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A Search for Primitive Voice in Post-Modern Theatre UNLV Retrospective Theses & Dissertations 1-1-1995 A search for primitive voice in post-modern theatre Lucinda Jane Neal University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Neal, Lucinda Jane, "A search for primitive voice in post-modern theatre" (1995). UNLV Retrospective Theses & Dissertations. 547. http://dx.doi.org/10.25669/tpxg-au2i This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS Hiismaxtuscr^ has been rq>rodaced from the microfilm master. UMI films the text directfy from the origmal or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be firom any type of conqmter printer. The qnali^ of diis xeprodnctioii is d^endoit upon the qnali^ of the copy submitted. Broken or indistinct print, colored or poor quality iUnstrations and photographs, print bleedthron^ substandard and inqnqper alignment can adverse^ affect reproduction. In the unlikefy event that the author did not send UMI a complete manoscr^ and there are missing pages, these wül be noted. Also, if unauthorized o^iyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced ly sectioning the original, beghming at the iq>per left-hand comer and continuing ftomldft to x^ht in equal sections with small overkps. Eadi original is also photogrsq>hed in one exposure and is included in reduced form at die bade of tte book. Fhotogrsphs included in the original manuscrqit have been reproduced xerographicaify in this copy. Higher quality 6* x 9" black and white photographic prints are available for aiy photographs or illustrations spearing in this copy for an additional charge. Contact UMI direct^ to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A SEARCH FOR PRIMITIVE VOICE IN POST-MODERN THEATRE by Lucinda J. Neal A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts m Theatre Arts Department of Theatre Arts University of Nevada, Las Vegas December 1995 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. m u Number: 1377648 UMI Microfonn 1377648 Copyright 1996, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zed) Road Ann Arbor, M I 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Thesis of Lucinda J. Neal for the degree of Master of Arts in Theatre Arts is approved. ey Koep, P h .^ ing GonoWttee Member, Julie Jensen, Ph.D. Examining Committee Member, ,Arm Arm I McDonough, Ph D. Graduate Faculty Representative, k u l Kreider, Ph.D. Dean of the Graduare College, Cheryl Bowles Ed.D. University of Nevada, Las Vegas December 1995 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT This thesis examines the influences of primitive vocal delivery on Post-Modern Theatre. Beginning with a review of the work of three directors: Jerzy Grotowski, Peter Brook, and Richard Schechner; the thesis moves to a case study of a 1991 production o f Macbeth where primary research is documented. Focusing on the production of a language based on primitive culture, the theatrical community is furnished with a vocabulary of sound/communication that may be implemented for Macbeth's Weird Sisters. Finally, the thesis directs the use of primitive vocal scoring, like musical transcription, toward a future outlook at similar projects. m Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT...............................................................................................................iii ACKNOWLEDGEMENTS.................................................................................... v CHAPTER I: INTRODUCTION ,...................................................................... 1 CHAPTER H: REDEFINING THE VOICE............................................................3 CHAPTER ni: FROM ARTAUD TO GROTOWSKI............................................ 9 Voice Training .......................................................................................................15 Paratheatrical Projects and Voice ................................................................... 20 Theatre of Sources .............................................................................................. 25 CHAPTER IV: FROM ARTAUD TO BROOK..................................................... 27 International Centre ............................................................................................ 32 The Mahabharata................................................................................................ 36 Conclusions ...........................................................................................................43 CHAPTER V: FROM ARTAUD TO SCHECHNER............................................... 46 CHAPTER VI: COMPARING: THE SEARCH FOR EPIPHANY.................... 54 CHAPTER VE: CASE STUDY: A VOICE FOR THE WEIRD SISTERS............64 Adding the Ingredients ..........................................................................................67 Searching for a Power Source .............................................................................. 76 Things Done in Secret ...........................................................................................77 Entrance................................................................................................................ 81 "Where Hast Thou Been Sister" ........................................................................... 82 "All Hail Macbeth"................................................................................................83 The Letter Scene...................................................................................................83 Is This a Dagger? ................................................................................................ 84 Other Voices ....................................................................................................... 84 The Pow-Wow ......................................................................................................85 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Apparitions ......................................................................................................... 86 Show! .................................................................................................................. 86 Pow-Wow Conclusion ....................................................................................... 87 Sleepwalking Scene .............................................................................................88 (A Cry of Women is Heard Within) .....................................................................89 Bimam Wood ......................................................................................................90 Final Words ........................................................................................................ 90 Fine Tuning ......................................................................................................... 90 Costume ......................................i...................................................................... 91 Pre-Show Voice ................................................................................................. 92 CHAPTER VE; REACHING FORWARD........................................................... 93 APPENDIX I: PRIMITIVE VOCAL VOCABULARY....................................... 103 APPENDIX E: EXAMPLES................................................................................. 108 APPENDIX IE; PRE-SHOW EXCERPT MAP................................................ 114 WORKS CITED................................................................................................... 117 WORKS CONSULTED...................................................................................... 118 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I would like to express my appreciation to Dr. Jeffrey Koep, who initiated the recognition of my work with the Rainbow Company Children's Theatre Production of Macbeth, and who was an enthusiastic supporter in this thesis. Also, appreciation
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