BREATH-BODY-SELF: AN EXPLORATION OF THE BODY AS A SITE FOR GENERATING IMAGES FOR PERFORMANCE MAKING Sara Matchett Thesis submitted for the degree of Doctor of Philosophy In the Department of Drama Faculty of Humanities UNIVERSITY OF CAPE TOWN Supervised by Professor Mark Fleishman University of Cape Town April 2016 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town PLAGIARISM DECLARATION 1. I know that plagiarism is wrong. Plagiarism is to use another’s work and pretend that it is one’s own. 2. I have used the Harvard convention for citation and referencing. Each contribution to, and quotation in, this thesis from the work(s) of other people has been attributed, and has been cited and referenced. Any section taken from an internet source has been referenced to that source. 3. This thesis is my own work, and is in my own words (except where I have attributed it to others). 4. I have not allowed, and will not allow, anyone to copy my work with the intention of passing it off as his or her own work. 5. I acknowledge that copying someone else’s assignment or essay, or part of it, is wrong, and declare that this is my own work. Signature Signature removed i ABSTRACT This thesis investigates the body as a site for generating images for purposes of performance making. It is a methodological study that draws from various traditions, methods and somatic practices, such as yoga, Fitzmaurice Voicework®, the Sanskrit system of rasa, body mapping and free writing. The study specifically focuses on interrogating the relationship between breath and emotion, and breath and image, in an attempt to make performance that is inspired by a biography of the body. It explores the relationship between body, breath and feeling and how this impacts on the imagination in processes of generating images for performance making. It further investigates whether breath can be experienced as an embodied element that is sensed somatically by performers, and in so doing act as a catalyst for activating memories, stories, and experiences held in the body of the performer. The potential of breath as impulse as well as thread that connects imagination, memory, body, and expression, is investigated. Using the conceptual framework of somaesthetics, the study draws from theories of the body, neuroscience and cognitive philosophy to support its claims. Through the disciplinary framework of somaesthetics, as an embodied philosophical practice, it is suggested that the performer cultivates a heightened awareness that makes possible what is being proposed as a process of performance making. It draws on my experience as a lecturer of theatre in the Department of Drama at the University of Cape Town as well as on my experience as a maker of performance with The Mothertongue Project, a women's arts collective I co-founded in South Africa in 2000. My work with The Mothertongue Project, emanates from a particular ideological position in the world that is informed by the context in which I locate. South Africa has some of the highest rates of rape and sexualised violence against women in the world. The result is a society where women’s bodies, in particular, are constantly under threat of being violated. In summary, this thesis explores the relationship between a particular kind of performance making process for a particular kind of work within a particular kind of context. It seeks to provide women with the tools and space to speak back to the social context they inhabit. ii The choice to include a creative project as a case study alludes to the synergetic relationship between theory and practice. One that is cyclical; one that speaks directly to the method of image generation for purposes of performance making that is being proposed, where the route between breath, body, emotion and image, maps a circular trajectory. iii ACKNOWLEDGEMENTS The completion of this degree has been made possible by the financial, academic and moral support that has been offered to me by numerous people. I would like to thank UCT for the staff PhD Bursary and the National Research Foundation for supporting my sabbatical to complete this thesis. My supervisor, Professor Mark Fleishman, your integrity and insight has kept me going. Thank you for encouraging my research and for allowing me to grow as a researcher. I am honoured to have been supervised by you. I would like to thank my colleagues in the Department of Drama at UCT for your support and belief in my work. The Drama Department’s administration team, Shabnam Pansari, Rob Keith and Nabeelah Kahn, thank you for your support throughout the five years: from assisting with applying for funding to helping me keep to my research schedule. I am truly grateful for your efficiency and encouragement. To the students, you are my inspiration. You have sparked many questions and indeed are amongst the main instigators of this research. Anne Schilling, the research we shared around Koodiyattam rasa breath patterns and Alba Emoting was illuminating and has assisted me contextualising a large part of the research. Veenapani Chawla, Vinay Kumar and all at Adishakti, thank you for introducing me to the theory of rasa in practice and principle. The generosity of your sharing has inspired so much of what I practice and teach. To Catherine Fitzmaurice and Saul Kotzubei, I feel blessed to have been taught by you and to have experienced the principles of Fitzmaurice Voicework® directly from the source. This work has opened worlds for me; it set me on a path that ultimately revealed what this study was to be about. To my parents, Denny Clarkson and Peter Matchett, for their keen interest and unwavering encouragement. Dad, I made a promise at your memorial service that I would undertake my doctoral studies. Even though you will never read this thesis, I know you are cheering me on from the Spirit World! Mum, thank you for encouraging me at the age of 14 to pursue studies in theatre and performance. To all the research participants: the UCT second year acting students of 2010, the UCT first year theatre voice class of 2011, Siphumeze Khundayi, alumni of the National School of iv Drama in Delhi, Sue Kiel, Namatshego Khutsoane, Rehane Abrahams, Koleka Putuma, Nwabisa Plaatjie, Namisa Mdlalose and Qondiswa James. Your input served as constant fodder. You enabled me to figure my way through this research. I am eternally grateful for your commitment and willingness to ‘throw’ yourselves in. To my friends: Makgathi Mokwena for encouraging me to continue when I wanted to give up. Your red pen assisted me greatly! Genna Gardini, Hazel Barnes, Gay Morris, Liz Mills, Anuradha Kapur, Maya Rao, Nandita Dinesh, Kabi Thulo, Mwenya Kabwe, Dieketso Mohoto, Veronica Baxter, Warren Nebe, Rubin Rhode, and Silvana Dantu, thank you for your support and for being constructive sounding boards. To the many friends I have not mentioned, thank you for understanding when I wasn’t always available to ‘play’. Moeneeb Dalwai, IT Technician on Hiddingh campus, for your IT assistance and willingness to assist whenever I called. Solvej Vorster and the staff of the Hiddingh Library, thank you for your readiness to assist with my research needs. Sharon Friedman, your editing skills assisted greatly in pulling things together in the final stages. Thank you for your efficiency in meeting my deadline. To my children: Jasmine, Sukoluhle and Sthembiso, your patience has been remarkable. I wasn’t always available to do ‘fun’ things, and I know this sometimes frustrated you. Your understanding and acceptance gave me courage. Finally, to my beloved partner, Nina Callaghan, your unwavering support and willingness to help me make sense of my thoughts, listening to hours of me monologuing, and reading the final draft, are things I cannot thank you enough for. Your belief in me is remarkable. You inspire me to continue on this path I have chosen. Thank you, Nina. This thesis is dedicated to: my mentors over the years, but particularly to Yvonne Banning and Veenapani Chawla who opened up worlds for me and affirmed why I do what I do. My father Peter Matchett, for planting the seed, and my grandmother Violet Hebe Matchett, for being so present in my life. This work is based on the research supported in part by the National Research Foundation of South Africa (UNIQUE GRANT NO: 92652). v TABLE OF CONTENTS PLAGIARISM DECLARATION................................................................................................ I ABSTRACT ......................................................................................................................... II ACKNOWLEDGEMENTS .................................................................................................... IV TABLE OF CONTENTS ........................................................................................................ VI CHAPTER ONE – THE RAW MATERIAL ................................................................................ 1 Introduction ..................................................................................................................... 1 Rationale and Motivation ................................................................................................. 3 Some methodological