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1
Wang, Wan-Jung. "Reminiscence theatre : devising and performance." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497265.
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This dissertation aims to explore the devising and performance of Reminiscence Theatre. It will focus on defining its aesthetic characteristics and its political, social and cultural significance. Two case studies-the works of Uhan Shii Theatre Group in Taiwan and Age Exchange Centre in the U. K. will be employed as demonstrated practices. The exploration is divided into three sections: the politics, poetics, and ethics of Reminiscence Theatre. The chapters on politics investigate the political implications of Reminiscence Theatre in local and global society. I will argue that Uhan Shii Theatre Group presents anti-colonial theatre performances from the perspective of post-colonialism and postcolonial feminism. Age Exchange Centre and Uhan Shii's works both act as a means of social intervention examined from the standpoint of cultural geography with the potential for reshaping social spaces with performances. Their model of cross-cultural communication challenges current theories and practices of intercultural theatre. Their performance of oral histories subverts the dominant historical narratives. The chapters on poetics demonstrate the characteristics of the poetics and aesthetics of reminiscence theatre in the production and reception process. The three main arguments are: firstly, Reminiscence Theatre transforms signs of memory into signs of art in the devising process, resonating with Deleuze's theory in Proust and Signs; secondly, Uhan Shii'sperformance reflects ancient Japanese Wabi-Sabi aesthetics highlighting the transience of time; thirdly, Reminiscence Theatre's reception process expands the cultural horizons of audience and performers based on Gadamer's hermeneutics. The chapter on ethics focuses on the argument that Reminiscence Theatre puts ethics into practice and re-examines modem ethical relations through its devising and performing process. Both ancient Chinese philosophies' emphasis on the practical and aesthetic aspect of ethics and Levinas' philosophy of ethics and the concept of nomadic ethics will be applied to support my argument
2
Fitzgerald, Keith G. "Theatre Triad: An Approach to Devising Collaborative Ensemble Theatre." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2971.
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Theatre Triad is a new approach to devising collaborative ensemble theatre starting with the three main components of Performance: Voice, Movement, and Text. These components were deconstructed and reconstructed in pairs as the basis for the devising process. The performance process begins with creating an ensemble followed by four steps: exploring the theatrical genres affiliated with the pairings of Voice and Movement, Movement and Text, Voice and Text, and completed with reintegrating all three components. Through this process many things occur, a new play is created, ensemble members focus on exploring the elements of acting and performance, and a strong foundation of acting skills is laid for young actors. Theatre Triad can also be used as a method for teaching a number of courses in Devising Theatre or Acting classes. In this paper you will learn how Theatre Triad works as both a production approach and method in actor training.
3
Whittle, James. "Music is theatre : devising musical performance." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/17202/.
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This portfolio comprises twelve pieces that blend music, theatre and movement, working predominantly with instrumentalists and solely in acoustic performance. The defining principle of the portfolio is that music is theatre: music is as much a visual as it is an aural art. The theatre of music – musical gestures, the musician’s body, and musical performance contexts – is treated as compositional material. The portfolio demonstrates a development from a compositional to a collaborative devising process practice that incorporates techniques from contemporary theatre, dance and performance art. This approach advocates the use of workshop activities focused on enabling musicians to develop movement material. In collaborations with musicians, dancers and performance artists, the role of the composer was merged with that of a director, dramaturg, performer and choreographer. Several site-specific and participatory works also concern the role of the audience.
4
Lennon, Mary C. "DEVISING EMPATHY: WORKING WITH DEVISING, THEATRE FOR YOUNG AUDIENCES, AND THE SNOW QUEEN." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5325.
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This thesis presents a workbook for creating a course that combines researching both theatre for young audiences and devised theatre to create a touring production and company. Devised theatre is a form of theatre where the script originates from collaborative creation, improvisation, and physical movement. This course explored the past, present and future of theatre for young audiences both domestically and abroad. Students worked in a collaborative effort devising and producing a TYA piece based on Hans Christian Anderson’s The Snow Queen and studied the child audience through reading assignments and practical experience. This thesis is intended to showcase the value of teaching college undergraduate how to perform TYA productions as well as to show how devised theatre can help foster the actor’s creativity and help to reach a whole new generation.
5
Pugh, Ian Bradford Ngongotoha. "“Devoted & Disgruntled”: Improbable’s Devising, Eldership, and Open Space Technology." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366467614.
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Maedza, Pedzisai. "Theatre of Testimony: An investigation in devising Asylum." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/6848.
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The use of testimonies in performance is enjoying increased artistic and critical popularity on contemporary world stages and has a long and rich tradition on South African stages. Both internationally and locally, emerging and established playwrights working on migration and refugee issues are seeking to incorporate the testimony of asylum seekers into their work. This necessitates a need to critically reflect on the influences that shape and structure the staging of testimonies. This study argues that increased migration and the mounting number arrivals of asylum seekers on South African shores, has motivated at times violent interaction between host communities and the new arrivals. These incidents have inspired a distinct trend of testimonial performances around the concept of asylum. This dissertation uses Narrative analysis to read examples of contemporary theatre of testimony plays that examine this phenomenon. The study examines how playwright positioning informs the structuring of asylum testimonies on stage in addition to contextualising the ethical and moral complexities the playwright's positionality places on their practice. Through three case studies, the study interrogates how playwright positioning informs notions of authorship, authenticity, truth, theatricality and ethics. The study further investigates the challenges speaking for 'self' and speaking for the 'other' place on testimonial playwrights.
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Sterrett, Brandon A. "MEDEA MYTH: Devising and Producing Text-Free Theatre." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4276.
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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.
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Willcuts, Bradley. "Devising, Revising and Rehearsing in a 30 Year War." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3865.
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Abstract
DEVISING, REFINING, AND REHEARSAL IN A 30 YEAR WAR
By Bradley Harris Willcuts, M.F.A.
A thesis submitted in partial fulfillment of the requirements for the degree of Masters of
Fine Arts at Virginia Commonwealth University.
Virginia Commonwealth University, 2015
Thesis Chair: David Leong
Devising, Refining and Rehearsing in a 30 Year War is an account of the process
of developing movement and choreography for the production of Mother Courage and
her Children at Arena Stage in Washington D.C. It was my largest project during the
two years I spent at Virginia Commonwealth University studying an MFA. The title
reflects the chronological process that my mentor, director, and colleague David Leong
and I went through to produce the work that earned a Helen Hayes Nomination for
Outstanding Choreography in a Play. The show starred Kathleen Turner and was
directed by acclaimed artistic director of the Arena Stage, Molly Smith. The demands of
the work not only had serious responsibilities, but they also asked for a higher caliber of
iv
work than I had ever been a part of before. It proved to be the single most influential
theatrical experience of my career.
The movement work needed to be approached with great research and merit
due to the highly stylized nature of the project and the national acclaim for it’s opening.
This thesis documents that process and the successful outcome of the work which
David Leong and I spent over 8 months on.
9
Henry, Meghann. "DEVISING DRAMATURGY: AN INVESTIGATION INTO THE ART OF DRAMATIC COMPOSITION WHEN DEVISING THEATRE FOR YOUNG AUDIENCES." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2884.
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This thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre for Young Audience (TYA) companies: Patch Theatre Company based in Adelaide, Australia, Theatre Mala Scena based in Zagreb, Croatia, and the Coterie Theatre located in Kansas City, Missouri. In addition, I viewed productions by each the above companies which helped to uncover how the artists move theory into practice based on their personal theories on TYA, dramaturgy, and devising. Through this research I reveal how dramaturgy proves a key element in moving improvisations into performance texts, creating theatrical experiences that capture the imaginations of the very young.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
10
Glazier, Marnie Jane. "Eco-Theatre and New Media: Devising Toward Transnational Balance." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/564.
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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.
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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.
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Dey, Misri. "Devising solo performance : a practitioner's enquiry." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3289.
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This research explores the validity and value of ‘solo devising’ as a means for specifying a category of theatre-making that has been little discussed, compared to group devising, in existing literature on devising and postdramatic theatre. Primary source material was obtained through carrying out extended interviews with five experienced British theatre practitioners who have made work that could be described as solo devised performance: Tim Etchells, Bobby Baker, Mike Pearson, Nigel Charnock and Wendy Houstoun. In analysing these interviews, referred to in detail but not reproduced in full, the enquiry draws on a range of writings, including Oddey, Heddon, Harvie, Alexander and George, on devising and making performance and in particular on Melrose’s concept of practitioner-centred expert knowledge, Lehmann’s notion of the postdramatic and Sennett’s specification of expertise in craftsmanship. Chapter One considers solo practice in relation to the idea of a solo devising economy, the interviewees’ professional work and other experimental solo practices within theatre, performance, dance and art. Chapter Two explores how the interviewees create multiple performance personae, doing and undoing notions of individuality and autobiography through strategies of working ‘about’, ‘from’ and ‘beyond’ the self. Chapter Three explores solo devising processes, involving research, generation of material, composition, performance and ‘orchestration’. Chapter Four scrutinises different kinds of collaboration, including ‘audiencing’, as both enabling and productively confounding activities occurring within solo devising. Chapter five specifies some findings about solo devising: that it both involves expert, crafted, individual working, requiring orchestration of a high number of activities and skills, and, simultaneously, practices of negotiated authorship with other artists and audiences, enabling a potentially political reading of its distinctly ambiguous working. An additional finding is that close attention to what expert practitioners say about their work can yield rich information about a specific practice.
13
Watson, Ian. "Devising theatre : a critical enquiry into the performer as scenographer." Thesis, Leeds Beckett University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412855.
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Richardson, Andrew. "Acting the Absurd: Physical Theatre for Text/Text for Devising." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3744.
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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.
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Leffler, Elliot. "Devising dialogue : structuring intercultural encounters through the process of workshop theatre." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8162.
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Includes abstract.Includes bibliographical references (leaves 79-82).
This dissertation explores the efficacy of workshop theatre processes in nurturing intercultural dialogue among members of a multicultural group. It investigates two kinds of intercultural dialogue - interpersonal dialogue and intergroup dialogue - which, it is argued, are each catalysed by different theatrical processes. Theatre games and improvisations seem to nurture an interpersonal dialogue, in which cultural differences are transcended as group members recognise each other's common humanity. Theatre research, on the other hand, seems more able to nurture an intergroup dialogue, in which group members acknowledge and contextualise cultural differences. At the same time, this dissertation proposes that it is unethical and ultimately ineffective for a facilitator to deliberately nurture a purely-interpersonal dialogue or a purely-intergroup dialogue. Rather, the group members themselves should determine the nature of the dialogue in which they participate. The dissertation therefore embraces Fred Casmir' s model of third-culture building, which conceptualises the multicultural group as a 'third-culture' that ideally evolves to accomodate the needs of all of its members.
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Parsons, Rosemary Frances. "Group devised theatre a theoretical and practical examination of devising processes /." Master's thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/71211.
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Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.Bibliography: leaves 241-251.
Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.
This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.
Mode of access: World Wide Web.
251 leaves
17
Picknett, Michael David. "Devising music : applying creative approaches from dance and theatre to music composition." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17348/.
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My principal research question is: How can the directed devising techniques and principles of practice found in contemporary dance and theatre be adapted to the composition of music? The relationship between fixed material and improvisation within devised projects is often a grey area (see Etchells: 2013b). Some performances are tightly scored with little room for the performers to steer the performances - whereas other performances could be almost seen as free improvisation. The difference between improvisation and devising is always found in the performer’s relationship to the material. Devising processes can generate material whose definition is so elusive that its realisations vary wildly from night to night. But however inexpressible, devising material always has a definite meaning for the performers to which they return in every performance - seeking to generate new interactions and new connections. In every performance we search to find the ephemeral moments that might become a lasting memory. During my research, I have become increasingly interested in developing a performance practice that uses performer freedom to discover and stimulate unique experiences within performances. Although I feel I have made progress in moving towards this, I know that there is much more to explore in this practice.
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Cook, Sally. "Accessible theatre : the application of human ethology and innate neurobiological systems to full-masked devised theatre practice." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/9879.
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This thesis is concerned with the challenges of devising a full-masked theatre performance that is largely accessible to audiences of every age, social background and culture. The contribution to original knowledge is in the study's examination of the relationship between the devising processes of a full-masked performance, neurobiology, human ethology and the accessibility of audience reception (Bennett, 1994). The thesis addresses the concept of accessibility by taking a phenomenological approach to devising and audience reception, with particular focus on the role of neurobiological systems and structures, in particular the mirror neuron system, the pleasure-reward system, and pattern recognition systems, in the communication and reception of performance meaning (McConachie, 2008). The research is framed by the concept of a universal theatrical language proposed by practitioners Peter Brook and Tadeshi Suzuki, which has the potential to connect people at the deepest levels of their humanity (Pavis, 1996: 6). Practical approaches adopted in the research are informed and supported by anthropological and human ethological claims of universality (Ekman, 1975; Brown, 1991; Eibl-Eibesfeldt; 2007 [1989]; Schmitt et al. 1997). This thesis theorizes that human beings possess innate neurobiological systems that interact with culturally specific concepts, conditions and knowledge in such a way that when deployed appropriately, these innate neurobiological systems can be a platform for human cognition and for the designing of performances accessible to an audience of different ages, social backgrounds and cultures. It also proposes that innate neurobiological systems create a universal framework that makes it possible for the said broad-based audience to read and receive a performance using similar codes of cognition and aesthetic reference irrespective of age, social and cultural backgrounds. The research process led to the creation of an original full-masked theatrical performance and eighteen performances of this piece were given to different audiences in a range of venues and locations in Northamptonshire. Qualitative and quantitative data analysis of how the various audiences received the performance suggest that the devising methods employed did contribute to making the performance accessible to an audience with a broader constituency than theaters normally envision (Pitts-Walker, 1994: 9-10). This research enables practitioners for whom a wide audience and accessibility are an explicit focus to adopt devising approaches that will help to achieve the desired wide-ranging reception and accessibility in mixed audiences irrespective of race, age, gender and culture.
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Glanville, Joanna. "Hallways. Place and object between body and narrative: scenographic approaches to devising theatre." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33743.
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This explication seeks to frame a practice-led research project that explores the scenographic elements of place and object as an intermediary device between body and narrative in devising theatre. A focus of this work is scenographics as a mediating moment between traumatised body and painful narrative; using objects and place as a means of safely exploring and un/recovering memory to make theatre. The research also explores wider applications of scenographics in their formative and generative potential in devising theatre. The practical research is underpinned and located in various conceptual frameworks. Place is guided by Rachel Hann's work Beyond Scenography (2019) with a focus on place orientation, as well as terminologies of space and place introduced by Gay McAuley in various texts. Object is primarily considered through assemblage, semiotics and phenomenology with a focus on a disruption of the subject/object hierarchy as a means of facilitating a scenographic mediatory stand-in during the devising process and in the final theatre piece. The final practical output is process-orientated and focuses on devising a piece of theatre, Hallways, with other participants using place and object. This will be achieved through sets of exercises, activities and games developed throughout the research process; these will be expounded on in the paper.
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Kay, Susan. "Organising, sensemaking, devising : understanding what cultural managers do in micro-scale theatre organisations." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15971.
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The purpose of this enquiry is to challenge and add a further dimension to cultural management, through an empirical exploration of what cultural managers do in a particular domain (theatre) and scale of organisation (micro-) within the (subsidised) cultural sector, in South West England. Working from a sensemaking perspective (Weick, 1979, 1995a, 2009), it focuses attention on what these practitioners do, rather than what they could, should or do not do. It draws on literature from cultural management, theatre and performance studies and organisation and management studies to help address the following questions: • What do cultural managers do in micro-scale theatre organisations (in South West England)? • Why do they do what they do? • How do they do what they do? • In what ways might an analysis of what they do inform talk in and about cultural management? • To what other theoretical conversations might such an analysis contribute? The subjects are three cultural managers running micro-scale contemporary theatre organisations in Bristol, Plymouth and Redruth. The study adopts a qualitative, ethnographic, multi-case study approach, with data collected through non-participant observation, informal interviews and documentary sources. Analysis is inductive, deductive and abductive. The thesis concludes with a conceptual and epistemological re-framing of cultural management as cultural managing, suggesting that what the cultural managers studied do is not only vocationally dedicated to the purpose, values and work of their organisation, but is also isomorphically inflected by them in the doing. Furthermore, it offers (a) an adjusted perspective on “high reliability organising” (Weick & Sutcliffe, 2007) orientated more towards making the best than mitigating the worst; (b) a focus on organising in theatre to colleagues pursuing the relationship between management and the arts; and (c) a challenge to traditional notions of divide between theatre managing and theatre making, particularly at the micro-scale. This is an interdisciplinary study with cross-disciplinary implications.
21
Bazo, Nicholas. "Sharing the True Colors: An Exploration of Theatre Created by Gay, Lesbian, Bisexual, and Transgender Youth." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3469.
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True Colors: Out Youth Theater at The Theater Offensive is a Boston based program that focuses its theatrical and social mission on engaging Gay, Lesbian, Bisexual, and Transgendered (GLBT) at-risk, youth and the community that surrounds them. Through the process of generating an original touring production, True Colors employs theatre as a tool for personal, social, and artistic expression, empowerment, and activism. The program's balance of both process and product focused goals creates an environment of multifaceted engagement and provides an example of how art can thrive in a structure of youth outreach. Though directors and facilitators guide the process and final product, a fundamental mission of True Colors is to provide a student or youth-centered experience where inspiration, decisions, discussions, and leadership generates directly from participants. By observing and participating in the creation of one of these productions, I explore the impact of this student-centered structure on the personal perspectives and artistic growth of the GLBT participants and the artistic process of creating the production. My goal is to discover True Colors' effectiveness of achieving its mission to both create an impactful and positive process for the youth and also develop a final product that is artful and evokes social change. Additionally, by studying similar programs, I establish a basis of comparison against True Colors in order to develop a broader view of the field and evaluate the variances in methodology and the impact on youth and communities.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Brandenburg, Rachel Lynn. "Ceremonials: A Reclamation of the Witch Through Devised Ritual Theatre." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1556854180665756.
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Lyall-Watson, Katherine. "The collaborative impact : writing a play with the collaboration of actors." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16582/.
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How can a playwright share authorial control with a group of actors when creating a new play script? How does the individual playwright address matters of genre, form, style and structure to create a unifying theme, while remaining true to the dramatic intention and aesthetics of the group? What impact will the collaborators have on a playwright's work? Will they help or hinder the writing process? This exegesis closely follows the creation of a new play, The Woods, in a process where the playwright intended to facilitate a collaborative process with the actors rather than act as sole author. Issues arising in this mode of working include the real meaning of sole authorship, aesthetic integrity and creative power balance. The analysis of these issues will have relevance for theatre practitioners working in collaborative contexts.
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Lewis, Donzell. "Welcome to the Circus: Finding ways to Artistically Express the Martial Way." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2478.
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This thesis explores various artistic and ritual practices of martial arts in relation to its presentation on stage. As a martial artist and actor I believe there are complementary practices in both crafts interdisciplinary of each other. For a martial artist, the individual’s performance and execution of martial arts techniques can be enhanced through emotional availability and characterization. For the actor, the martial arts can help condition the body physically, mentally and emotionally to create a grounded presence of connectivity to the earth. However, sometimes the martial arts are viewed as a militaristic discipline and not as artistic expression. I believe that the martial arts can be both discipline and artistry. Over the past three years of my graduate studies I have explored different methods to merge these methodologies. This thesis examines a successful devised show conceived by students and myself at our martial arts studio (dojang), at Martial Arts World of Powhatan, in Powhatan Virginia. This thesis’ examination describes and evaluates the production we titled M.A. Cirque: the Evolution (Martial Arts Circus: an evolution of martial arts). The M.A. Cirque is a theatrical martial arts performance expanded out of a ten minute competition routine to become a thirty minute production performed in Las Vegas, Nevada. Secondly, an exploration for further analysis of a supplemental martial arts demonstration titled Battle at Olympus: A new martial arts super show, describes the revisit of the theatrical process that was developed when devising the M.A. Cirque.
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Jackson, Jonathan. "interACTionZ: Engaging LGBTQ+ Youth Using Theatre For Social Change." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5950.
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Theatre for social change is a term used to describe a wide range of theatre-based techniques and methods. Through implementation of performance techniques, participants are encouraged to creatively explore and communicate various ideas with the specific intention of eliciting a societal or political shift within a given community. Through this thesis, I will explore the impact of applying theatre for social change in a youth-centered environment. I will discuss my journey as creator, facilitator, and project director of interACTionZ, a queer youth theatre program in Orlando, FL formed through a partnership between Theatre UCF at the University of Central Florida and the Zebra Coalition&"174;. I will give specific focus throughout this project to Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ+) youth and straight advocates for the LGBTQ+ community.M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences
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Oliveira, Alexandra Marques Espiridião de Oliveira. "Reconceptualização das Brincas de Évora: encenação em teatro-comunidade." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/20875.
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Este trabalho consiste no Relatório do projecto de Mestrado em Teatro, Arte do Actor-
Encenador, da Escola de Artes da Universidade de Évora. Projecto este que foi
implementado entre Janeiro e Março de 2011, no seio da PIMTAI associação cultural
[Companhia Pim Teatro | Escola de Artes PIM]. Contem os pressupostos teóricos à
intervenção do artista em projectos de teatro-comunidade. Estabelece um conjunto de
boas práticas e desenha um perfil para a coordenação/mediação. Propõe um modelo de
trabalho assente na expressão pessoal, na criação colectiva e no teatro físico,
potenciador dos processos de transformação individuais e colectivos dos participantes.
Analisa os elementos estruturais das Brincas Tradicionais e, com base na
reconceptualização para a criação de espectáculos de rua em teatro-comunidade,
apresenta uma proposta de Brinca Contemporânea; Abstract:
This work consists on the Project Report Master in Theatre, Actor-Director of the
School of Arts – University of Évora. A Project, which has been implemented between
January and March 2011, hosted by PIMTAI cultural association [Pim Theatre
Company | PIM’s Arts School]. It contains theoretical assumptions for artist’s
intervention in community-theatre. Establishes a set of «good practices» and draws a
profile for the coordinator/mediator. Proposes work model rooted in personal
expression, collective creation (devising) and in Physical Theatre, enhancer of the
individual and collective transformation process. Analyzes the structural elements of the
Traditional Brincas and, based on its re-conceptualization for theatre-community street
performances, presents a Contemporaneous Brinca.
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Hunicutt, Julie. "In The Telling| Theatrical Devising Practice as Performance Pedagogy." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.
Full textAbstract:
A detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.
Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.
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Adams, Jennifer. "Writes of spring a study of communication within collective devising." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4835.
Full textAbstract:
Communication is a pivotal element in creating theatre with other artists, with audiences, and with the outside world. Theatre artists are required to collaborate at nearly every step of the process. Despite the necessity of highly developed collaboration skills, communication in the creation of theatre is an often-underdeveloped curriculum area. As a Director and Teaching Artist I am particularly interested in how to find new ways of collaborating so I may model and pass these skills to my students. Through a qualitative research survey of communication used in collaborative devising, this research analyzes environments that improve communication and allow for maximum creativity in an effort to develop critical communication pedagogy. This study examines my approach in working through a devising process as the Coordinator of a collaborative group of adults creating an original play. I examine our process and make connections as to how devising influenced my future work as a Director and Teaching Artist. By examining the theatres that make extensive use of ensemble devising as a tool for creating theatre, I gained insight into more collaborative ways of working. This research found support through examination of group communication theories and methods in which they promote collaborative spirit. Finally, critical pedagogy offered a lens through which I can impart these discoveries to young artists. I discovered ways to use the model of devising to open the possibilities for my students to take ownership over their processes and the art they create. I also gained insight into the role of facilitator in order to develop ways of modeling and teaching these communications. Communication pedagogy in the theatre allows me the tools to identify, question, and transform my experiences in creating theatre as a director and teaching artist.ID: 029809827; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 58-61).
M.F.A.
Masters
Theatre
Arts and Humanities
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Manvich, Jennifer Harley. "Hearing Margery Eyre: Devising Strategies to Overcome Central 'Auditory Processing Deficit in Rehearsal and Performance of Thomas Dekker's The Shoemaker's Holiday." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392816405.
Full text
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"But Now You Can See Me: Devising Theatre With Youth Artist-Researchers in Search of Revelations and Docutheatricality." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.24958.
Full textAbstract:
abstract: Guided by Clifford Geertz's notion of culture as symbolic stories people tell themselves about themselves, the purpose of this study is to examine how youth in an urban area of Phoenix, AZ experience collectively creating and performing original documentary theatre. I pay attention to the ways youth participants--also known as artist-researchers--construct, perform, and/or perceive their identities as they practice drama techniques including improvisation, physical theatre, and Theatre of the Oppressed for the purposes of making docutheatre for social justice. First the artist-researchers chose the topics for their play. Next, they learned and applied drama and research skills to gather and examine data sources used to construct a script that explores hiding and exposure. In the process of sharing and gathering true stories our unique docutheatre-making culture was created. This multimodal qualitative research case study draws upon the genres of arts-based research and visual ethnography as primary modes of data collection and interpretation. Narrative description and the ethnodramatic mode of representation are used in conjunction with still images and this study's companion website (www.meant2see.com) to report research findings. Primary data sources include participant observation fieldnotes, over twenty hours of recorded video footage, photographs, and the project's original script and performance of To Be What's Not Meant to See . Further data include journal entries, drawings, and social media. All data were coded using In Vivo and Process Coding methods and analyzed through a cultural studies lens. Codes were sorted into phenomenological categories representative of recurring ideas and themes. Assertions were then solidified once specific key linkages were constructed. This study's key assertions are: Key Assertion 1: Participation in devising documentary social justice theatre influences and affects the construction, perception, and/or performance of urban youth identities through profound connections made with interviewees during the interview process and through the collection of true stories that provide new information and rare opportunities for self-reflection and self-realization; Key Assertion 2: Portions of the roles urban youth play in their identity narratives are disguised or hidden--purposefully, reluctantly, and/or subconsciously--in order to appeal to friends, families, or the codes of dominant culture.Dissertation/Thesis
Ph.D. Theatre 2014
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Wang, Mei-Lun. "The devising and application of a Theatre-in-Education program for Taiwanese children." 1990. http://catalog.hathitrust.org/api/volumes/oclc/22186459.html.
Full textAbstract:
Thesis (M.A.)--University of Wisconsin--Madison, 1990.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 128-131).
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Hung, Hsiao-ho, and 洪曉荷. "Exploration on the Devising and Performance of Two Applied Theatre Projects Collaborating with Institutions." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/wje7rs.
Full textAbstract:
碩士國立臺南大學
戲劇創作與應用學系碩士班
101
Taiwan’s applied theatre is the result formed by the interaction of the attempt and the operation of different fields. Different institutions collaborate with applied theatres one after another to achieve their special goals through the way that theatre workers lead participants to conduct drama creation and aesthetic performances. This research explores the specialties and the devising characteristics of applied theatres, and it also views different models of the collaboration with institutions from the experiences of Taiwan’s local applied theatres. It analyzes two theatre projects collaborating with institutions, finding out the devising processes and models and the characteristics of performances, to explain how the collaboration brings the meaning and the value of social participation for institutions and participants. The result of this research shows that there are four stages of the devising processes of the drama creation of the applied theatre collaborating with institutions. First, the workers of applied theatres along with the institution must focus on their collaborating goals and methods, and thus launch into the devising stage with participants. Then the workers start to create the drama, but simultaneously keep communicating with the institution to refocus. After the workers finish the drama and enter the rehearsal stage, the drama would still need revising under all sorts of cicumstances. The performance running through this devising process carries the main idea which is centered on the institution’s goals. In addition, the explanation of the text develops according to the participants’ lives and styles, and directly expresses and interacts plainly while the stage elements are publicly close to daily lives. Institutions use applied theatre to be the medium of social participation, devising works become the medium’s primary method to interact and the way to empower the participants. On top of this, participants can practice social participation by devising and performance.
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Chi, Wong Weng, and 黃詠芝. "Action Research on Devising the Interactive Science-in-Theatre Performance for Macao Science Center." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/5k6m3p.
Full textAbstract:
碩士國立臺南大學
戲劇創作與應用學系碩士班
103
In the post-modern society, Museum is no long a splendid palace, but rather, being recognized as an informal education space connecting people with the society. As Museum is becoming more and more popular and of its edutainment approach, museum theatres are starting to draw attention from the museum sector, and has become one of the most important vehicles of education and communication in the recent decade. During observing and devising as a researcher, I noticed that either entertainment or education element is slowly overriding the drama form which is mere superficiality in museum theatres. Such imbalance is not unusual in science museums that are knowledge oriented. As such, museum theatre only serves as a place for transmitting information and science theory, losing its unique features and functions as a theatre. Thus, I propose that the content of museum theatre should emphasize on science history, science ethic and science knowledge, in drama form that is dramatic, interesting, and kids-oriented, using interactive drama strategy in response to the ideological trend of post-modern science and museum education. This can be more easily achieved if being used in displaying content of the theatres. This qualitative research takes place at Macao Science Center. We will make use of the theories of science education, drama education and museum education as the instruction tools of devising and designing interactive Science-in-Theatre Performance. After this, we will, through actual devising science drama, examine the role of director and playwright, the design of interactive strategy, obstacles in between and solutions, and feedback of the audience in order to improve quality of science theatre. In the end, we discovered that the “Activity, Behavior and Progression” is the most obvious outcome in Interactive Science-in-Theatre Performance, followed by “Knowledge and Understanding” and “Enjoyment, Inspiration and Creativity”, but with least outcome of “Skills”. This may be due to nature of the drama. Besides, we also understood from the visitors’ feedback that they started to think about the multi-faceted issues of science and how they are related to them. To summarize this research outcome, we conclude that the Interactive Science-in-Theatre Performance can help audiences build up a holistic science education, recover the original role of museum theatre. The most important part is to increase the willingness of visitors coming back to the museum and hook their interests in science.We expect this research can act as a reference for directors and playwrights of museum theatres or other types of themed museums.
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Janse, van Vuuren Gerhardus Petrus Benjamin. "Planning a Let's pretend game : games of make-believe : role playing games as devising theatre." Thesis, 2005. http://hdl.handle.net/10413/1860.
Full textAbstract:
This dissertation seeks to formulate guidelines for the construction of a Let's Pretend game in order for a group to create a collaborative narrative through pretend play. A
Let's Pretend game would provide a system for a performance event in which players are able to enter an imaginary world, take on roles in such a world and take actions in these roles. For this a Let's Pretend game should have a structured system of play; the structure for narrative in an imaginary environment; the means for participants to collaborate; and the means for participants to direct themselves.
The practical component of this research, The Foreshadowing workshop, combines the role-playing game and a devised theatre workshop into one process. In this
process the elements of games of make-believe can be identified. Bernard Suits' theory on games of make-believe identifies the prelusory goal, lusory means, constitutive rules, and the lusory attitude as the basic elements of a game.
The guidelines for a Let's Pretend game can be derived from the conventions of the role-playing game and devised theatre workshop. These guidelines would address all
the requirements of a Let's Pretend game, except self-direction, which is not available in the role-playing game, or devised theatre workshop. For self-direction, guidelines are derived from Bernard Suits' notion of the game as institution through the process of rules
clarification.
The primary guidelines for constructing a Let's Pretend game then are: that the
game structure should foster fidelity to game world specifically through the imaginary
roles. The character creation process should allow these roles to be the focus for action
resolution. These roles should be able to develop through interactions and these
interactions, as dramatic moves, would determine the plot. The structure of the game
should further foster collaboration, be easily learnt and transferred, allow for the
negotiating of rules and most importantly afford all players access to the directorial
function. This dissertation, however, does not attempt the construction of such a Let's
Pretend game. This would be the subject of future study.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.
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Hung, Ya-Chen, and 洪雅琤. "Exploration on the Devising and Performance of Life-Story Theatre at the Community University of Tainan." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/498r3p.
Full textAbstract:
碩士國立臺南大學
戲劇創作與應用學系碩士班
103
This thesis explores the devising and performance of Life-Story Theatre Curriculum implemented, taught and facilitated mainly by Yang, Mei-Ying for three years in the Community University of Tainan. There were other leaders also involved designing the curriculum of writing and theatre. Participant students were guided to devise and perform their life story in the curriculum. This research aims to focus on the three devised performances and to explore the aspect of adult education in this curriculm at Community University as well as to analyze and examine the characteristics of the contents, dialogical aesthetics and social meanings of these performances. It also argues this curriculum in the community university is another source and form of unique community theatre in Taiwan. From the research, the Life-Story Theatre helped the participants to create their own Life-Story Theatre performance by guiding them through dialogical adult education. The teacher led the participants, who played the major roles in the Life-Story Theatre based upon the concepts drawn from dialogical communications. The performance of the Life-Story also demonstrated its own theatre aesthetics. Moreover, it not only helped the participants, but also engage the audiences to think outside of box and to look into life and society in a different way that they’ve never done before. In the end, this devising and performance process has created brand new perception and identification of both self and communities.
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Chen, Ya-tzu, and 陳雅慈. "Devising Methods of Theatre-in-Education in Taiwan:Four Case Studies on Rey-fang Hsu’s TIE Work." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/82192137519129833455.
Full textAbstract:
碩士國立臺南大學
戲劇創作與應用學系碩士班
99
Theatre in Education (TIE), a unique combination of theatre form and educational objectives, differs from conventional theatre in the way that it provides learning opportunities by utilizing theatrical elements. It brings in topics related to every-day life issues to enable the audience to think and explore. Also, its format, with a clear emphasis on audience participation, often turns the passive audience into active spect-actors, so as to help them reach the goal of self-learning. It not only breaks the boundaries between stage/auditorium and actor/audience, but also demands a different set of devising and playwriting methods that can make the audience feel empowered. Rey-fang Hsu, an experienced TIE playwright and director based in Tainan, has written and directed four TIE pieces – The Completion of the Mansion, Dreams in the Wind, Opening the Gate in 1895, and Bridge of Ancestor – since 1999. This thesis investigates how Rey-fang Hsu, a local theatre practitioner who has developed a strong concern over Taiwanese people’s political and cultural identities, devised these identity-related TIE productions by using different theatrical and educational strategies, such as issue-based content and conceptual learning. By studying Rey-fang Hsu’s experience in creating TIE and the features of her devising approaches, the author of this thesis aims to piece up a devising mode that can be referred to by local practitioners when creating their own work of TIE.
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LI, FEI, and 黎霏. "Reflections on My Praxis of Committing Drama Education to Youth Theatre-The Case of” Home” Project from Devising to Performing by Flying Horse Dance Theatre." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/m5xp4w.
Full textAbstract:
碩士國立臺南大學
戲劇創作與應用學系碩士班
107
Inspired by drama education, the researcher guided some teenagers to establish an out-of-school performance group “Flying Horse Dance Theatre”. Through the practical process of organization, training, curation and rehearsal of theatre, the researcher developed the way of leadership and integrated the creation methods such as “reminiscence theatre”, “process drama” and “collective improvisation”, and the team accomplished the first performance “Home”. Taking the performance “Home” of the group as the “field of practice” of youth theatre while bearing the ideal of drama education to be implemented, this study aims to reflect on the process and to make sense of the effects of drama education on practice of youth theatre. The researcher is also the practitioner, and this study is the reflection on the action. According to the findings, youth theatre under the guidance of drama education may help the teenagers obtain multi-dimensional self-growth opportunities and inspiration, which convinces the researcher as a reflective practitioner of the value and the commitment to cultivate youth theatre. However, out-of-school youth theatre will inevitably encounter various challenges. As an experimental and practical case, this study is hoped to serve as a reference for future practice and research.
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"Creating Flashback: A Community Service Learning Project For Actor's Youth Theatre." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.15953.
Full textAbstract:
abstract: In this document I detail the inception of the community service learning program, Flashback, that I created for Actor's Youth Theatre of Mesa Arizona. I first provide the organization's history and then expound upon my beliefs and how the ASU theatre for youth program, along with the needs of AYT, led me to create the program. I then describe the goals and processes of implementing the community based project. I also define service learning and why the program was designed around its principles. Finally, I describe the program's curriculum, devising process and Flashback's first trial run, and then continue, evaluating the performance and reflecting upon the process. The appendix includes the devised script, photos of the performance and interaction with the community, some of the planned curriculum and portions of my journals written during the process.Dissertation/Thesis
M.A. Theatre 2012
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Yang, Chin-wen, and 楊瑾雯. "A Study of the Devising&Performance Process of Crosscultural Theatre Exchange－Taking Sounds of the Ocean done by Spring Wind Art Theatre as an Example." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/2y7538.
Full textAbstract:
碩士國立臺南大學
戲劇創作與應用學系碩士班
100
In twenty-first century, the influence of “cross-cultural” is prevailing among politics, economics, cultures and arts. “Cross-Cultural Theatre” also becomes an important topic in the theatres in Taiwan. Cross-cultural theatres in Taiwan had experienced several phases－the introduction of Western thoughts in the 1960’s, the importation of Western and Japanese experimental theatre forms in the 1980’s, the cross-cultural theatre works’ adaptations of classical Western theatre works in the 1990’s, and nowadays, cross-cultural theatres in Taiwan has blossomed in various forms. Topics of the cross-cultural theatres inTaiwan, such as “occidentalizing,” “cultural colonialism,” and “postcolonialism” have also caught lots of attention from theatre and cultural scholars. Spring Wind Art Theatre, a local theatre in Kaohsiung, has contributed to local performing arts since 1989. Facing the changes of current trend in international theatres and the prevailing of cross-cultural theatres in Taiwan, during these years, Spring Wind Art Theatre also tries to adapt cross-cultural theatre works and starts cross-border theatre creation. This study will base on the experience of Taiwanese cross-cultural theatres, theories in Patrice Pavis’ s The Intercultural Performance Reader and Jacqueline Lo and Helen Gilbert’s proposed new model for cross-cultural theatre exchange to discuss the devising and performance process of cross-cultural theatre work Sounds of the Ocean of Spring Wind Art Theatre. By using contemporary cross-cultural theatre theories, this study will discuss and analyse the problems, phenomena, meanings and the problems of balance and equality among different cultures in Sounds of the Ocean . This thesis wishes to find the possibility to create a new kind of theatre aesthetics without neglecting Taiwanese cultural subjectivity.
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Mabena, Simangele. "Investigating theatre devising for collective dialogue between deaf and hearing performers: a casestudy of From the Hip: Khulumakahle (FTH:K)." Thesis, 2010. http://hdl.handle.net/10539/7602.
Full textAbstract:
ABSTRACT
It is generally presumed that the Deaf community is identified by their “health-related inability”
(Shapiro, 1999:87) modelled on a medical paradigm. This paradigm negatively affects the Deaf
community, exacerbating the barriers the Deaf encounter in identifying as an independent
cultural and linguistic minority in the greater South African society. This paper seeks to
investigate the use of theatre devices in facilitating collective dialogue between hearing and Deaf
performers. Drawing on the literature which establishes sign language as linguistically
sophisticated and therefore on a par with spoken and written language, this paper identifies a
shared language as a possible unifying element between the two communities. It further
investigates the structures present in creating meaning in theatre and their correlation with the
languages of the hearing and Deaf. Using a case study of a Deaf/hearing integrated theatre
company, From the Hip: Khulumakahle (FTH:K), the paper critiques Ladd’s (2003) notion of
‘Integrated Theatre’ in the theatre devising process of FTH:K. The research involved a
qualitative case study methodology of participant observations, extensive field notes and
individual interviews with the Deaf and hearing performers. The results of the study indicate that
Deaf and hearing performers communicate using South African Sign Language1t to speak
amongst each other. FTH:K has also begun exploring the gestural and imagistic language used
between performers to collectively devise theatre amongst Deaf and hearing performers, as it
does not privilege one language over another. Another key finding from the study was FTH:K’s
concepts of ‘family’ and ‘playing’ as key elements in the theatre devising process. The
performers in the theatre devising process often adhere to familial roles in creating their own
form of integrated theatre. This study therefore critiques Ladd’s generalised statement about
Integrated Theatre but also seeks to interrogate the influence of familial power relations in
FTH:K’s theatre devising process.
1 From this point onwards I will refer to South African Sign Language as SASL
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Weigler, William. "Engaging the power of the theatrical event." Thesis, 2011. http://hdl.handle.net/1828/3575.
Full textAbstract:
In this dissertation, I advance the question of what it means for applied theatre artists to give voice to the community members with whom they work. The study engages with some of the ethical and aesthetic tensions that emerge when one group of people (artists) is entrusted with giving dramatic form to the lived experience of another group (community members). The central premise of the dissertation is that when community participants increase their independent capacity to devise dynamic and compelling theatre, they achieve greater agency. Using a grounded theory analysis, I theorize qualities and characteristics that contribute to the staging of aesthetically arresting theatre, organized into a conceptual lexicon. This praxis-based study is intended to enable applied theatre practitioners to more directly give voice to their community partners. The dissertation presents a vocabulary that offers community participants and professional artists a mutually understood language with which to engage the power of the theatrical event.Graduate
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Miller, Mary-Corinne. "Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play." 2018. https://scholarworks.umass.edu/masters_theses_2/730.
Full textAbstract:
This written portion of my thesis documents how I, as director, conceptualized, devised and staged an immersive adaptation of August Strindberg’s A Dream Play, with the support of a large team of collaborators including: assistant directors, dramaturgs, designers, stage managers, and actors. In this document I attempt to synthesize the discoveries I made in this process regarding the challenges and experience of directing immersive theater, including the importance of giving up directorial control and relying on my collaborators as partners in the creation of the production.
I begin with an introduction to the research I conducted into the field of immersive theater as well as my research on the work of August Strindberg, with a specific emphasis on the themes and context of A Dream Play. I then describe how I led my creative team through the process of designing a devised immersive theater production by encouraging open communication and fostering an atmosphere of trust. I also discuss the casting process and my efforts to establish an autonomous ensemble by allowing the actors to choose their own parts, write their own scripts, and devise their own scenes. I reflect on how I navigated the unpredictable nature of immersive theater, through a careful balance between detailed planning and free exploration, all the while embracing the possibility of failure as an expected part of the process. Finally, I attempt to assess the success of the production through examination of the impact it had on its audiences based on my own personal observations, as well as feedback collected through formal methods of survey.