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Yip, Leo Shing Chi. "Reinventing China: cultural adaptation in medieval Japanese Nô Theatre." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1087569643.
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Ho, Ai-Cheng. "Application du Taiji quan au jeu de l’acteur : conception et mise en pratique d’un training créatif." Electronic Thesis or Diss., Bourgogne Franche-Comté, 2022. http://www.theses.fr/2022UBFCC033.
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Ma recherche théorico-pratique consiste en une étude portant sur l’application de la pratique et de la philosophie du Taiji quan dans la préparation de l’acteur et de la performance théâtrale.Ma thèse entend, d’abord, analyser comment la recherche d’une conscience supérieure par la pratique du Taiji quan répond au travail des metteurs en scène européens du XXe siècle jusqu’à aujourd’hui qui vise à stimuler la conscience créative de l’acteur. Puis je réfléchirai à la façon dont l’acteur parvient à substituer à sa conscience ordinaire une tout autre conscience durant le processus de son jeu, et j’essaierai de voir comment l’entraînement physique de l’acteur facilite cette transformation psychique. C’est pourquoi j’examinerai les méthodes les plus efficaces, et en particulier la technique psycho-physique du Taiji quan. Cette technique peut être envisagée et appliquée au jeu de l’acteur afin d’activer sa créativité et d’accroitre sa présence scénique, de manière à creuser l’écart entre lui-même et son personnage, et à développer sa vigilance réactive et sa perception spatio-temporelle.Mon étude s’appuie sur une enquête de terrain à Taiwan, en Chine et en France (pratique et entretiens avec des artistes et des experts du Taiji quan, du taoïsme et de la médecine chinoise), ainsi que sur ma propre pratique du théâtre et du Taiji quan. Mes expérimentations avec des acteurs français et dans différents ateliers m’ont amenée à explorer diverses techniques du Taiji quan pour élever la conscience de l’acteur à partir d’une articulation entre tradition et modernité, théorie et pratique. Mon but est d’élaborer un nouvel entraînement de l’acteur en fusionnant des méthodologies orientales et occidentales pour obtenir une haute performance de l’acteur sur scèneMy PhD research explores how Taiji quan can be applied as a valued tool to enhance the actor’s “creative self-awareness” and integrate it into the actor’s training. Taiji quan, a prominent practice in Chinese culture that fuses external exercise and internal technique, aims to coordinate and unify body and mind. Specially, I examine how the psychophysical technique of Taiji quan allows the actor to transfer his body-and-mind status to a higher level to increase his “scenic presence”, to maintain a “gap” between himself and his role to create universal emotions, and develop his perception with the outer world. In this way, I present how the actor elevates his consciousness to superior levels during the acting process and how the corporeal training of Taiji quan facilitates this transformation.The study aims to explore the diverse technique of Taiji quan in cultivating the actor’s consciousness through in-depth interviews, analysis of performances, the researcher’s practical experiences in theatre and Taiji quan, and experimental research with actors and theatre students. The study also endeavors to introduce this traditional practice into the domain of modern psychophysical acting, to develop a method that fuses Eastern and Western performance methodologies and enables actors to apply the technique to improve acting
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Loon, Robin Seong Yun. "Reading intercultural performance : the Theatre Works Intercultural Trilogy." Thesis, Royal Holloway, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415214.
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Guertin, Caroline Aki Matsushita. "Suzuki Tadashi's Intercultural Adaptations." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32872.
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Contemporary theatre is increasingly visual, an aesthetic shift that has been analyzed in, among others, Hans-Thies Lehmann’s influential Postdramatic Theatre. This shift is apparent in Japanese director Tadashi Suzuki’s intercultural adaptations, which adapt plays of the Western repertoire for contemporary Japanese and international audiences in a style that is richly and evocatively visual. Notions drawn from postdramatic theatre, metatheatre and postcolonial theories are applied as framing devices to uncover the deep cultural and theatrical significance of Suzuki’s adaptive work.
My approach to analyzing the three case studies: Suzuki’s King Lear, The Trojan Women, and Cyrano de Bergerac takes a more globalized view of theatrical adaptations that acknowledges the visual turn of contemporary theatre and contributes to the fields of intercultural performance studies and adaptation studies by expanding the notion of interculturalism beyond the limits imposed by current Western analytical perspectives.
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Dotson, Jessica N. "INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3725.
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Abstract
INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE
Jessica Nicole Dotson
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University.
Virginia Commonwealth University, 2015.
Major Director: Dr. Noreen C. Barnes, Director of Graduate Studies, Associate Professor of Theatre
In the 1990s, astronomer Peter Usher was searching for new ways to teach his introductory astronomy class at Pennsylvania State University. He began to engage his students by searching for astronomical connections from other disciplines. His focus was turned to the arts, especially the works of William Shakespeare. Usher found, while searching through the canon of Shakespeare's work, astronomical references that explored the “new astronomy” of the Elizabethan age (Falk 171). This thesis will explore the writings of Usher, in regard to the astronomy of Hamlet, along with the interdisciplinary connections between art and science in and outside the classroom and museum theatre. From interdisciplinary classroom methods, to arts and scientists collaborating together for the betterment of man-kind, the use of theatre is a way of rediscovering the humanity of human history. The collaboration between the disciplines serves as one of theatre's greatest purposes, to educate and represent a living history of man.
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Kagolobya, Richard. "Symbolic interaction and intercultural theatre performance dynamics in Uganda : the case of Makerere Universitys Intercultural Theatre Collaborations." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96034.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This dissertation investigates and examines the dynamics of intercultural theatre practice. Existing scholarship on interculturalism in theatre praxis regards intercultural theatre as a site for bridging cultures and cross-cultural performance traditions, and for investigating the performance of power between the collaborating parties, learning, cultural imperialism, cultural translation and hybridity, among other features. However, much of the existing literature does not offer a historical perspective allowing one to understand the dynamics of contemporary North-South collaborations. Moreover, most studies do not adequately weave the experiences of the participants in such collaborations into their analyses. This study contributes to filling that research gap. This research specifically seeks to investigate and examine the dynamics of intercultural theatre collaborations in Uganda, taking Makerere University‘s Department of Performing Arts and Film‘s intercultural theatre activities in recent years as case studies. The inquiry was mainly driven by the impetus to explore the North-South intercultural theatre dynamics and to examine the socio-cultural, socio-political, socio-economic features and other notions that were manifested in these intercultural theatre collaborations and performances. In order to pursue the above line of inquiry I used a multiple case study design by examining three cases: the Stanford-Makerere, New York-Makerere and the Norwegian College of Dance-Makerere collaborations. The multi-case study model was reinforced by the use of personal interviews, direct observation, focus group discussions, document analysis and emails of inquiry in order to solicit the views of individuals who had participated in the above collaborations. Theoretically, the study is hinged on a multiplicity of concepts and discourses: symbolic interaction, intercultural communication, theatre studies, postcolonial studies, international education and the discourse on globalisation. In the analysis of the different cases it was discovered that the issue of economic inequality in the contribution towards the funding of the collaborations, among the different modes of power performativity manifested in the collaboration processes, sometimes leads to an imbalance in the decision-making process. Consequently, the power imbalance contributes to the North-South intercultural theatre collaborations‘ unending crisis of identification with imperialism. The study further shows that there are cultural, linguistic, pedagogical, structural and socio-psychological aspects of difference that are negotiated during the course of the collaborations. It was found that the process of navigating the socio-cultural differences provides the participants with an experiential learning environment of living with/within and appreciating cultural differences, thus providing a bridge across the socio-cultural divide. The cultural bridge in theatrical terms, however, leads to the generation of theatrical hybridity and fusion, which again brings into play the debate on intercultural performance authenticity/inauthenticity in theatre discourse. Also, based on the view that intercultural theatre collaborations are microcosms of multifaceted global intercultural interactions, it was seen that the socio-cultural differences that are negotiated through the intercultural theatre collaborations can give one a microcosmic platform for critiquing the grand concept of the ―global village‖ and the associated notion of ―world cultural homogenisation‖. Since this study uses a novel multidisciplinary approach in the analysis of intercultural theatre phenomena, I believe it will contribute to critical theatre studies in Uganda and elsewhere. The findings will also hopefully contribute towards the assessment of intercultural theatre collaborations at Makerere University in order to improve them. The study will also advance the view that intercultural theatre‘s aesthetic and experiential processes can help in interpreting and understanding our respective multicultural environments. Broadly, it will contribute to the discourse on intercultural communication, performance and cultural studies.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die dinamika van interkulturele teaterpraktyk. Bestaande navorsing oor interkulturaliteit in die teaterpraktyk beskou interkulturele teater as ‘n forum vir die oorbrugging van kultuurgrense en interkulturele opvoeringstradisies, en vir die ondersoek na aangeleenthede soos die uitvoering van mag tussen die deelnemende partye, leer, kulturele imperialisme, kulturele vertaling en hibriditeit. Die bestaande literatuur bied egter grotendeels nie ‘n historiese perspektief waaruit die dinamika van kontemporêre Noord-na-Suid-samewerkings verstaan kan word nie. Verder verweef die meeste ondersoeke nie die ervarings van die deelnemers aan sulke samewerkings bevredigend in hul analises nie. Hierdie ondersoek dra by tot die vul van daardie navorsingsgaping. Hierdie navorsing poog spesifiek om die dinamika van interkulturele teatersamewerkings in Uganda te ondersoek deur van onlangse interkulturele teateraktiwiteite aan die Departement Uitvoerende Kuns en Film aan die Makerere Universiteit gebruik te maak as gevallestudies. Die beweegrede vir die ondersoek is hoofsaaklik die verkenning van die dinamika van interkulturele Noord-na-Suid-teatersamewerking en ‘n ondersoek na die sosio-kulturele, sosio-politiese en sosio-ekonomiese kenmerke en ander opvattinge wat in hierdie interkulturele teatersamewerkings en -opvoerings gemanifesteer het. Om hierdie ondersoek te onderneem, het ek drie gevalle in ‘n meervoudigegevallestudie-ontwerp bestudeer: die samewerkings tussen onderskeidelik Stanford en Makerere, New York en Makerere, en die Norwegian College of Dance en Makerere. Die meervoudigegevalle-ontwerp is versterk deur die gebruik van persoonlike onderhoude, direkte waarneming, fokusgroepgesprekke, dokumentanalise en e-posnavrae in ‘n poging om die opvattings van individue wat aan die bogenoemde samewerkings deelgeneem het, te verkry. Teoreties is die studie gefundeer in ‘n veelvoud konsepte en diskoerse: simboliese interaksie, interkulturele kommunikasie, teaterstudies, postkoloniale studies, internasionale opvoedkunde en die diskoers oor globalisering. In die analise van die verskillende gevalle is bevind dat die kwessie van ekonomiese ongelykheid in bydraes tot die befondsing van samewerkings, onder die verskillende modusse van magsperformatiwiteit wat in die samewerkingsprosesse gemanifesteer het, soms ‘n wanbalans in die besluitnemingsproses tot gevolg het. Gevolglik dra hierdie magswanbalans by tot die nimmereindigende krisis van identifikasie met imperialisme waaronder interkulturele Noord-na-Suid-teatersamewerkings gebuk gaan. Die ondersoek toon verder dat daar kulturele, linguistiese, pedagogiese, strukturele en sosio-psigologiese verskille is wat oorkom moet word vir suksesvolle samewerkings om plaas te vind. Daar is bevind dat die hantering van sosio-kulturele verskille die deelnemers van ‘n eksperimentele leeromgewing voorsien vir die belewing en waardering van kultuurverskille, waardeur die sosio-kulturele skeiding oorbrug word. Die kulturele brug lei egter, in toneelmatige terme, na die ontwikkeling van toneelmatige hibriditeit en versmelting, wat weer die debat oor die outentisiteit al dan nie van interkulturele opvoerings in die teaterdiskoers aktiveer. Verder is daar, gebaseer op die siening dat interkulturele teatersamewerkings mikrokosmosse van veelvlakkige globale interkulturele interaksie is, bevind dat die sosio-kulturele verskille wat deur interkulturele teatersamewerkings oorkom word, ‘n mikrokosmiese platform kan voorsien vir die kritisering van die begrip van die sogenaamde ―wêrelddorpie‖ en verwante nosies van wêreldwye kulturele homogenisering. Aangesien hierdie ondersoek ‘n nuwe multidissiplinêre benadering tot die analise van interkulturele teaterverskynsels gebruik, glo ek dit sal bydra tot die teaterkritiek in Uganda en elders. Die bevindinge sal hopelik bydra tot die assessering van interkulturele teatersamewerkings aan Makerere Universiteit om hulle te verbeter. Die ondersoek sal ook die siening voortdra dat interkulturele teater se estetiese en ervaringsprosesse kan help met die interpretasie en verstaan van ons onderskeie multikulturele omgewings. Breedweg sal dit bydra tot die diskoers oor interkulturele kommunikasie, opvoering en kultuurstudie.
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Holman, Anna Caitlin. "Culture and identity : language use in intercultural theatre." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61176.
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In the practice and production of intercultural theatre, language has held a variety of functions. However, the connection between language and culture in the theoretical models of intercultural theatre has been largely unexplored. The theories of linguistic anthropologists Dell Hymes, Richard Bauman, Joel Sherzer, and Charles Briggs postulate that language is a fundamental component of culture and that performative events present ideal sites for analysis. Mary Bucholtz, Kira Hall, and Norma Mendoza-Denton theorize that identity is a performative act of the self and other through language. Given these theories, this research asks: how does language function as a property of culture and identity in intercultural theatre? To answer this question, I have examined the role of language in two intercultural theatre productions which previewed in Vancouver, Canada in 2016. The analysis of these two works, Kayoi Komachi: A Noh Chamber Opera and Lady Sunrise, includes live and video-recorded performance analyses, script analysis, and interviews with the participating artists. This thesis demonstrates that language in intercultural theatre both informs cultural representation and influences the identities of the performers and their characters. With these findings, this research suggests that future models of intercultural theatre frame culture within a linguistic context.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Shih, Wen-shan. "Intercultural theatre, two Beijing opera adaptations of Shakespeare." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49874.pdf.
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Mallett, A. "Composing for musical theatre : approaches to interdisciplinary collaboration." Thesis, Bath Spa University, 2018. http://researchspace.bathspa.ac.uk/11591/.
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This study investigates how a composer negotiates the transition from previous solo working practices into an interdisciplinary setting, through the creation of four original works of musical theatre. Experiences of composing within three contrasting collaborative models are considered within a framework of socio-psychological, organisational and creative collaboration theory, and cross-referenced with interview evidence from contemporary musical theatre composers. A five-stage process in the development of a collaborative musical theatre project is presented, illustrating key factors influencing each phase. The musical theatre environment is shown to be an ideal setting for both research into collaborative creativity, and the nurturing of collaborative skill. By consciously exploiting diversity as a resource, the composer can both enrich their compositional practice and learn to collaborate more effectively. Auto-ethnographic research can further enhance this development, with the mental act of self-observation fostering a sense of self-awareness that promotes innovative approaches to the compositional process. The role of composer-researcher demands a flexibility of thought and approach that supports the duality required to effectively shift between collaborative and solo contexts, and the microcosm and macrocosm of the show.
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McAllister-Viel, Tara. "Toward an intercultural/interdisciplinary approach to training actors' voices." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426164.
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MORAES, LUCIANA SALLES DE BRAGANCA. "METADISCOURSE IN RESEARCH ARTICLES: INTERCULTURAL, INTERDISCIPLINARY AND RHETORICAL VARIATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7260@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOEste trabalho estuda o uso do metadiscurso em artigos pesquisa em diferentes culturas, áreas disciplinares e seções do artigo, tendo como objetivo investigar como esse recurso retórico varia em contextos lingüísticos e sócio-culturais diversos, contribui para a construção de sentido de textos escritos e reflete a construção de conhecimento em diferentes áreas disciplinares. A pesquisa adota como base teórica a abordagem sociointeracional de linguagem, a teoria da construção social do conhecimento e princípios da retórica contrastiva. O corpus utilizado compõe-se de 24 artigos científicos, divididos em duas línguas (português e inglês), duas áreas disciplinares (Ciências Biomédicas e Lingüística, Letras e Artes) e quatro seções (Introdução, Metodologia, Resultados e Discussão). O estudo da variação entre os textos escritos em inglês e português mostrou que há diferenças quanto ao uso de itens metadiscursivos que enfocam a micro ou a macroorganização do artigo de pesquisa. A variação interdisciplinar mostrou que o texto pode ser escrito de forma subjetiva ou objetiva, e que o conhecimento nas diferentes comunidades disciplinares pode ser construído com base em idéias ou fatos. Quanto às seções dos artigos, verificou-se que o uso do metadiscurso varia para alcançar objetivos retóricos diferenciados de acordo com a seção do artigo. Esta pesquisa reforça a possibilidade e necessidade de enfocar o metadiscurso e a linguagem sob uma ótica sociointeracional, confirmando que a escrita acadêmica é interativa e mostrando que a construção de sentidos de textos e a construção de conhecimento variam em diferentes culturas e comunidades disciplinares.
This research studies the use of metadiscourse in research articles in different cultures, disciplinary areas and article sections, aiming at investigating how this rhetorical device varies in different linguistic and socio- cultural contexts, contributes to the construction of meaning in written texts and reflects the construction of knowledge in different disciplinary areas. This work adopts as theoretical basis a sociointeractional approach to language, the theory of social construction of knowledge and principles of contrastive rhetoric. The research corpus is composed of 24 scientific articles, divided into two languages (Portuguese and English), two disciplinary areas (Biomedical Sciences and Linguistics, Letters and Arts), and four sections (Introduction, Methodology, Results and Discussion). The study of variation between texts written in English and Portuguese shows that there are differences in the use of metadiscourse items which can focus on micro or macroorganization of the scientific article. Interdisciplinary variation shows that scientific texts can be written either in a subjective or objective manner, and that knowledge construction in different disciplinary communities can be based either on ideas or facts. As to research article sections, this study shows that the use of metadiscourse varies according to writers´ intention to reach rhetorical objectives in each section. This research study reinforces both the possibility and necessity to focus on metadiscourse and language under a sociointeractional perspective, confirming that academic writing is interactive, and showing that the construction of meaning in texts and the construction of knowledge vary in different cultures and disciplinary communities.
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O'Toole, Emer. "Rights of representation : an ethics of intercultural theatre practice." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/9ceb1133-bc32-192d-f51c-f4d419ac2107/7/.
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This doctoral thesis proposes an ethics of intercultural theatre, offering a materially engaged framework through which to approach both the problematics and positive potential of intercultural practice. Framing intercultural debates in terms of rights of representation, it suggests that the right to represent Othered people and cultures can be strengthened through 1) involvement of members of all represented cultures, 2) equality and creative agency of all collaborators, 3) advantageousness of a given project to all involved, and 4) positive socio-political effects of a production within its performance contexts. Working through four diverse case studies – Tim Supple's A Midsummer Night's Dream, Pan Pan Theatre Company's The Playboy of the Western World, Peter Brook's 11 and 12 and Bisi Adigun and Roddy Doyle's The Playboy of the Western World – this project uses a Bourdieusian theoretical framework to flag elements of contemporary intercultural practice that strengthen and weaken rights of representation. It recognises that Orientalist and Eurocentric modes of representing Otherness still require address; equally, it points to laudable working practices, moving towards a pragmatics of best intercultural theatre practice.
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Liang, Wen-Ching. "Assembling differences : towards a Deleuzian approach to intercultural theatre." Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617089.
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This thesis examines instances of intercultural theatre seen on the Anglo stage, and aims at the purpose of a broader reading of the Chinese cultural elements applied in these productions. Working with a series of concepts related to what Deleuze and Guattari call "assemblage," a new approach is developed to observe intercultural theatre. Previously, intercultural performance has often been examined from a viewpoint that focuses on the problems of cultural identity and authenticity. While not disagreeing with the questions raised by such a perspective, this thesis seeks to develop new ways to make sense of the often found contradictory trajectories in intercultural. theatre. Three productions are studied in this thesis. Peter Sellars's adaptation of a classic Chinese play, Peony Pavilion, sets out to describe the modern life of Asian Americans. Most often, a production like this is assessed according to the degree of deviation from the classic presentation. In contrast, my discussion of this production explores cultural boundaries that define the female leads and the music composed by Tan Dun. Yellow Earth Theatre's Lear's Daughters provides another occasion to unravel how tiny elements from different dimensions can be connected from afar and form bigger assemblages. The third production, Play to Win, also by Yellow Earth Theatre, deals with issues regarding young East Asian people in Britain. The concept of "becoming-minor" is applied in order to comprehend the novelty in such a play and to reject the conventional approaches of identity politics when it comes to ethnic issues. Taking up these Deleuzian concepts is an attempt to delineate intercultural theatre with a flexible route to locate divergent cultural elements in one single performance. In doing so, the thesis constructs a way to see a theatre production not as a representation of real life but a presentation or formation of singular events.
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Studham, Susan Fenty. "Stage management: A question of approach in intercultural theatre." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1588.
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This thesis questions the complexities of stage management in crosscultural exchanges by way of a case study surrounding the mounting and maintenance of an original theatrical production in Bali, utilising an introduced western theatre style. The collaboration takes place in the newly constructed mega-theatre at the Bali Safari and Marine Park in Gianyar (2010). As an American-Australian stage manager, my research is predicated on experiences of leading and mentoring a team of ten Indonesian (Balinese and Javanese) stage managers in procedures required to manage a technically-advanced, large-scale production. Bali Agung presents a legend of Balinese goddesses in a production that was created by an international artistic team featuring a cast of more than 150 Balinese performers, plus 11 species of animals and supported by a technical team of approximately 70. Due to the inexperience of the team, formal training became an aspect of the exchange. During the research process, I returned to Bali numerous times for data collection, further mentoring, rehearsals and productions at Bali Theatre, thus couching the investigation in an ethnographic study and an integral action research feedback loop.
The investigative focus is on the production requirements of a mega show in an intercultural context and the unique and extraordinary considerations that were encountered in the process. Considerations include theoretical concepts such as syncretism, interculturalism, hybridity, time, communication, safety management and religion, all of which have bearings on this case study. Re-evaluation of the production processes by means of interviews, observation, action research and ethnography offers the opportunity to shed new light on approaches to stage management and the training of stage managers in an intercultural context. Framed by a professional theatrical production, this practice-led study explores ideas of synthesis, cultural variation, knowledge transfer and assumptions embedded in theatrical processes, and brings into focus previously undocumented creative negotiations and complexities of exchange, which offer new concepts in the discipline of stage management.
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McGregor, Lilicherie. "The praxis of postcolonial intercultural theatre in Aotearoa New Zealand." Thesis, University of Canterbury. Drama, 2004. http://hdl.handle.net/10092/4845.
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Throughout history theatrical performance has been used both as a disseminator of dominant ideology and as a place for revolt. This study will investigate how theatre in Aotearoa New Zealand may play a role in the decolonization of postcolonial peoples. At the core of the dissertation is an engagement with theories of postcolonial and intercultural performance which are tested in a theatre laboratory experiment to see how these theories translate in practical terms to the stage. The work will investigate, through a semiotic analysis, what occurs in the process of rehearsal and direction in transforming the meanings of a text to the stage. The text used for the theatre laboratory experiment is Mervyn Thompson's Songs to the Judges. One aim of the production will be to juxtapose Māori and Pākehā performance forms in a syncretic theatre performance. During the process I will focus on questions such as, "on what terms can a Pākehā woman direct a play with a bicultural cast?" and "what are the (im)possibilities of an equal exchange of knowledge/experience between the Maori and Pākehā participants?" Whilst the performance highlights polarities of them and us, black and white, the aim of the rehearsal process and group dynamic is to move beyond this polarity operating under the philosophy of Barba's concept of 'Third Theatre’, For members of the third theatre, content and form are often less important than a group's socio-cultural philosophy and how that philosophy is realized in its daily work and reflected in its productions (Watson 1993: 21).
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Underiner, Tamara L. "Cultures enacted/cultures in action : (intercultural) theatre in Mayan Mexico /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/10218.
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Leffler, Elliot. "Devising dialogue : structuring intercultural encounters through the process of workshop theatre." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8162.
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Includes abstract.Includes bibliographical references (leaves 79-82).
This dissertation explores the efficacy of workshop theatre processes in nurturing intercultural dialogue among members of a multicultural group. It investigates two kinds of intercultural dialogue - interpersonal dialogue and intergroup dialogue - which, it is argued, are each catalysed by different theatrical processes. Theatre games and improvisations seem to nurture an interpersonal dialogue, in which cultural differences are transcended as group members recognise each other's common humanity. Theatre research, on the other hand, seems more able to nurture an intergroup dialogue, in which group members acknowledge and contextualise cultural differences. At the same time, this dissertation proposes that it is unethical and ultimately ineffective for a facilitator to deliberately nurture a purely-interpersonal dialogue or a purely-intergroup dialogue. Rather, the group members themselves should determine the nature of the dialogue in which they participate. The dissertation therefore embraces Fred Casmir' s model of third-culture building, which conceptualises the multicultural group as a 'third-culture' that ideally evolves to accomodate the needs of all of its members.
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Accetta, Valerie. "Singing for the Actor: An Interdisciplinary Approach to Musical Theatre Training." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2991.
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Typically, singing training for the musical theatre student is divided into three subjects: music theory, private voice instruction and acting through song. By separating the study of the components of musical theatre performance, musical theatre programs reinforce this compartmentalization and few students are able to make connections between these components in performance. This thesis gives an account of my design of an interdisciplinary approach to the study of musical theatre, specifically a class I developed called Singing for the Actor. In this class, I focused on connecting three components of musical theatre singing: music theory, vocal production (specifically the Estill Voice Training System) and acting. My intent was to help students connect these skills so that they would be able to tell a story through song with more specificity. In this thesis, I detail my research and the design of the course, as well as the outcome and student response.
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Steains, Timothy Kazuo. "Becoming Mixed: Intercultural Engagement with Japan in Contemporary Australian Literature, Cinema, and Theatre." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16552.
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This thesis examines intercultural engagement between Australians and Japanese in a total of nine examples of contemporary Australian literature, cinema, and theatre. Given the recent political rhetoric surrounding Australia’s role in the ‘Asian century’ and its need to ‘engage’ Asia, this study considers how intercultural exchanges might lead to productive forms of cultural mixture in Australia. I use mixed racial and cultural experiences – such as my own – as a framework to think about the benefits of mixed cultural identification. I argue that cross-cultural engagement can lead individuals and societies to possessing multiple forms of cultural, national, and even racial identification. Individual moments of ‘becoming mixed’ offer ways of thinking about transnational formations of Australian cultural life and identity. This exploration takes up Ghassan Hage’s call to consider the potential of intercultural relations, given the failures of Australian multiculturalism. In addition, by taking own mixed race position into account, this project examines the limitations of the restrictive ‘identity politics’ of many postcolonial or critical race approaches to ethnic and racial identity. I employ Kuan-Hsing Chen’s notion of ‘becoming others’ and place it in conversation with Deleuzian becoming and a version of the subject that draws on Freudian melancholia. Becoming others, or becoming mixed, allows us to consider the new possibilities of cross-cultural identifications that are not bound by rigid ethnic, racial, or national identities. The first section of this thesis examines three road movies centring on interracial desire – Sue Brooks’s Japanese Story (2003), Rachel Lucas’s Bondi Tsunami (2004), and Clara Law’s The Goddess of 1967 (2000). The second section analyses three theatre-themed texts (one novel and two plays) that explore ghostly possession and the embodiment of difference – Paddy O’Reilly’s The Factory (2005), Allan Marett’s Oppenheimer Noh (2015), and Mayu Kanamori’s Yasukichi Murakami: Through a Different Lens (2014). The final section examines three novels that centre on wartime reconciliation – Gail Jones’s Dreams of Speaking (2006) Richard Flanagan’s The Narrow Road to the Deep North (2013), and Christine Piper’s After Darkness (2014).
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Tahririha, Mahalia Golnosh. "The Creation of New Meaning in Contemporary Intercultural Performance." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37314.
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The global movement of peoples and the changing demographics of an ever-more globalized world are undoubtedly becoming increasingly reflected in theatrical practice. Contemporary intercultural performance has become a way for first/second-generation, migrant, immigrant, and exilic artists to re-inscribe and reclaim their agency and cultural identities. This thesis argues for a new method of analysis of intercultural theatre that moves away from the historically "alimentary" relationship between performance cultures - in which one (often the West) borrows and takes from the other (often "the Rest") for its own benefit - towards a methodology of performance analysis that encourages agency of creation with the performer through a more bi-directional or fluid process of intercultural exchange (Lo and Gilbert 43).
In looking at three contemporary performances, Fish Eyes by Anita Majumdar, Obaaberima by Tawiah M'Carthy, and DESH by Akram Khan, I argue for a four-point model of performance analysis: encounter, intention, negotiation and emergence.
I argue that these four elements are all present within the process of construction and reception of an intercultural performance, and that in deploying them, the artist is able to usher in the creation of new meaning - both semantically and aesthetically - through the means of intercultural exchange.
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Chen, Hui-Yun. "In search of 'Taiwaneseness' : reconsidering Taiwanese Xing-ju from a post-colonial perspective." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3871.
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Xing-ju literally means 'New Theatre' in Mandarin and denotes the non-traditional performing style in Taiwan. Xing-ju is regarded as the product of colonisation in Taiwan. The thesis began with the first emergence of Xing-ju in the Japanese colonial era at the beginning of the twentieth century, and went on to examine the development of Xing-ju and its sub-forms within a colonial historical context. Having gone through different colonial regimes, Xing-ju has developed into the local theatre form characterizing the hybridity of Taiwanese culture. My study aims to fill a gap in Taiwanese contemporary theatre history, to look at Xing-ju and its sub-forms from a post-colonial perspective, and to provide a continuous and complete Xing-ju history within a theoretical context. In addition, how Xing-ju has exemplified ‘Taiwaneseness’ while presenting multiple cultural characteristics is also examined. This thesis also draws on primary source data, obtained via field research, to analyse the characteristics of Xing-ju performances. Finally, while addressing my research questions through theoretical analysis, I also examine them through the lens of practical work. Inspired by critical syncretism, I experiment with an alternative way to explore the nature of Taiwanese culture and theatre form. With its hybrid cultural characteristics including Japanese Shinpa-geki, Chinese Peking Opera, Ge-zai Xi and Western theatre styles, I discuss how a definition of ‘Taiwaneseness’ emerges through Xing-ju.
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Hsu, Yu-Mei. "Eastern and Western training methods in intercultural theatre with relation to the theatres of Taiwan." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322385.
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Dunbar, Zachary. "Science, music and theatre : an interdisciplinary approach to the singing tragic chorus of Greek tragedy." Thesis, Royal Holloway, University of London, 2007. http://digirep.rhul.ac.uk/items/79167321-a8ba-2e60-7a71-b86724f99f58/1/.
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This thesis argues for the relevance of the history of Science, and its natural corollaries of music and space, in order to understand the chorus and its historical and cultural interconnections. The synchronous emergence of ancient natural philosophy, a new form of mousike and theatre space during the birth of the tragic chorus is more than coincidence. In seminal productions of Greek tragedy throughout European history the singing tragic chorus will be aligned with concurrent modulations in scientific principles and in aesthetics. My interdisciplinary approach recognizes an on-going interrelation between science and the arts based on shifting notions of the principles of order and disorder. Using a history of ideas framework, a scientific analogue describes the conceptual changes that emerge out of the tensions between tradition and innovation . The singing tragic chorus serves as a historical touchstone, each chapter focusing on an exemplary production in the performance history of Greek tragedy: Sophocles' Oedipus Tyrannus in c. 429 BCE Athens (ancient), Oedipus Rex in 1585 Vicenza (renaissance), Antigone in 1841 Potsdam (classical/romantic), and Oedipus Rex in 1927 Paris (modernist). The chronological arrangement is structured as a comparative reading and not as a continuous historical narrative or comprehensive survey. The interface of science with music and theatre will be discussed from two standpoints which I have defined as Chorality and Theatricality. In Chorality, I look at the relationship of text and music. In Theatricality, I discuss the interaction of the chorus with theatre space. Using the singing tragic chorus as a nexus for the interaction of science and art, I conclude that the dynamic coexistence of order and disorder, in both nature and the human condition, continually necessitates changes in the explanatory and descriptive language of both disciplines.
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Lee, Jirye. "The Distance between Two Worlds: What Happened to The Vagina Monologues When It Crossed The Pacific Ocean?" The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248975351.
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Weintraub, Tara B. "Cross-Disciplinary Collaboration: Creating the Foundation for Collaboration Amongst the Arts Disciplines, Powered by Tectonic Theatre Project’s Moment Work." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3708.
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During this course, upper-level VCUArts students are invited to join forces to become a part of a cross-disciplinary, ensemble-based exploration. Powered by Tectonic Theatre Project’s Moment Work, students will create new works and gain insight into the philosophies, purposes, and processes of Moment Work and other devised theatre techniques. The class will culminate in short, devised pieces, created and performed by the students. The focus of the class is on the creation of a harmonious ensemble amongst a varied group of young artists. I believe that in order to create a generation of innovative and forward-thinking artists, the segregation of the arts disciplines within academia must halt. Cross-disciplinary collaboration will invite varying perspectives to exist in a single setting, and hopefully lead to new forms of art.
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Merrill, Elise. "Blossoming Bit by Bit: Exploring the Role of Theatre Initiatives in the Lives of Criminalized Women." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32176.
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This thesis explores to role of theatre in the lives of criminalized women. It seeks to better understand the ways in which theatre initiatives can be used as a tool for participants through various means, such as potentially being a form of self-expression, or a way to gain voice. This exploration was facilitated by conducting a case study of the Clean Break Theatre Company, a theatre company for criminalized women in London, England. Data was collected through performance and course observations and interviews with twelve women. The final themes shape the exploration as participants identify the importance of self expression through theatre, and its ability to aid in personal transformation or growth. Theatre initiatives are important because they create a unique lens into the experiences of these women, as well as being used as a tool for change in their lives.
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Watson, Ian T. "The Psychology of Theatre and Film: In Theory and Practice." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4202.
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This thesis utilizes theories and ideas from the field of psychology to inform intertextual and interdisciplinary readings that compare and contrast theatre and film texts. In Chapter One, I compare Carlos Fuentes' drama Orchids in the Moonlight to Nicolas Winding Refn's film Bronson in order to investigate the extent each oscillates between Carl Jung's notion of the collective unconscious and Gilles Deleuze and Félix Guattari's schizoanalytic paradigm. I found that while these vacillating aspects helped illuminate different perspectives of each text, Orchids in the Moonlight more closely represents the collective unconscious, while Bronson more robustly embodies schizoanalysis. In Chapter Two, I examine the magnitude to which the play and film version of Jean Cocteau's Orpheus illuminate his self-portrait. By analyzing the similarity and differences between how Cocteau depicts mirrors and the female personification of Death, I discovered the film version to more profoundly evoke and depict Cocteau's self-portrait. Finally, in Chapter Three, I discuss my process of writing a new play with film elements called Flooded—before providing a sample of the text, and later analyzing the advantages and disadvantages of the film contents in the play.
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Chen, Chien-Yu Jonathan. "The purpose, theory and strategy of implementing an interdisciplinary and intercultural medical ethics amongst Taiwanese doctors : a constructivist qualitative study." Thesis, University of Bristol, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573138.
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This study explores the complexities of implementing an interdisciplinary and intercultural medical ethics amongst Taiwanese doctors both in clinical and educational contexts. The purpose, theory, and strategy of doctors' teaching, learning, and practice of medical ethics are sophisticatedly constructed by interviewing 25 local stakeholders and analysing some relevant documents published worldwide. This constructivist qualitative research aims to generate practical insights into how to improve doctors' practice in a new pluralistic Taiwan nowadays. To achieve the aforementioned research aim, the purpose of why non-Western doctors must learn and exercise medical ethics beyond profession and tradition is first addressed. By delineating local doctors' cognitive bewilderment and situational vulnerability in face of the diversity of moral standpoints, a proposition emerges: doctors' learning of normative information is to equip and empower them to practise from a simplistic and rigid manner towards a holistic and sophisticated manner. To specify the meaning of doctors' holistic and sophisticated practice, six kinds of learning milestones of doctors' moral accomplishment are identified and then integrated as a whole within the notion of ethics as empowerment. I argue that by developing various kinds of knowledge, reasoning, skill, competency, habituation, and attributes, doctors can balance between the global and the local, the ideal and the practical, the thinking and the doing. However, such theoretical framework is not proposed for direct generalisation, but for demonstrating the richness of doctors' learning In ethics. To further translate the aforementioned sophisticated learning model into a teaching strategy, I first concentrate on the issues of doctors' power, knowledge, and role. I then argue that doctors' power can be self-limiting by inspiring them with moral philosophy so that a reflective ethical understanding can be gained. I also argue that doctors' knowledge can be holistic by equipping them with academic reasoning capacity. I finally argue that doctors' role can be communal by empowering them with explicit professional duties so that their commitment to patients' welfare can be fulfilled. My thesis offers an alternative perspective, which I argue is practical and holistic, for local practitioners, teachers, and policy-makers to embrace the arising global, multi-disciplinary, and reasoning-based medical ethics.
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Stinnette, Nathan, Zhuona Li, and Shahla Rajaee. "Success Factors for Supporting Intercultural Engagement of Employees towards Sustainability." Thesis, Blekinge Tekniska Högskola, Sektionen för ingenjörsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-2858.
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Abstract: The goal of this thesis is to contribute to the overall progress of society towards sustainability by supporting the engagement of employees of multinational organizations. By first identifying unique aspects of sustainability that are important for engagement and aspects of national culture that affect receptivity to sustainability messages, the authors were able to make informed selections of success factors contributing to intercultural sustainability engagement. Within these categories, specific strategies and actions leading to successful engagement were identified, based on interviews and survey results from experienced sustainability practitioners and intercultural management experts, as well as an extensive literature review. The further selection and refinement of these led to the development of a capacity building tool to help sustainability practitioners address cultural differences when working to engage employees of multinational organizations in sustainability.mariszhuona@gmail.com, nstinnette1@yahoo.com, rajaie_sh@yahoo.com
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Workman, Abigail E. "Artist Descending a Staircase: Blending Radio and Theatre in Production." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1114209663.
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Howard, Rebecca. "A pedagogy of one's own bricolage, differential consciousness, and identity in the translexic space of women's studies, theatre, and early childhood education /." Oxford, Ohio : Miami University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1272174018.
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Olmos, Aline de Almeida 1987. "O Oriente imaginado no Théâtre du Soleil : um estudo sobre o espetáculo Tambours sur la digue." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285333.
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Orientador: Cassiano Sydown QuiliciDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T23:41:31Z (GMT). No. of bitstreams: 1 Olmos_AlinedeAlmeida_M.pdf: 2978523 bytes, checksum: 410b9d0b7e38a48a9003d23bf6805b13 (MD5) Previous issue date: 2015
Resumo: Este trabalho pretende analisar a maneira própria com que o grupo de teatro francês Théâtre du Soleil se relaciona e é influenciado por tradições teatrais orientais. Com esse objetivo procura-se estabelecer como a relação do grupo com diversas dessas tradições se desenvolveu a partir de um panorama que abarca todas as criações teatrais de Ariane Mnouhckine, diretora da companhia, desde antes da fundação do Théâtre du Soleil até a peça Et soudain des nuits d¿éveil, de 1997. Posteriormente analisa-se o objeto de estudo específico dessa pesquisa, o espetáculo Tambours sur la digue, criado em 1999, buscando-se identificar, em seu processo criativo, os mecanismos e abordagens próprias da companhia no que diz respeito a sua forma particular de apropriação e tratamento de suas referências teatrais orientais. Nesse ponto destaca-se a importância da relação estabelecida com tais tradições chamada de "relação imaginada" e a partir do detalhamento desse conceito evidencia-se as particularidades da companhia no tratamento dessa questão. Ao final dessa dissertação busca-se aprofundar as particularidades da companhia descobertas propondo um diálogo com outras abordagens interculturais de outros artistas, teóricos e críticos teatrais
Abstract: This study aims to examine the way in which the French theater group Théâtre du Soleil relates to and is influenced by Oriental theatrical traditions. To this end we seek to understand how the group¿s relationship with many of these traditions has developed, establishing a panorama that encompasses all theatrical creations held by the director of the company, Ariane Mnouhckine, from before the foundation of Théâtre du Soleil to the play Et soudain des nuits d'éveil, presented in 1997. Afterwards, we establish an analysis of the subject matter of the research, the play Tambours sur la digue, in which we seek to identify, within its creative process, the mechanisms and the approaches of the company regarding their particular manners of managing and handling eastern theatrical references. At this point it is emphasized the importance of the relationship with those traditions through an explanation of the concept of "Imagined Relationship", whose detailing evidences the particularities of the company¿s treatment of this issue. At the end of the dissertation, we seek to further develop the peculiarities of the company that were discovered, proposing a dialogue with other intercultural approaches held by artists, theorists and theater critics
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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Totten, Christopher Lee. "To be FRANK : Austral-Asian Performance Ensemble /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17845.pdf.
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MANGANO, MARIA FLORA. "Relationship as a space "in between". A transcultural and transdisciplinary approach to academic teaching mediated by dialogue." Doctoral thesis, Università degli studi di Bergamo, 2017. http://hdl.handle.net/10446/77187.
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This study aims to propose a transcultural and transdisciplinary approach to academic teaching mediated by dialogue. It focuses on a transcultural and transdisciplinary perspective, rather than on the two as separate, thus on the approach to cultures and disciplines together. In particular, it presents the approach to academic teaching on the basis of the relationship among cultures and disciplines, moreover, among, across and beyond cultures and disciplines. They are the meanings of the Latin prefix trans, of “transcultural” and “transdisciplinary”, according the perspective of transdisciplinarity, proposed by Basarab Nicolescu, contemporary Romanian physicist and philosopher, to which this study refers.
Furthermore, this research is focused on the relationship in terms of “a space of relationship” among, across and beyond cultures and disciplines. This space is provided by dialogue, according the perspective of the philosophy of dialogue, a branch of contemporary Anglo-European philosophy founded by Martin Buber.
This study describes the application of the transdisciplinary perspective to academic teaching mediated by the philosophy of dialogue. This implies the investigation of dialogue as a space of relationship, rather than for relationship among, across and beyond cultures and disciplines. In this perspective, dialogue and relationship may become the same, as they are linked to each other, thus, this proposed approach to teaching aims to explore also the reciprocity between dialogue and relationship.
The proposal of a transcultural and transdisciplinary approach mediated by dialogue at the basis of this study is investigated mainly through academic teaching. In particular, during this doctoral program, thus between 2014 and 2016, I documented teaching experiences with this approach in two contexts: courses on transcultural dialogue with undergraduates drawn from different cultures while on an Italian philosophical-theological faculty (the “St. Peter's Philosophical-Theological Institute” of Viterbo, Italy), and courses on the communication of scientific research (CSR) for young scientists drawn from different disciplines and cultures at invitation of Italian (the universities of Brescia, Milan and Viterbo) and Czech (the University of West Bohemia of Pilsen) universities.
This approach to teaching seems rarely investigated, as I did not find indications in prior literature of a similar perspective, with the exception of a few notes on teaching materials for a transcultural approach or for a transdisciplinary one, but these perspectives are not explored together. A trace of the need for applying a transdisciplinary and transcultural approach to knowledge, according to the vision suggested by Nicolescu appeared recently, but not in relation to academic education, nor referring to the possible reciprocity between them. Therefore, this approach to teaching is presented in detail: the study describes each course of the two contexts (chapter 2) and the findings (chapter 3) drawn from the students’ feedback and their contributions to this proposal. The analysis of the findings may provide evidence of this approach, and suggests its possible implications in teaching (chapter 4), and also beyond the academic context. The additional aim of this study, in fact, is to consider dialogue as a space of relationship among, across and beyond cultures and disciplines which may be applied, far more broadly, to everyday life.
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Sander, Lydia Grace. "Conversations and Collaborations: The Impact of Interdisciplinary Arts in Pre-College Piano Pedagogy." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619184539734014.
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Tuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.
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Shakespeare has been performed on Australian stages for over two hundred years, yet despite this fact, in Australia we still treat Shakespeare as a revered idol. It seems that, as a nation of second-class convicts, consciously or not, we regard Shakespeare as a product of our aristocratic founders. However deeply buried the belief may be, we still think that the British perform Shakespeare ‘the right way’. As a result, when staging his plays today, our productions suffer from a cultural cringe.
This research sought to combat these inhibiting ideologies and endeavoured to find a way in which Australians might claim ownership over Shakespeare in contemporary productions of his plays. The methodology used to undertake this investigation was practice-led research, with the central practice being theatre directing. The questions the research posed were: can Australian directors in the 21st century navigate and reshape Shakespeare's works in productions that give actors and audiences ownership over Shakespeare? And, what role can irreverence play in this quest for ownership? In order to answer these questions, a strong reference point was required, to understand what Shakespeare, with no strings attached to tradition and scholarly reverence, looked and felt like. Taiwan became an ideal reference point, as the country is a site for unrestrained and strongly localised performances of the Shakespearean tradition. The company at the forefront of such Taiwanese productions is Contemporary Legend Theatre (CLT). Wu Hsing-kuo, the Artistic Director of CLT, creates jingju (Beijing opera) adaptations of Shakespeare’s plays, the most renowned of which is his solo King Lear, titled Li Er zaici.
The intention of the practice-led research was to use the ideas gathered from an interview with Wu and through watching a performance of Li Er zaici, to form an approach to directing Shakespeare in Australia today, which was free from the restrictions commonly encountered by Australians. The practical project involved trialling this approach in a series of workshops and rehearsals with eight actors over eight weeks, which ultimately resulted in a performance of an adaptation of Romeo and Juliet.
Wu’s approach generated a sense of ownership over Shakespeare amongst the actors and widened their dominant, narrow concept of Shakespeare performances in Australia to incorporate a wealth of new possibilities. Yet, from this practical experiment, the strength and depth of the inhibiting ideologies surrounding Shakespeare in Australia was made apparent, as even when consciously seeking to remove them, they formed unconscious impediments. Despite the initial intention, a sense of veneration towards Shakespeare’s text entered the rehearsal process for Romeo and Juliet. This practice-led research revealed that as Australians we have an almost inescapable attachment to Shakespeare’s text, which ultimately begs the contrary question: in order to stage an irreverent and owned production of Shakespeare in Australia, how much of Shakespeare and his traditions must we abandon?
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Stock, Cheryl F. "Making intercultural dance in Vietnam : issues of context and process from the perspective of an Australian choreographer and her colleagues from Vietnam Opera Ballet Theatre (Nhà Hát Nhạc Vũ Kịch Việt Nam) 1995-1999." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/17527/1/Cheryl_Frances_Stock_Thesis.pdf.
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This thesis explores the creative processes of intercultural performance in an Asian context, through projects undertaken with Vietnam Opera Ballet Theatre, the national dance company in Hanoi. Background research to the study has enabled previously elusive research areas to be made available to English-language scholars and artists - namely, contemporary preservation of Vietnamese dance traditions and professional practice of Vietnamese dance in the đổi mới (open door policy) period. This contextual background highlights the importance of cultural specificity in intercultural performance practice, revealing insights into how and why artistic and aesthetic sensibilities shift when choreographic processes are transferred from an Australian to a Vietnamese setting. The study began with a premise of intercultural performance practice as an equitable sharing of ideas and has ended with the experience of intercultural collaboration as a transforming process, involving cultural translation to and by the local context - in this study through a process of Vietnamisation. Transformations are seen to occur via alteration of professional practices and the metamorphosis of meaning, metaphor and myth, providing substantially new readings of the original ideas. Importantly, the study points to the body as the central site of cultural difference, cultural commonalities and complex intercultural sensibilities. A dual methodology for the research combined artistic practice with theoretical reflection, resulting in a polyphonic text of written, visual and kinetic data. From the extant practice of the researcher/choreographer, a model of intercultural performance was devised which was refined as the two research projects of the pilot and case studies progressed. Reflective analysis of the model was undertaken through the framework of intercultural performance theories, parallel to the artistic practice. Throughout the research process, privileging the voices and bodies of the Vietnamese artists in both their practice and their perceptions of that practice have been fundamental to the outcomes of the study. This is the first in-depth study of contemporary professional dance practice in Vietnam and of intercultural performance practice between Australia and Vietnam.
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Stock, Cheryl F. "Making intercultural dance in Vietnam : issues of context and process from the perspective of an Australian choreographer and her colleagues from Vietnam Opera Ballet Theatre (Nhà Hát Nhạc Vũ Kịch Việt Nam) 1995-1999." Queensland University of Technology, 1999. http://eprints.qut.edu.au/17527/.
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This thesis explores the creative processes of intercultural performance in an Asian context, through projects undertaken with Vietnam Opera Ballet Theatre, the national dance company in Hanoi. Background research to the study has enabled previously elusive research areas to be made available to English-language scholars and artists - namely, contemporary preservation of Vietnamese dance traditions and professional practice of Vietnamese dance in the đổi mới (open door policy) period. This contextual background highlights the importance of cultural specificity in intercultural performance practice, revealing insights into how and why artistic and aesthetic sensibilities shift when choreographic processes are transferred from an Australian to a Vietnamese setting. The study began with a premise of intercultural performance practice as an equitable sharing of ideas and has ended with the experience of intercultural collaboration as a transforming process, involving cultural translation to and by the local context - in this study through a process of Vietnamisation. Transformations are seen to occur via alteration of professional practices and the metamorphosis of meaning, metaphor and myth, providing substantially new readings of the original ideas. Importantly, the study points to the body as the central site of cultural difference, cultural commonalities and complex intercultural sensibilities. A dual methodology for the research combined artistic practice with theoretical reflection, resulting in a polyphonic text of written, visual and kinetic data. From the extant practice of the researcher/choreographer, a model of intercultural performance was devised which was refined as the two research projects of the pilot and case studies progressed. Reflective analysis of the model was undertaken through the framework of intercultural performance theories, parallel to the artistic practice. Throughout the research process, privileging the voices and bodies of the Vietnamese artists in both their practice and their perceptions of that practice have been fundamental to the outcomes of the study. This is the first in-depth study of contemporary professional dance practice in Vietnam and of intercultural performance practice between Australia and Vietnam.
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Mohammad, Faisal. "A Mapping System as a Method in Experiential Culture Learning and Engagement." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4116.
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From my observation as a new resident in Education City, I recognize a need for cultural awareness and communication amongst those studying and working in this particular area. With this project I propose a different experience, a new way to use experiential learning as a mechanism to change people’s predetermined opinions about one another and disrupt personal biases in order to foster cultural awareness and friendship.
A mapping system or wayfinding strategy to navigate a new city is the beginning of a visitor’s experience in a new place. This new experience is one way for users to identify locations through the use of a mapping system, discover cultural communication areas and be involved with sensory objects that require them to become aware of their surroundings. All of these elements are a catalyst for students in Education City to communicate and participate in experiential learning as part of their experience in Qatar.
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Karakas, Ziya Mert. "Secular Challenge to Power : An intercultural-analytical insight into two prominent member organizations of the European Humanist Federation: La Ligue de L'enseignement and the National Secular Society." Thesis, Uppsala universitet, Teologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-330927.
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Awi, Jane Pumai. "Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/81643/1/Jane%20Awi%20Thesis.pdf.
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This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.
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Axelsson, Bodil. "Meningsfulla förflutenheter : Traditionalisering och teatralisering i en klosterruin." Doctoral thesis, Linköpings universitet, Tema Kommunikation, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-34990.
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The major objective of this thesis is to study the processes of traditionalisation that are being enacted in relation to both the external and internal production of the play "The Power and the Glory" that has been performed in Alvastra Abbey ruin since 1988. During three weeks in July the ruins and their environs are transformed into a rehearsal area, and a live stage, with lay actors performing different roles, a supporting staff and an audience. The thesis asks questions about how the staging of the play is impacted by a politics of culture, why this particular site or topography can be read as a story about a nation, what mediating connections there are between the yearly productions and, finally, how the rehearsals activate and reproduce the accumulated memory of the play and the place. The thesis connects with discussions on how "space" is charged with symbolic and cultural meanings, the use of history and cultural heritage, and story-telling. These approaches are combined with analysis of how participants in interaction use multiple resources (talk, spatial organisation, gestures, gazes, movements and postures) to invokethe spatial aspects of the play as well as to put the story of the play in place. The methodological approach of the thesis combines fieldwork (personal observations, videotaping and audio-recordings) with analysis of written material, press cuttings, archival material, and books and illustrations about the area and its history. In conclusion, this dissertation makes visible how Alvastra Abbey is associated with imagined cultural, political and social entities such as a nation, a province, and a local community. "The Power and the Glory", it appears, constitutes one agent among others in a long term meaning making process. One point made in this book is that although the story of the play is legitimised through references to a past that already has become meaningful in earlier processes of traditionalisation, the work of the Association of Alvastra Chronicle Play and the rehearsal process also creates a traditionalisation process of its own.
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Howard, Rebecca. "A Pedagogy of One’s Own: Bricolage, Differential Consciousness, and Identity in the Translexic Space of Women’s Studies, Theatre, and Early Childhood Education." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1272174018.
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Vallazza, Oscar. "Processes of nurturing and maintenance of multicultural identity in the 21st century : A qualitative study of the experience of long-term transcultural sojourners." Thesis, Linköping University, Department of Behavioural Sciences and Learning, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-59533.
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In today’s world, exposure to other cultures has become a symbol of increasing globalization processes. Many people leave their home area to embark on a voyage of discovery and learning that affects their original cultural identity.
This study explores the life experience of independent transcultural sojourners, i.e. people who freely decide to relocate to different cultural contexts after their formative years. The inquiry covers three major themes of their intercultural experience: Multicultural identity, processes of intercultural adaptation, and change and transformation ensuing from multiple intercultural relocations. The aim of this study is to show the effects of multiple intercultural experiences on the identity of transcultural sojourners, and how they dealt with relevant emerging processes of intercultural adaptation.
Following a format suggested by Seidman (1996), five respondents were asked to recount and reflect on their transcultural experience in three separate, asynchronous interviews that covered three dimensions of their intercultural experience: past, present, and reflections. The ensuing text comprised about 16,000 words and was analyzed using both a narrative and a thematic approach using a mixed typology of categories and sub-themes made up of indigenous typology stemming from relevant scholarly literature and researcher-constructed typology suggested by the researcher and the respondents.
The analysis indicates that personal factors like mindfulness, motivation, resourcefulness, and intercultural awareness strongly influence processes of Intercultural communication competence and Multicultural identity development. Contextual factors are also relevant, as they include issues of avowed and ascribed identity. The analysis also shows no specific, generalizable link between the presence of intercultural stimuli in the original cultural milieus and the decision to relocate across cultural boundaries. Furthermore, it points to a strong relation between Piagetian constructivist learning theories and the development of ICC competence. The study also indicates that independent transcultural sojourners are in a position to negotiate the level of their integration and marginality, which in turn affects the spectrum of their Intercultural communication competence.
Finally, this study indicates the limited applicability of traditional functionalist approaches to understanding and conceptualizing processes of intercultural adaptation and multicultural identity building. It also suggests the need for a shift towards a dialogical perspective informed by systems-thinking and Chaos theory.
The author would like to acknowledge the inspiration and passion for intercultural issues provided over the years by the Intercultural Insights on-line community.Seattle, summer 2010.
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Damkjaer, Camilla. "The Aesthetics of Movement : Variations on Gilles Deleuze and Merce Cunningham." Doctoral thesis, Stockholms universitet, Institutionen för musik- och teatervetenskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-645.
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This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections. It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts. Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.
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Solha, Celso dos Santos. "Cartas ao educador: parcerias, diálogos e experiências interdisciplinares com o fazer teatral." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/9849.
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Previous issue date: 2015-08-10Presently, the education of a professional in the field of arts and theatre concerned with the theatre language that has been following a pedagogical pattern, reinforcing technical aspects and utility, providing our society with a professional who has a limited creative and ludic potential, who is not focused on obtaining different interdisciplinary skills partnership, coherence, dialogue, humbleness and unselfishness. With the aim of bringing to society a professional who is more human, creative, critical, and an agent of his time, this interdisciplinary research suggests a model and an approach of theatre practice structured in four principles that are generated from ten classes taught throughout its teaching practice, which is called formative didactical meetings by its author. The principles are set as necessary tools for the education of students and teachers, and can be used in the classroom, as an adequate model of working topics and developing interdisciplinary attitudes and actions. The author, making use of the metaphor Written letters, words scattered in creative life, space, school, educator and student , leads to a dialogue with the author, among them, Paulo Freire, Augusto Boal, Viola Spolin, and Ivani C. Fazenda, and with the research done by the professionals and students of the area that was gathered throughout his career. This material may, in a way, help the artistic directors, mainly the ones who deal with the theatre language, as well as transformation of the classroom into a space that stimulates creativity, human development a place for group interaction, more engaging, with a broader meaning and relevance
Na atualidade, a formação do educador artístico voltado para o ensino da linguagem teatral tem seguido um modelo pedagógico que privilegia o tecnicismo e o utilitarismo, trazendo para a sociedade um profissional com menor potencialidade criativa e lúdica, insensível à obtenção das categorias interdisciplinares - a parceria, a coerência, o diálogo, a humildade e o desapego. No intuito de trazer para a sociedade um profissional mais humano, criativo, crítico e agente do seu tempo, esta pesquisa de caráter interdisciplinar, propõe um modelo e um método de trabalho teatral, estruturado em quatro princípios formulados a partir de 10 aulas ministradas no decorrer de sua docência, que seu autor denominou de encontros didáticos formativos. Esses princípios configuram-se como ferramentas necessárias para a formação de alunos e docentes e podem ser utilizadas em sala de aula, como um modelo propício de trabalhar conteúdos e desenvolver atitudes e ações interdisciplinares. O autor utilizando-se da metáfora Cartas escritas, palavras soltas no espaço criativo da vida, da escola, do educador, do educando , promove um diálogo com outros autores, entre eles, Paulo Freire, Augusto Boal, Viola Spolin, e Ivani C. Fazenda e com os relatos de profissionais e estudantes da área, coletados ao longo da sua carreira. Esse material poderá de alguma forma, auxiliar o educador artístico, principalmente aquele que atua com a linguagem teatral, e transformar a sala de aula em um espaço que estimula a criatividade, o desenvolvimento humano - um espaço de convivência coletiva, cultural, lúdico, dotado de maior sentido e significado
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Lo, Shih-Lung. "La Chine dans le théâtre français du XIXe siècle." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030030/document.
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De 1789 à 1905, la Chine fait partie des sujets exotiques les plus représentés dans le théâtre français. Cette Chine imaginaire est l’héritière du répertoire théâtral du XVIIIe siècle, époque marquée par le goût pour les « chinoiseries ». Elle fait aussi écho à l’actualité franco-chinoise du XIXe siècle, empreinte d’un nouveau colonialisme voire d’ « orientalisme ». En nous appuyant sur le répertoire du théâtre de thème chinois en France au XIXe siècle, que nous nous sommes attaché à reconstituer, nous analysons dans ce travail la production et la réception des images de la Chine sur la scène théâtrale à cette époque. Le corpus des œuvres est divisé en trois catégories : les pièces de thème chinois, les œuvres traduites ou adaptées du chinois et les spectacles donnés par les Chinois. En ce qui concerne la périodisation historique, nous avons choisi de suivre celle des grands événements ayant marqué les relations entre la France et la Chine au XIXe siècle. Les trois premiers chapitres se focalisent sur l’emploi des éléments chinois et orientaux tels qu’ils ont été mis en place au siècle précédent, ainsi que sur leur révision sous l’influence de la sinologie, discipline scientifique nouvelle. Quant aux trois derniers chapitres, ils se développent autour des deux guerres de l’Opium, de la guerre franco-chinoise du Vietnam, de la révolte des Boxers ainsi que la germination de la peur du « péril jaune ». Pour les dramaturges et les artistes de théâtre du XIXe siècle, cette « Chine » est un sujet à la fois familier et étranger, proche et éloigné, cliché et varié, épuisé et exploitable. Tous ces paradoxes concourent à créer dans le théâtre français une Chine kaléidoscopiqueFrom 1789 to 1905, China is one of the most exotic topics represented on the French theater stage. This China can evoke the imagination inherited from the eighteenth-century “chinoiseries” taste. And moreover, it witnesses the nineteenth-century Sino-French socio-political events, which are never detached from the rising colonialism or even the Orientalism.This work attempts to build up a repertoire of Chinese-subject plays, and to analyze the production and the reception of the Chinese image on the French theatre stage during the nineteenth century. The corpus of the entire repertoire can be divided into three categories: the French playwright’s creation, the plays translated or adapted from Chinese literary works, and the performances given by Chinese actors. Chronologically organized, each chapter in this work follows the decisive Sino-French bilateral events. The first three chapters examine the Chinese and Oriental elements which have been applied to the French theatre in the previous centuries, and which are reinvented and appropriated under the influence of Sinology, a new scientific discipline institutionalized in the first half of the nineteenth century. The last three chapters develop with the two Opium Wars, the Sino-French War in Vietnam, the Boxer’s rebellion, as well as the birth of the concept of the “yellow peril.”For the playwrights and the artists, this “China” is therefore familiar but strange, approachable but intangible, cliché but ever-changing, exhausted but exploitable. All these contradictions contribute to create a kaleidoscopic China on the French theatre stage
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Stamoolis, Leslie Anne Wise. "The Body Underneath: A Method of Costume Design." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1177096688.
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Price, Isaac V. "Managing Cosplay Performance: The Forms and Expectations of Convention Roleplay." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3753.
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Costume play (i.e. cosplay) is a performance of fandom rife with rituals and communication practices. Cosplay roleplaying performances are cultural practices that reveal how cosplayers interact with one another and among non-cosplaying members of their fandoms. This study examines the expectations that cosplayers hold for roleplay, the forms of roleplay, and the ways in which roleplay can become an instigator of harassment. Through the lens of Face-Negotiation Theory, the author discusses how roleplay functions to maintain or threaten the public images of cosplayers and their audiences, and what strategies cosplayers implement to avoid the loss of face.
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Kafetzi, Eleni. "Interdisciplinarité en représentation théâtrale. Éléments du Musical dans le spectacle interdisciplinaire contemporain." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA046.
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L’interdisciplinarité est une pratique largement employée dans le spectacle vivant contemporain. Que l'on aborde le concept de coopération ou celui d’intégration, il s’agit d’une procédure de fusion qui, dans le cas des arts du spectacle, se concrétise par la croisée des disciplines artistiques entre elles, avec d’autres sciences, ou d’autres arts. Dans la scène théâtrale l’interdisciplinarité se présente sous plusieurs formes. La présente étude se concentre sur les spectacles contemporains mariant théâtre, musique et danse et leur relation avec le genre interdisciplinaire par excellence que représente le Musical. Ce dernier est par nature un genre hybride, car il combine plusieurs arts en une seule entité. Ces arts doivent à la fois maintenir leurs intégrités propres et se combiner pour former une unicité organique. Malgré sa complexité, il réussit à être un genre à part entière qui a influencé d’autres genres, ainsi que plusieurs essais artistiques contemporains. En tant que genre autonome, il possède des lois de fonctionnement, des signes récurrents, des règles esthétiques. Nous avons choisi de traiter cinq spectacles interartistiques afin d’en dégager les caractéristiques du genre et parallèlement d’ordonner ces singularités. Notre recherche s’établie sur Out Loud de STOMP, Tubes du BLUE MAN GROUP, Perseus d’ithakArts, Elektra Fragments mise en scène par Michael HACKETT et 2, mise en scène par Dimitris PAPAIOANNOU. Ces spectacles qui échappent à toute catégorisation, présentent des similarités avec le Musical. Cette thèse se focalise ainsi sur la recherche des éléments du genre au sein de ces spectacles et propose un choix de conventions qui définissent le MusicalInterdisciplinarity is a widely employed practice in the contemporary arts scene. Whether the term refers to the collaboration or notion of integrating different disciplines, we can infer to a process of fusion, which in the field of the performing arts, takes numerous forms. This dissertation focuses on contemporary inter-artistic performances that combine theatre, music and dance, and their relation to the interdisciplinary genre of Musicals. Musical Theatre is by definition a hybrid entity, combining different artistic expressions. The latter, are at all times maintain their separated integrity, while they must be fused in such a way in order to form an organic unity. Despite its complexity, Musical Theatre manages to be a genre in itself, which in turn has influenced other genres, including many contemporary experimental performances. Thus, as an autonomous form of expression, it possesses laws of operation, technical characteristics and aesthetic rules that defines it. The purpose of this research is to identify elements and influences of Musical Theatre within five contemporary interdisciplinary shows, while tracing the theoretical aspects and conventions that determine this genre. The examined shows are Out Loud by STOMP, Tubes by the BLUE MAN GROUP, Perseus by ithakArts, Elektra Fragments directed by Michael HACKETT and 2, directed by Dimitris PAPAIOANNOU. These autonomous fusion works defy categorization; however, they share fundamental characteristics with Musicals