manifest the development of the role of the director within a trajectory from mediality to multi-mediality and inter-mediality. The findings suggest that an important dialogue between the three models exists and that even though the three directors have used differing theatricalities, a significant development of their roles as directors suggests the inextricable link between theatre directing and technology. The findings indicate that technology should be granted a greater recognition by theatre scholarship for the development of the role of the theatre director and that the formation of a homogenous theatre theory from the point of view of directing and technology should be examined as one of the most significant criteria for researching theatre directing today.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:590931 |
| Date | January 2013 |
| Creators | Keramida, Styliani |
| Publisher | Royal Holloway, University of London |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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