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Polyvocality, the Unhomely, and the Methods of Mike Leigh in Playwriting: an Exegesis

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Polyvocality, the Unhomely, and the Methods of Mike Leigh in Playwriting: an Exegesis Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2018 I am here now: A play – and – Polyvocality, the unhomely, and the methods of Mike Leigh in playwriting: An exegesis Michael McCall Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Performance Studies Commons, and the Playwriting Commons Recommended Citation McCall, M. (2018). I am here now: A play – and – Polyvocality, the unhomely, and the methods of Mike Leigh in playwriting: An exegesis. https://ro.ecu.edu.au/theses/2151 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2151 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. I am here now A play – and – Polyvocality, the unhomely, and the methods of Mike Leigh in playwriting An exegesis This thesis is presented for the degree of Doctor of Philosophy Michael McCall Edith Cowan University The Western Australian Academy of Performing Arts 2018 Abstract The aim of the research was to investigate how the devising methods of theatre and film director Mike Leigh might generate material for a new play text and what the implications were in regards to authorship. Central to the research was an exploration of the collaborative devising processes of Leigh as a point of origin and how this might lead to an intended and deliberate case for a plurality of voices in a written play text. It was conducted with a focus on utilising many voices. In this instance the ‘voices’ were young participants from Perth’s African Australian community. The practice-led research project was principally carried out in two parts – the developing of the play I am here now, inspired by material devised by the experiences of eight African Australians, and the writing of the sole authored play. The thesis outcome captures the conflict between myself as a practitioner playwright and the process in which the play was developed and written in context with Mike Leigh’s devising methods, the wants and needs of the participants, and the question of plurality in theatre writing. Chapter One of the thesis is a critical examination of how Leigh’s methods assisted in generating raw material, the challenges of practice-led research, and the writing of the play itself. Chapters Two and Four respond to understandings (and misunderstandings) apparent during the creation of I am here now, especially in the devising and writing processes. Chapter Three, in between the development and writing analysis, is the play itself. Chapter Five is an overview of the key discoveries of the project. The thesis examines notions of separation and exile in the migratory experience, Homi Bhabha’s concepts of ‘home’ and the unhomely, and ultimately polyvocality, understood by Mikhail Bakhtin and others, as the multiplicity of voice(s) in a text. What became apparent through the research was a battle between the efficacies of the devising methods – that is, the facilitation of improvisatory workshops emerging from a collaboration with a heterogeneous group of African Australian non-theatre makers – and the skills and techniques used to write the final outcome, a sole authored fictional play. Ultimately the findings of the research is that while the play text is sole authored it contains multiple traces of what the participants offered, which came from our formal and informal meetings, to which I understand speaks of a polyvocality. ii Declaration I certifythat this thesis does not, to the best of my knowledge and belief: 1. incorporate without acknowledgment any material previously submitted fora degree or diploma in any institution of higher education; 2. contain anymaterial previously published or written by another person except where due referenceis made in the text of this thesis; or 3. contain any defamatorymaterial; Signature: .. Michael McCall 30th October, 2018 Acknowledgements There are many who need acknowledgment as part of writing this thesis. I would like to express immense gratitude to my principal supervisor, Dr. Renée Newman, for her continuous and unwavering support of my research and for her perseverance, motivation and dedication in providing a clear-eyed knowledge of the Performing Arts to research candidates like me. Her guidance helped me through my research and writing of this thesis and her comments and encouragement, her asking of the hard questions, was motivational. I also extend my sincere thanks to my co-supervisors involved in the conclusive period of my research, Dr. William Dunstone, who I will be forever grateful to for his astute insights and sagely counsel, and Dr. Luke Hopper. Dr. Lyndall Adams and Dr. Neil Ferguson were very generous with their time, assisting with the embedding of video clips into the work, along with Associate Professor Jonathan Paget in the final stages of delivery. This thesis also owes a massive thanks to my original supervisor, Associate Professor Maggi Phillips, who passed away in early 2015. This research has been peppered with her acumen. And while I am saddened that Maggi is not here in person, the notes of wisdom she left upon the work have been welcome beacons on my path. It is Maggi’s grace, enthusiasm and profound intelligence that I miss most, but I feel very fortunate to have had the time I did with her, as do all who were lucky enough to have met her on their own research journey. I would like to thank the bold participants of the African Australian community of Western Australia and the contributors in that community who, directly or indirectly, supported this research, and in particular Mr. Tichanona Mazhawidza. It would not have been possible to conduct this type of investigation without the overwhelming graciousness I encountered during my research from many men and women. I wholeheartedly thank you all. A big thank you to the Higher Degree Research staff and support networks at ECU, and to Julie Warn, Andrew Lewis and the excellent teaching staff at WAAPA, colleagues who always knew the right thing to say at the right time, whether you knew it or not. Also, I thank my colleagues in the School of Arts and Sciences at the University of Notre Dame Australia and those in the Humanities at Curtin University who have been always supportive of me, particularly Dr. Mignon Shardlow, Dr. Sarah McGann, Dr. Leah Mercer, Peter Gurbiel, and Leigh Brennan. My thanks also extend to the iv individuals and organisations around Australia and across the globe who have supported me over the years, particularly the staff and students of NIDA (1999-2001), where my passionate and critical pursuit of theatre and performance knowledge developed under their tutelage. I thank my students at WAAPA, past and present, for their encouraging dialogues and for their heartening banter during the nights before many deadlines. A special mention to Dr. Sue Fenty-Studham at DePaul University, for her comradery, and Mike Frencham, at the University of Melbourne, who first introduced me to the theatre and to the methods of Mike Leigh. Last and very much not least, I would like to thank my amazing parents, Ian and Bridie, my brother, Steven, and my extended family for supporting me practically, emotionally and spiritually – not only while writing this thesis, but also throughout my life in the arts. And undoubtedly, I must recognise the unique love of my significant others on this journey, and the patience of my friends who listened, even when they did not have too. It hasn’t been easy, but I am here now… v Contents Abstract ....................................................................................................................................................... ii Declaration ................................................................................................................................................. iii Acknowledgements .................................................................................................................................... iv Contents ..................................................................................................................................................... vi List of Figures .......................................................................................................................................... viii List of Tables ........................................................................................................................................... viii
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