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Accessible Theatre: the Application of Human Ethology and Innate Neurobiological Systems to Full-Masked Devised Theatre Practice Creators: Cook, S

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Accessible Theatre: the Application of Human Ethology and Innate Neurobiological Systems to Full-Masked Devised Theatre Practice Creators: Cook, S This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Thesis Title: Accessible theatre: the application of human ethology and innate neurobiological systems to full-masked devised theatre practice Creators: Cook, S. R Example citation: Cook, S. (2012) Accessible theatre: the application of human ethology and innate neurobiological systems to full-masAked devised theatre practice. Doctoral thesis. Loughborough University. Version: Accepted version T Official URL: https://dspace.lboroC.ac.uk/2134/9879 Note: Doctoral thesis aEwarded by Loughborough University Nhttp://nectar.northampton.ac.uk/5011/ Accessible Theatre: The Application of Human Ethology and Innate Neurobiological Systems to Full-Masked Devised Theatre Practice. By Sally Cook Submitted in partial fulfilment of the requirements for the award of Doctoral Thesis from Loughborough University 01/06/12 © Sally Cook 2012 Abstract 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 study is original and contributes to knowledge in two distinct ways; it is to this researcher’s knowledge the only such research that examines the relationship between the devising processes of a full-masked performance, neurobiology, human ethology and the accessibility of audience reception (Bennett, 1994). Secondly, this is the first study to investigate how universal innate neurological processes can be used in the making and reception of stage performance to help ensure wide accessibility of information and meaning. 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 i 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. ii Acknowledgements I would like to thank my supervisor, Dr. Neal Swettenham, for his support and encouragement but most of all the gentle approach to his feedback. Thanks also to my husband Peter Cross for understanding the time and energy I needed to put into this project and for always being there for me. My son, Tom, also needs thanking for his help whenever the computer played up or when I pressed the wrong button and blamed the computer and for his help, support and interest throughout the project. Thanks also to my youngest son, Harry, who came to watch the performance and thought it was ‘cool’. These are the very important people who devised The Magic Fruit under my artistic direction and without whom the show would not have been as successful or as funny. Actors Natalie Dales Robert Daniels Simon Hutchens Doreen Kakala Oliver Ryles Musicians Julie Latham Jo May Thanks also to Mike Hayhurst, Rebecca Hickie, Tim Halliday, Carl Kirk, Sally Presig, Ninian Kinier-Wilson and Eilidh Bryan. Dedicated to my parents Pat and Don Cook who both, sadly, died before completion. iii Contents Abstract ................................................................................................................................... i Acknowledgements ............................................................................................................... iii Contents ................................................................................................................................ iv Chapter One - Introduction .................................................................................................... 9 Purpose of Research ....................................................................................................... 9 The Research Question ................................................................................................ 10 Definitions .................................................................................................................... 11 Research Background................................................................................................... 13 Research Design ........................................................................................................... 14 Summary of Research Methodology ........................................................................... 23 The Significance of the Research ................................................................................. 24 The Intercultural Theatre Debate ................................................................................. 26 The Universal Problem ................................................................................................ 27 Outline of the Thesis .................................................................................................... 29 Chapter Two - Accessibility ................................................................................................ 33 Attention and Engagement ........................................................................................... 34 Memory ........................................................................................................................ 36 Empathy ....................................................................................................................... 42 Culture .......................................................................................................................... 44 Intercultural Theatre ..................................................................................................... 47 Conclusion ................................................................................................................... 56 Chapter Three - The Innate: Definition of Terms and Review of Practice .......................... 57 Innate Systems and Structures ..................................................................................... 58 Neurons ........................................................................................................................ 61 Reflexes and Fixed Action Patterns ............................................................................. 63 Pleasure Reward System .............................................................................................. 64 Mirror Neurons ............................................................................................................ 65 Pattern Recognition ...................................................................................................... 66 The Innate in Theatre Practice ..................................................................................... 67 iv Lecoq ............................................................................................................................ 68 Grotowski ..................................................................................................................... 69 Barba ............................................................................................................................ 70 Brook ............................................................................................................................ 71 Turner ........................................................................................................................... 72 Schechner ..................................................................................................................... 73 Masked Performance ...................................................................................................
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