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Space and Spontaneity: an Interdisciplinary Understanding of Improvised Performance, Site and Process

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Space and Spontaneity: an Interdisciplinary Understanding of Improvised Performance, Site and Process Space and spontaneity: an interdisciplinary understanding of improvised performance, site and process A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2019 Gwilym Lawrence School of Arts, Languages and Cultures Contents Abstract ...................................................................................................................................................... 4 Declaration ................................................................................................................................................. 5 Copyright statement .................................................................................................................................. 6 Acknowledgements ................................................................................................................................... 7 The author ................................................................................................................................................. 9 Chapter One: Introduction ...................................................................................................................... 11 1.1 Prologue ......................................................................................................................................... 11 1.2 Site-specific theatre and geography ............................................................................................. 13 Chapter Two: Clinging to the Particular: improvisation and site-specific performance ...................... 18 2.1 Theatrical improvisation ............................................................................................................... 18 2.2 A sketched history of improvisation ............................................................................................. 20 2.3 Contemporary counter-readings .................................................................................................. 29 2.4 Introducing geography .................................................................................................................. 40 2.5 Looking ahead ............................................................................................................................... 46 Chapter Three: The fieldwork ................................................................................................................. 48 3.1 Introduction ................................................................................................................................... 48 3.2 Fieldwork structure ....................................................................................................................... 49 3.3 Planning the fieldwork .................................................................................................................. 51 3.4 Conducting the fieldwork ............................................................................................................. 55 3.5 Narrativising the history of Hope ................................................................................................. 58 3.6 Carrying the fieldwork forward .................................................................................................... 66 Chapter Four: The Hope Ceremony of Recollection; initial reflections ................................................. 70 4.1 Introduction ................................................................................................................................... 70 4.2 From interviews to making ........................................................................................................... 72 4.3 Decisions, decisions ...................................................................................................................... 77 4.4 Fine tuning ..................................................................................................................................... 83 4.5 Leading the ceremony .................................................................................................................. 87 Chapter Five: The Hope Ceremony of Recollection; Findings ................................................................ 99 5.1 Introduction ................................................................................................................................... 99 5.2 Inviting the audience in .............................................................................................................. 102 5.3 Landscape as protagonist ........................................................................................................... 111 5.4 Dramaturgical porosity................................................................................................................ 121 5.5 The final stop ............................................................................................................................... 136 5.6 Conclusion ................................................................................................................................... 139 2 Bibliography ........................................................................................................................................... 145 Appendices ............................................................................................................................................ 150 Word count: 52991 3 Abstract This practice as research (PaR) thesis explores improvisation within site-specific theatre practice. Drawing on theories from within human geography, as well as both theory and practice from theatre and performance, the thesis argues that improvisation is a relational, contingent and emplaced practice – one that continuously and inevitably draws upon its immediate surroundings, as well as on the previous lived experiences of the improviser. Using an original improvised walking performance around the Peak District village of Hope as the case study, the thesis explores the ways in which improvised performance can intersect with notions of place, landscape, memory, personal biography and community – as well as how these things might intersect with one another. Further, by examining the use of improvisation as a means of engaging an audience and drawing them into a process of collaborative recollection, the thesis ultimately shows that improvised performance is an effective technique for inviting people to encounter their immediate environments afresh, bringing new perspectives to seemingly familiar places. The thesis aims to be of interest to theatremakers, theatre and performance scholars, and human and cultural geographers – particularly those working in more-than-representational theories. 4 Declaration No portion of the work referred to in the thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning 5 Copyright statement I. The author of this thesis (including any appendices and/or schedules to this thesis) owns certain copyright or related rights in it (the “Copyright”) and s/he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. II. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patents Act 1988 (as amended) and regulations issued under it or, where appropriate, in accordance Presentation of Theses Policy. You are required to submit your thesis electronically Page 11 of 25 with licensing agreements which the University has from time to time. This page must form part of any such copies made. III. The ownership of certain Copyright, patents, designs, trademarks and other intellectual property (the “Intellectual Property”) and any reproductions of copyright works in the thesis, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property and/or Reproductions. IV. Further information on the conditions under which disclosure, publication and commercialisation of this thesis, the Copyright and any Intellectual Property and/or Reproductions described in it may take place is available in the University IP Policy (see http://documents.manchester.ac.uk/DocuInfo.aspx?DocID=2442 0), in any relevant Thesis restriction declarations deposited in the University Library, The University Library’s regulations (see http://www.library.manchester.ac.uk/about/regulations/) and in The University’s policy on Presentation of Theses 6 Acknowledgements To begin, I would like to express my deep gratitude to my supervisors, Stephen Scott-Bottoms and Mark Riley. Not only have they been perceptive, thorough and knowledgeable readers of the work in its various stages – as well as robust interrogators of the ideas behind it – but their good humour, kindness and encouragement in some difficult moments made the thesis possible, where otherwise it might not have been. This sentiment is extended also to my PG advisor David Calder, who has provided insightful and rigorous feedback on drafts of much of this thesis, and who (equally importantly) has practiced solidarity and
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