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I Acknowledgements This Dissertation Is Not As Well Acknowledgements This dissertation is not as well written as I may wish, and my learnings not as explicit as I might wish, but the value this project has for me I will carry with me forever, and it will always be informing my engagement with the world around me. So Id like to start with “thank you.” To Ørjan Hattrem for having faith enough to invite me into his exiting school, to all the teachers and staff at HiNT for their warmth and generosity, to the class of 2014 for me to research with them, and to NTNU. Putting me through this project forced me to undertake a journey I was perhaps not prepared to take. I want to make particular mention of Associate Professor Ellen Foyn Brunn, who has led me to a place where I have been able to challenge my presumptions regarding academia, my own ability to express myself, and I now realize she has always been one (or many) steps ahead of me, waiting patiently for me to catch up with my own project. I would also like to make particular mention of Associate Professor Sandra Mladenovitch who taught me more than I can ever express on theatre pedagogy, how to work with actors, and how to think in and of rehearsals. For you two thank you is not enough for what my body feels. Because of them I have been able to undertake a project that has led me to unexpected places, and I have gained insights that will for ever inform my practices not only as director or researcher but as human being too. Thank you. i Index Chapter 1: The Estuary……………………………………………………………………………………. 1 The mountain stream …………………………………………………………………………….. 1 Electra by Sophocles, translated by P. Østbye…………………………………………. 3 The written play, the text and the body………………………………………………….. 3 The bricolage: Practise as Research within and from Theatre practice……. 4 The Research question …………………………………………………………………………… 6 Design of Dissertation… 7 Chapter 2: The streams feeding the river; the aggregate powering this PaR project - Theatrical pedagogies, methodologies, influences……………………………………………. 9 Practice as Research..……………………………………………………………………………….. 9 My adapted PaR Design and methodology – Research by Bricolage………….. 12 Methods for research………………………………………………………………………………… 14 Workshop dramaturgy – the proposed canal…………………………………………….. 16 Streams feeding the river –Theatre Practitioners….………………………………….. 18 The Gardzienice Theatre Association of Poland…………………………………………. 18 Jerzy Grotowski…………………………………………………………………………………………. 24 Jacques Lecoq, HiNT and Sandra Mladenovitch…………………………………………. 27 Gardzienice and Grotowski in Lecoq pedagogy ………………………………………… 32 Chapter 3: A panorama view -The practical projects components………………………. 35 The HiNT context………………………………………………………………………………………. 35 The participants………………………………………………………………………………………… 36 Workshop breakdown……………………………………………………………………………… 37 My roles…………………………………………………………………………………………………… 44 Chapter 4: Calm pools, whirlpools, gentle streams, waterfalls and the hidden treasures - The analysis ……………………………………………………………………………………………………… 47 ii Coming together – Immersion, the first dip in the water…………………………… 47 Play reading: defining the riverbanks……………………………………………………….. 50 Allegorical game-playing………………………………………………………………………… 53 The song of the river……………………………………………………………………………… 55 Physical exercises…………………………………………………………………………………… 59 Research adaptations – Placid lakes, capsizing and re-emerging…………… 60 Ritual……………………………………………………………………………………………………… 65 Examination…………………………………………………………………………………………… 66 Chapter 5: Hidden treasures revealed- Insights………………………………………………… 69 Inner circle - My roles ………………………………………………………………………………. 69 Middle circle – the research question………………………………………………………. 71 Outer circle - The research´s external value …………………………………………….. 72 Further points of discussion……………………………………………………………………… 73 Chapter 6: The Estuary ………………………………………………………………………………… 77 Summary……………………………………………………………………………………………… 77 The circles…………………………………………………………………………………………… 78 Bibliography………………………………………………………………………………………… 81 Appendix………………………………………………………………………………………………………… 83 Definitions……………………………………………………………………………………………. 83 Workshop breakdown with reflective journal comments……………………… 89 Contract……………………………………………………………………………………………….. 123 Dyslexia confirmation…………………………………………………………………………… 127 iii iv Chapter 1: The Tributary The mountain stream I have always been interested in theatre. This attraction lies in the way in which theatre allows you to see the world or “reality” from different viewpoints. Viewed from this perspective, theatre is a powerful source of knowledge production. Theatre can be seen as a medium or a language. It is a series of systems and symbols, transmissions and experiences, with its own conventions and coherency. This appreciation is innate in how I work with theatre, and has consequently contributed to this project. Throughout this Practice as Research project (PaR) I followed a gut feeling to explore theatres otherness1*, its transcendent qualities and its ability to negate* the mundane understandings of the world around us. A fascination with textual and word-based theatre, combined with my conflicted relationship to language in and outside theatre was the starting point for this project. In particular I was interested in learning more about how and why words may be a vehicle for releasing emotion, rather than an intellectual comment on emotions. 1 Hereafter I will use * to refer the reader to detentions and terms I use throughout the paper, definitions of which I have included in the appendix, in order to highlight the subjective choices of words I use, and therefore a more precise vocabulary through which to understand the meanings I attempt to convey. The project being placed clearly the hermeneutic paradigm I wish highlight the interpretive nature of both writing and reading this text. 1 The choice of my specified research area was also in search of some sort of articulation of a critique on the patterns of experience I believed to be reductive in contemporary Western society; I wanted to explore how my, and others perceptions and thinking patterns are underpinned by a binary and patriarchal perspectives. I wished understand for myself and move towards a resolution with contested terms such as meaning and knowledge. I felt that there was something lacking in the logo-centric theatre traditions I had worked within; that there is something other in an actor´s work that was inhibited or even nullified in theatre based on the supremacy of text. I had previously experienced that starting a rehearsal process with textual analysis and character analysis did not necessarily help an actor inhabit a role, or to act, it could result in presentations of an actor´s analysis, which could lead to somewhat introverted, untruthful and uninteresting acting. Moreover I felt that when attention was focused on text rather than what happened on the floor in rehearsals, an actor could become fixed in their engagement with the work. Consequently the work rendered no new discoveries beyond a certain point. Though appreciating the value of text-based methods to allow for a very pragmatic and safe working environment for actors, giving them research questions, or specific areas and points to research, I felt there was more to acting than given circumstances and excellent elocution, that the most vital part of acting could often be overlooked because the analysis and elocution was sound. I was interested in understanding more of what this was and what its and my relationship to text as a director. What non-psychological ways may I work with text? Does an actor need to know what she* is doing, be rationally aware of the semiotics of emotions constructed in a play, to create something retainable and profound? I believe there something in spoken text theatre that goes beyond analytical properties, that theatre is a phenomenological* medium. How can I tap in to this and use it in directing? How can this be retained in a performance setting? Being fully bilingual and severely dyslectic* (See appendix) I have always had a troubled relationship with language. This has been both a curse and a blessing, because though it makes working with and within certain structures and with certain structures challenging, it also allows me to understand things quite differently, to see the world slightly inversely. It 2 has made me far more eloquent in other forms of communication than the language based language and also proficient in other forms of knowledge production*. I possess intuitive and haptic knowledge that helps me understand the positions of actors, and how to intuitively direct them. As a Master student at Norwegian University of Science and Technology (NTNU) I was introduced to concepts, sentiments and approaches within theatre which I found challenging to combine with my previous training. One of these concepts was researching with theatre. To me the idea of combining theatre and academic research was daunting, yet through this project I not only attempted to do such a thing but to understand what it meant and its value. This research project was also intended to be an opportunity to explore relationships within me as a theatre practitioner, and in the meeting points between my theatre contexts and me. Electra by Sophocles, translated by P. Østbye I had been interested in Electra by Sophocles since reading it in 2006. It was written in a language I found hard to penetrate, but it moved me remarkably deeply, and lingered with me. I sensed a presence of something beyond its text-analytical
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