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THE LIVING THEATRE & SYMBOLIC CAPITAL By
OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL by Peter Wood BA, Rhode Island College, 2000 MA, University of Maryland, 2004 Submitted to the Graduate Faculty of Te Dietrich School of Arts & Sciences in partial fulfllment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE DIETRICH SCHOOL OF ARTS & SCIENCES Tis dissertation was presented by Peter Wood It was defended on March 3, 2016 and approved by Peter Karsten, Professor, History Lisa Jackson-Schebetta, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Michelle Granshaw, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Bruce McConachie, Professor Emeritus, Teatre Arts ii Copyright © by Peter Wood 2016 iii OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL Peter Wood, PhD University of Pittsburgh, 2016 Abstract: Overturning Mammon: Te Living Teatre and Symbolic Capital focuses on the frst thirteen years of the Living Teatre, founded by Judith Malina and Julian Beck. Pierre Bourdieu’s theories of cultural production provide the theoretical tools to approach the company as a cultural producer and not only as theatre artists. Te Living Teatre has produced largely unpopular avant-garde and political theatre for seventy years. I argue that the company’s early years demonstrate a growing reserve of symbolic capital that helps explain the company’s longevity. Furthermore, the manner in which certain events in the company’s history have been mythologized, by company members, critics, and scholars, has led to some historically inaccurate accounts. In particular, accounts of the closing of the company’s production of Te Brig in 1963 and the subsequent trial of Beck and Malina in 1964 have often been infuenced by an acceptance of company member’s anecdotal, “tall tales” approach to history rather than historical evidence and archival documents. -
Diffuse, Divide, Devise: an Analytical Study of Devised Theatre
Diffuse, Divide, Devise: An Analytical Study of Devised Theatre By Darcie DeLong, Adam Derrick, Tess Evans-Shell, and Laura Mixon In the year 2014, devised theatre is not a marginal or experimental methodology. The massive artistic and commercial success of the National Theatre in London’s production of War Horse showed the world that devising is not a toy for young actors and free spirits, but simply a way of producing beautiful, meaningful art. Devising stands beside mainstream theatre, like a cousin or younger sibling. But this too is an inadequate picture since devising draws from roots just as ancient as any other form of performance. Devising is merely different. Its backbone is an ensemble of ideas rather than a script. It reveres the human body or spirit the way dramatists revere Shakespeare. The performers hold a stronger artistic voice than the script writer. Although the traditional theatre art form has always respected creative ways to express simple truths, devising perhaps brings a multifaceted perspective that would otherwise not be reached. There continues to be ambiguity when discussing devised theatre. All assert that it is an alternative method of creating a theatrical work, but there are many veins and styles that may or may or may not be lumped together when trying to define it. Allison Oddey, in her work Devising Theatre, has this to say: “A devised theatre product is work that has emerged from and been generated by a group of people working in collaboration” (1). The key feature of a devised piece is its methodology, or how the project comes into being. -
The Role of the Writer and Authorship in New Collaborative Performance- Making in the United Kingdom from 2001-2010
1 The Role of the Writer and Authorship in New Collaborative Performance- Making in the United Kingdom from 2001-2010 Sarah Caroline Sigal Department of Theatre and Performance Goldsmiths College, University of London Submitted for the Degree of Doctor of Philosophy of the University of London 18 July 2013 This thesis is available for library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. 2 Acknowledgments I would like to gratefully acknowledge the following people for their guidance, support (both academic and emotional) and generous intellectual and creative contributions. Without it, this PhD would not have been possible. For academic guidance: John Ginman, my supervisor, for all his patience and wisdom during the research and writing of this thesis, as well as John London, Göze Saner and Maria Shevtsova for their advice and assistance during the upgrading process. For the generous cooperation and of the following practitioners who agreed to be interviewed: Jon Bausor, Stephen Brown, Oliver Dimsdale, David Farr, Helen Edmundson, Scott Grahm, Theo Herdman, Steven Hoggett, Kirsty Hounsley, Samuel James, Dawn King, Bryony Lavery, Stuart McLaughlin, Nancy Meckler, Tim Phillips, Ben Power, Liz Ranken, Peter Rankin, Guy Retallack, Ferdy Roberts, Angela Simpson and Polly Teale. For the friendly and helpful administrative assistance in arranging for interviews of the aforementioned practitioners, as well as the viewing of archival material: the staff of the offices of Shared Experience, Frantic Assembly and Filter Theatre. -
The Latinx Theatre Commons: Feminist Decolonization In
THE LATINX THEATRE COMMONS: FEMINIST DECOLONIZATION IN THE EARLY YEARS OF A MOVEMENT TO TRANSFORM THE NARRATIVE OF THE AMERICAN THEATRE by OLGA P. SANCHEZ SALTVEIT A DISSERTATION Presented to the Department of Theatre Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2019 DISSERTATION APPROVAL PAGE Student: Olga P. Sanchez Saltveit Title: The Latinx Theatre Commons: Feminist Decolonization in the Early Years of a Movement to Transform the Narrative of the American Theatre This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Theatre Arts by: Theresa May Chairperson Michael Malek Najjar Core Member John Schmor Core Member Brian Eugenio Herrera Core Member Michael Hames-García Institutional Representative and Kate Mondloch Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2019 ii © 2019 Olga P. Sanchez Saltveit iii DISSERTATION ABSTRACT Olga P. Sanchez Saltveit Doctor of Philosophy Department of Theatre Arts December 2019 Title: The Latinx Theatre Commons: Feminist Decolonization in the Early Years of a Movement to Transform the Narrative of the American Theatre The Latinx Theatre Commons (LTC) emerged in 2012 in response and resistance to years of misrepresentation and erasure of Latinx artistic work and presence by the American theatre field in practice and in scholarship. This dissertation is the first comprehensive chronicle and study of the LTC, reviewing the movement’s methods, manifestations, and implications through interviews with key participants and my own reflections as a founding Steering Committee member, balanced against theories of Latinx feminisms, the Commons, and Latin American decolonization. -
Women, Collective Creation, and Devised Performance the Rise of Women Theatre Artists in the Twentieth and Twenty-First Centuries
Women, Collective Creation, and Devised Performance The Rise of Women Theatre Artists in the Twentieth and Twenty-First Centuries Edited by Kathryn Mederos Syssoyeva and Scott Proudfit Women, Collective Creation, and Devised Performance Kathryn Mederos Syssoyeva • Scott Proudfi t Editors Women, Collective Creation, and Devised Performance The Rise of Women Theatre Artists in the Twentieth and Twenty-First Centuries Editors Kathryn Mederos Syssoyeva Scott Proudfi t Department of Theatre Department of English Dixie State University Elon University Saint George , Utah , USA Elon , North Carolina , USA ISBN 978-1-137-60327-2 ISBN 978-1-137-55013-2 (eBook) DOI 10.1057/978-1-137-55013-2 Library of Congress Control Number: 2016949421 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. -
IB 2 Summer Assignment IB Theatre 2 (Seniors)
IB 2 Summer Assignment IB Theatre 2 (Seniors) You will each being completing your IB exams this year. The good thing is that you already completed your research presentation. Think about the skills it took to complete that assignment including: reading, research and exploration. You will be using all of these skills in the final three projects. In order for us to be able to be successful there are a few things you will have to complete this summer. DIRECTOR’S NOTEBOOK (ASSIGNMENT 1) WHAT IS THE PROJECT: Students will choose a published play text they have not previously studied and develop ideas for staging two moments of the play. Students prepare a Director’s Notebook of visuals and words (20 pages maximum). This is a theoretical exercise–the play text is not actually staged. Here is what you have to do this summer: 1. CHOOSE a play that you have not studied. Think about things you have always wanted to direct or focus on playwrights you really like. 2. READ the play: Probably more than once. 3. RESEARCH the Play: Begin writing a mini paper where you answer these questions about the play: a. The Play Text:What is the play you have chosen and why? What is it about? RESEARCH b. Context: Explain the theoretical and/or cultural contexts from which the play text originates. Why was it written? What was happening at the time? Why this play? RESEARCH c. Ideas Presented: Explain the major ideas presented in the play text? How are these presented by the playwright? RESEARCH d. -
Towards a Genealogy of Devising Practice Devised Theatre May Be Defined As
1. RE-DEVISING THEATRE: Towards a Genealogy of Devising Practice Devised theatre may be defined as "a mode of work in which no script - neither written play-text nor performance score - exists prior to the work's creation by the company" (Heddon and Milling, 2006:3). The ambiguity of "devising" means it has been used to describe many different performance processes, from applied theatre to performance art. The fields of practice vying for a position in any devising study are thus huge, and such studies will always be highly selective. Thus, it is necessary to define "devising" as it applies in a study to establish a baseline of reference. Drawing upon Oddey (1994) and Bray (1991), I would like to offer my understanding of "devising": "Devised theatre refers to the process of creative collaboration by a group of performers to generate and assemble a performance through improvisation, discussion and rehearsal, inclusive of the resultant production." This is a very specific definition describing the process of the practical devising project I undertook as part of this research. It may also be applied to other examples of democratic performer-led devising, although these have become less frequent since the 1990s when devising re-emphasised "specialisation, specific roles, increasing division of responsibilities ... and more hierarchical company structures" (Oddey, 1994:9). My practical devising project was inspired by the countercultural collectives of the 1960s whose albeit problematic models of aesthetic democracy seemed an exciting creative challenge to recreate. Pioneers of group collaboration such as the Becks of The Living Theatre and Joan Littlewood of Theatre Workshop prepared for themselves a thorough study of early twentieth-century theatre, and adopted and adapted this knowledge when developing their own creative strategies. -
Collective Creation in Contemporary Performance
Copyrighted Material - 9781137331267 Collective Creation in Contemporary Performance Kathryn Mederos Syssoyeva, Editor, and Scott Proudfit, Associate Editor Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267 collective creation in contemporary performance Copyright © Kathryn Mederos Syssoyeva and Scott Proudfit, 2013. All rights reserved. Chapter 7 originally appeared under the title “Created by the Ensemble: Generative Creativity and Collective Creation at the Dell’Arte International School of Physical Theatre” in Theatre Topics 22:1 (2012): 49– 61. © 2012 The Johns Hopkins University Press. Revised and reprinted with permission of The Johns Hopkins University Press. First published in 2013 by PALGRAVE MACMILLAN® in the United States— a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978- 1- 137- 33126- 7 Library of Congress Cataloging- in- Publication Data Collective creation in contemporary performance / edited by Kathryn Mederos Syssoyeva and Scott Proudfit. pages cm Includes index. ISBN 978- 1- 137- 33126- 7 (hardback) 1. Performing arts— Europe— History— 20th century. 2. Performing arts— United States— History— 20th century. 3. Experimental theater— Europe— History— 20th century. 4. Experimental theater— United States— History— 20th century. 5. Creation (Literary, artistic, etc.) 6. -
Devised Theatre' Methodologies and Aesthetics in Training and Practice
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2006 The Theatre That Will Be: 'Devised Theatre' Methodologies and Aesthetics in Training and Practice Lisa Kathleen Jackson Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1461 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Lisa Katheleen Jackson, 2006 All Rights Reserved THE THEATRE THAT WILL BE: 'DEVISED THEATRE' METHODOLOGIES AND AESTHETICS IN TRAINING AND PRACTICE A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. LISA KATHELEEN JACKSON Bachelor of Arts, Duke University, 1998 Master of Fine Arts, Virginia Commonwealth University, 2006 Director: PROFESSOR JANET B. RODGERS ASSOCIATE PROFESSOR, DEPARTMENT OF THEATRE Virginia Commonwealth University Richmond, Virginia May 2006 Acknowledgements Although this thesis is largely the culmination of my MFA work at Virginia Commonwealth University, it is reflective of over a decade of personal, professional, and pedagogical development. As such the acknowledgements are varied and widespread. First off, thank you to my thesis committee chair, Janet Rodgers, for the conversations, tea, feedback, and jam sessions. Also to Dr. Aaron Anderson, Dr. Dorothy Holland, and Dr. Noreen Barnes for their unflagging support and enthusiasm. Additionally, I extend my gratitude to my professors at Duke University, especially Jeff Storer, Christine Morris, Ellen Hemphill and Rafael Lopez Bmantes. -
Raquel Almazan
RAQUEL ALMAZAN RAQUEL.ALMAZAN@ COLUMBIA.EDU WWW.RAQUELALMAZAN.COM SUMMARY Raquel Almazan is an actor, writer, director in professional theatre / film / television productions. Her eclectic career as artist-activist spans original multi- media solo performances, playwriting, new work development and dramaturgy. She is a practitioner of Butoh Dance and creator/teacher of social justice arts programs for youth/adults, several focusing on social justice. Her work has been featured in New York City- including Off-Broadway, throughout the United States and internationally in Greece, Italy, Slovenia, Colombia, Chile, Guatemala and Sweden; including plays within her lifelong project on writing bi-lingual plays in dedication to each Latin American country (Latin is America play cycle). EDUCATION MFA Playwriting, School of the Arts Columbia University, New York City BFA Theatre Performance/Playwriting University of Florida-New World School of With honors the Arts Conservatory, Miami, Florida AA Film Directing Miami Dade College, Miami Florida PLAYWRITING – Columbia University Playwriting through aesthetics/ Playwriting Projects: Charles Mee Play structure and analysis/Playwriting Projects: Kelly Stuart Thesis and Professional Development: David Henry Hwang and Chay Yew American Spectacle: Lynn Nottage Political Theatre/Dramaturgy: Morgan Jenness Collaboration Class- Mentored by Ken Rus Schmoll Adaptation: Anthony Weigh New World SAC Master Classes Excerpt readings and feedback on Blood Bits and Junkyard Food plays: Edward Albee Writing as a career- -
Actor Training, Second Edition
Actor Training Second Edition Actor Training expands on Alison Hodge’s highly-acclaimed and bestselling Twentieth Century Actor Training. This exciting second edition radically updates the original book making it even more valuable for any student of the history and practice of actor training. The bibliography is brought right up to date and many chapters are revised. In addition, eight more practitioners are included – and forty more photographs – to create a stunningly comprehensive study. The practitioners included are: Stella Adler Joseph Chaikin Vsevolod Meyerhold Eugenio Barba Jacques Copeau Ariane Mnouchkine Augusto Boal Philippe Gaulier Monika Pagneux Anne Bogart Jerzy Grotowski Michel Saint-Denis Bertolt Brecht Maria Knebel Włodzimierz Staniewski Peter Brook Jacques Lecoq Konstantin Stanislavsky Michael Chekhov Joan Littlewood Lee Strasberg Sanford Meisner The historical, cultural and political context of each practitioner’s work is clearly set out by leading experts and accompanied by an incisive and enlightening analysis of the main principles of the practitioners’ training, practical exercises and key productions. This book is an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre. Alison Hodge has been a professional director since 1982. She was assistant director for Gardzienice Theatre and co-authored, with Włodzimierz Staniewski, Hidden Territories: the Theatre of Gardzienice (Routledge, 2004). She is director of The Quick and the Dead, an international theatre research company, and a Reader in Theatre Practice at Royal Holloway College, University of London. Her website can be found at www.alisonhodge.net Actor Training Second Edition Edited by Alison Hodge First published 2010 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Avenue, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2010. -
The Makings of the Actor: Rhythm in Acting and Performance Conference March 26-28, 2021
The Makings of the Actor: Rhythm in Acting and Performance Conference March 26-28, 2021 https://themakingsactor.com/rhythm-in-acting-and-performance/ For info and bookings please email: [email protected] Rhythm in Acting and Performance is an International Conference held under the auspices of The Makings of the Actor, the Michael Cacoyiannis Foundation, the Labanarium, Leeds Conservatoire and Hellinoekdotiki, or- ganized by Dr Eilon Morris, from Leeds Conservatoire and OBRA Theatre, with the support of Post-doctoral Researcher Dr Kiki Selioni, Royal Central School of Speech and Drama, University of London. This event is part of a series of conferences organised by The Makings of the Actor based on books from international re- search practitioners discussing in theory and presenting in practice their works. The mission of The Makings of the Actor project is to gather international practitioners and researchers, from diverse fields of performance practice and scholarship, to develop and disseminate (through conferences and workshops) an evolving per- formance pedagogy that addresses the needs of present and future actors. Schedule *Please note, all the timings have been written in Eastern European Standard Time (Athens, GMT+2). For example, the conference begins at 13.00 in Athens, 12.00 in Paris, 11.00 in London, 8.00 in Buenos Aires, 6.00 in Ontario, 5.00 in Mexico City, 22.00 in Melbourne, 20.00 in Tokyo, 16.30 in Mumbai, 14.00 in St Petersburg ...etc. Friday 13.00 (GMT+2) – Kiki Selioni and Eilon Morris Welcome 13.25 – 15.45pm PART 1 Defining Rhythms 13.25 - 14.05 Carla Fonseca (keynote) Ρ υθμοί, Ritmicidades,....Rhyth-Me? 14.10 - 14.30 Paola Crespi (pre-recorded paper) Rhythm and Critique BREAK 14.40 - 15.10 Jonas Rutgeerts (paper) Unbecoming Rhythms 15.15- 15.45 Irene Fiordilino (paper) The affordances of absence in the construction of embodied rhythms BREAK 16.30 – 19.50 Part 2 Inner and Outer Rhythms 16.35 - 17.05 Andrew Davidson (paper) Dalcroze Eurhythmics and Actor Training 17.05 - 17.25 Unai Lopez de Armentia (snapshot) FOTO 17.30.