Rozprawy doktorskie na temat „Performing Arts Studies”

This thesis explores the ways in which Caucasian theatre makers can become more effective educators and directors in diverse student populations. By drawing attention to their “whiteness” and overcoming the fear of being implicated in the subjugation of these student populations, Caucasian theatre makers can instead embrace this implication and thereby transform classrooms and theatrical spaces from static appreciations of sovereignty and beauty, into platforms for resistance and revolt. In this thesis, I interrogate my own process in the direction of my multi-actor, undergraduate student production that was borne of the journey of the creation of my solo play entitled ANTIMAN. In this play, I implicate my family and our own racism and naiveté and the many challenges I faced in telling a story that explores such controversial subject matters as racism, antiblackness, colonialism, colonization, and settler-indigenous relations from my own white, male, heterosexual orientation. It is my hope that through this examination of both my failures and successes in this process of creating and directing ANTIMAN, in concert with the history of St. Croix, that I will articulate the present-day predicament of St. Croix in a manner that creates a space for discourse, resistance, and change.

This treatise will address the late twentieth-century and well-known Korean composer Chung Gil Kim's piano work Go Poong (Memories of Childhood; 1981) as a case study on how to make pedagogical use of works intended for performance. Go Poong is purely a programmatic composition intended to create a musical picture of four items in Korean cultural history including: a temple incense jar, a wooden shoe, a jade hairpin, and a paper window patch. The piece is also capable of functioning as an ideal pedagogical tool for intermediate and early-advanced players to experience technical exercises and compositional features that are a necessary part in the training of successful pianists. Repertoire useful either as preparation or as follow-up will be suggested.

This dissertation looks at critical interventions made by select San Francisco bay area choreographers and dance programmers interested in altering spectatorial norms for contemporary dance. Those selected have strategically employed food themes and materials in and as performance, simultaneously tapping into existing foodie ideology and redressing concerns about dwindling audiences for live dance performance in the twenty-first century. I argue that such efforts 1) bring to light subsumed race, class, and gender politics embedded in the trend towards "audience engagement," espoused by arts funders and dance makers alike as a necessary intervention for the survival of contemporary dance; and 2) open up discursive and experiential realms of possibility by favoring material, associative exchange, (re)awakening synesthetic sensory-perceptive capacities, inviting spectators to refigure themselves as co-creators in performance, and providing opportunities to reckon with exoticizing desires to enrich one's own culture by consuming another's.

In theoretically grouping these choreographies together I illustrate a spectrum of responses that clarify how food-oriented performance gatherings can operate not only as strategies for altering audience relations, but as sites for alternative knowledge production and fruitful commensal exchange. Such research draws from and intervenes in the overlapping fields of food studies, American studies, and performance and dance studies. This analysis is uniquely positioned amongst other work addressing the interstices between food and performance in its emphasis explicitly on Western concert dance. It also contributes significantly to the archives of an often overlooked San Francisco bay area dance community.

Methodologically I take a dance studies approach, generating choreographic analyses enabled through interviews with choreographers and dance programmers, my own work as witness/participant in the selected events, and archival research into feminist theories of performativity, anthropologies of the senses, contemporary theories of embodiment and select dance and theatre scholarship from the 1800s to the present. Throughout I prioritize the embodied experience of spectatorship, highlighting how contemporary corporeality is shaped by shifting inclusions and exclusions of various peoples and practices, capitalist economic models, the pervasive reach of readily-available digitized media, and both dominant and alternative systems of knowledge production.

A live nude female performer can occupy a powerful identity equal to a man because she willingly places herself in front of an audience. She commits to this state of profound vulnerability as a means of gaining ownership of her body that men by virtue of their power in society take for granted. The female body occupies physical space, unlike how a body image seen on a television or in a magazine does. The actuality of the live female nude creates a transformation from the purely sexualized body to an authentic female nude body. This authentic female nude body, via her control of her physicality, is a “loud” and often rejected body. The acknowledgement of her authenticity is an acknowledgement of her power and this is common ground on which the female audience member and performer can relate intersubjectively. On the surface, it seems the most effective solution to eliminating objectification and this obstruction of the female body would be to take focus away from her body. Yet paradoxically, female subjects have altered these culturally shaped identity norms of objectification through nude performance, liberating the hyper-sexualized projections attached to the female body and replacing them with symbols of innocence, creativity and power.

The lives and careers of the three women composers Marion Bauer (1882-1955), Miriam Gideon (1906-1996), and Vivian Fine (1913-2000) spanned more than a century. Each wrote works for viola and piano, including Bauer's Sonata for Viola and Piano, op. 22, Gideon's Sonata for Viola and Piano, and Fine's Lieder for Viola and Piano. Together, these composers' careers encompass a number of important trends in the professional development of the twentieth century woman composer in the United States.

Women composers were hindered in their advancement and acknowledgement for a number of reasons. One of these was a lack of "female tradition", the absence of an existing community of successful women composers to look to as examples. Another was the "female affiliation complex", the idea that female professionals struggle to look toward their predecessors as models because the female tradition is devalued. First, this document will explore the lives and influences of Marion Bauer, Miriam Gideon, and Vivian Fine, aiming to contribute to a better understanding of how "female tradition" and the "female affiliation complex" affected these composers' lives. Second, each work for viola and piano will undergo theoretical analysis focusing on goal-directed linearity. Goal-directed linearity is an issue of interest to performers and will encourage a deeper understanding of the works in question, fostering their further performance and dissemination.

Wuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT’s recent designation as a public institution under China’s neoliberal creative economy initiative to enter the global market has necessitated its transformation from a cultural institution ( wenhua jigou) into a creative industry ( wehua chanye). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class (“talent”) in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.

There are currently ten available works by Antonino Pasculli (1842-1924) for solo oboe or English horn and accompaniment inspired by themes from nineteenth-century operas by Bellini, Donizetti, Meyerbeer, and Verdi. These pieces are so virtuosic that Pasculli has been dubbed the “Paganini of the Oboe.” The technical demands can be so high that performers can neglect to approach artistic and scholarly interpretation of his lyrical passages. Some editions of his music list the referenced act and scene number from the original source. No existing editions include complete text from the original vocal excerpts or the context from the plots of each respective opera. This volume contains the complete text of the vocal excerpts Pasculli uses, insights from the dramatic plot context, and advice to performers on how to apply such information to an instrumental performance.

The maroma in southern Mexico is an artistic performance that features acrobats as well as elements of theater, poetry, and music commonly performed by clown poets. The maroma's form and content is drawn from a mixture of medieval European street performances, pre-Hispanic indigenous acrobatic arts, and modern circus features. It is typically performed as entertainment in the context of the patronal saint fiesta, annual popular Catholic events that serve as significant spaces that furnish cultural elements for identity construction. The maroma was very popular in the capital of New Spain throughout the colonial period (1519-1822) but with the rise of the European modern circus was either incorporated or displaced. In the countryside, however, the maroma appears to have continued for a longer period of time. Currently, it is practiced among several ethnic groups, among them the Mixtecs in the Mixteca--a region that covers parts of the states Oaxaca, Guerrero, and Puebla. In the last decade in the Mixteca, maroma groups and state cultural institutions have worked collectively to "revive" the maroma as the practice has been declining since the mid-to-late 20th century. This thesis is a preliminary incursion into the maroma as currently practiced in the Mixteca Baja. I argue that due to the effects of transnationalism and because the maroma has been present at patronal saint fiestas for a long time, significant spaces that furnish cultural elements for identity construction and negotiation, the maroma has become a symbol of a "pan-Mixtec" identity, an identity that unites all Mixtecs regardless of their specific town or region. Drawing from second-hand sources and fieldwork conducted in the towns of Huajuapan de León, La Trinidad Huaxtepec, San Juan Yolotepec, Santa María Acaquizapan, and Santa Rosa Caxtlahuaca, this thesis introduces the practices of maromeros and the work of state cultural institutions to represent a slice of the maroma revival in the region. Moreover, it strives to contribute to the maromero revival by providing information on the maroma in historical context, current performance and performers, and the revivalist activities the regional state cultural institution has taken thus far.

This thesis explores the distinct two-part polyphonic patterning in Lithuanian Sutartines to reveal how singers shape and/or experience their songs as musical weaves. The findings are based on original fieldwork as well as old ethnographic sources, which are (re)examined and interpreted through the lens of metaphor as a methodology.

This dissertation addresses the concept of the experimental in contemporary dance and performance. In it I argue that, although the word is used in very different ways in traditional artistic and scientific practices, a number of contemporary dance artists utilize experimental practices in their work that produce useful knowledge that is recognizable and transmittable beyond the walls of the theater or gallery. I have written about artists whose embodied work has been described as experimental, whose innovations and explorations have produced paradigmatic shifts in dance practice and new ways of knowing, both about and through bodies.

Using theories of embodied experience from performance studies, dance studies, phenomenology and enactive perception, I argue for shifting our attention beyond textual and visual models of understanding performance to a broader palette of sensory modes and ways that attendees and makers both enact them. I propose that by doing so we broaden the possibilities for understanding the effects of performance and gain much richer tools for creating, using and analyzing our experiences of performance. I make these arguments as a maker of performance and as one who attends, reads and writes about performances.

The final chapter is a reflection in language of my own experimental performance project Performance Research Experiment #2 which was/is a Practice-as-Research performance project that engaged and embodied ideas and practices of scientific experimentation to specifically explore ways that artistic practice and scientific practice may inform or interrupt each other. By extension the project tried to think, and move, through different ways that we know what we know.

American Indian music and dance traditions unilaterally contain the following three elements: singing, dancing, and percussion instruments. Singing and dancing are of the utmost importance in American Indian dance traditions, while the expression of percussion instruments is superfluous. Louis W. Ballard has composed a piece of music for percussion ensemble which was inspired by the music and dance traditions of American Indian tribes from across North America. The controversy that this presents is relative to the fact that there is no American Indian tradition for a group comprised exclusively of percussion instruments. However, this percussion ensemble piece, Cacega Ayuwipi, does exhibit the three elements inherent to all American Indian music and dance traditions. Cacega Ayuwipi is consistent with American Indian traditions in that the audience must see the instruments, watch the movements of the percussionists, and hear the percussive expressions in order to experience the musical work in its entirety.

For the purposes of this thesis, I begin with an overview of theatre for social change in the introduction and then focus on the literature review as a way to introduce authors, ideas, theory and knowledge as background for the reader. This includes anecdotal accounts, reasoning for research and methodologies for carrying out research. I look at feminist theory, community-based theatre, education for liberation and decolonizing knowledge as a basis for my continuing ideas and theories. My emphasis is how to use expressive arts theatre as a way to connect people through dialogue in communities. One of the many ways is implementing curriculum through public school venues. I use theatre techniques that have been used successfully in a variety of global communities that help aide in focusing on certain issues a community is experiencing. I conducted a Women's Theatre Workshop that consisted of an intergenerational community of women whom embarked on a journey engaging in profound material exploring issues that women face. We found that this work was powerful in a variety of ways for them, some highlighting emotional abuse, oppression and double standards as well as theatre being a tool for non-traditional therapeutic use.

Keywords: praxis, theatre, education, freedom, decolonizing, feminist, theatre for social change

The female musical theater belt voice has been heard onstage for almost one hundred years, yet the demands for this type of singing continue to evolve. While the style dominates Broadway, an understanding of successful teaching of the female belt voice seems to be lacking. Therefore, this study was undertaken to appropriately address the needs of female musical theater singers, and to establish effective strategies for teaching the female belt voice.

Individual case studies of four nationally recognized master teachers of female belting were created from observations in the studio, interviews with the teachers, and interviews with their students. Thirty-two hours of private voice lessons were observed with 18 female belt students in the studios of these master teachers in an effort to determine the extent to which they employed common techniques in the pedagogy and agreed on the characteristics of the female belt voice. Interview responses and field notes from the teachers and singers were analyzed individually and a cross-comparison of the data was analyzed for consensus or conflicting information on female musical theater belt pedagogy.

Interestingly, there was much consensus among the teachers on the physicality, sound, and strategies for female belting. Included in the findings were that the female belt voice is not a pure chest voice production, and development of the entire voice is key since working in head voice allows a female to create a lighter belt sound and to make the transition into the higher belt range. Distinct techniques for the traditional and contemporary belt voices emerged. The traditional belt, up to D5, uses more chest voice and full, open vowels. The contemporary belt, higher than D5, is produced with more head voice and closed, narrow vowels. Belting is considered speech-like and exciting, and is a joint process between teachers and students.

Based on this research, voice teachers working with musical theater students must be educated and proficient on the specific strategies and techniques of the evolving female belt voice. The female belt voice, though different from classical singing, does have its own set of techniques.

In Taiwan’s experimental theatre, the “Grotowski phenomenon” is too prominent to be ignored. The “Grotowski method,” as it is called in Taiwan, has nurtured a generation of experimental theatre workers ever since the mid-1980s. In this dissertation I will investigate the entire picture of how the Grotowski-to-Taiwan transmission began. This investigation begins with the American encounter between the Polish exile and two Taiwanese overseas students in the Objective Drama Program at U.C. Irvine in 1985 – and what subsequently developed from that encounter in the context of Taiwan’s Little Theatre Movement and New Age Movement. Their encounter is not simply a manifestation of Western cultural hegemony. Grotowski’s physical training fills a cultural need in Taiwan, a place in which the grand narrative of the Great China ideology was dissolving and liberation of both language and body was beginning in earnest. Taiwan’s liberal religious and spiritual environment gave Grotowski’s post-theatrical work, particularly the “inner aspect” of his work, a promised land full of fertile ground. And it was upon this fertile ground that the seeds of Grotowski’s ideas fell, with time took root, grew vigorously and finally bloomed in a way that Grotowski could never have imagined.

This phenomenological study describes the therapeutic potential of change for women who come together in collective creative process to perform their stories. The author examines women, aged 30-72, and their experiences of collective performance, spanning 29 years, in response to their life circumstances, emotional health, personal relationships, professional life, and community connections. Roles inside and outside of the group are explored, as are their group and individual processes. Research on women, collectives, applied theatre, and therapeutic theatre is presented. Perspective is gained through the lenses of feminist theory, social constructivism, and psychodramatic role theory. Comparisons are made between applied theatre and drama therapy, and the mutual exclusion of group versus individual, socio-political versus therapy, is questioned. Implications for the use of socio-political community drama in a therapeutic theatre format in drama therapy are formulated.