School of Culture and Communication - Theses

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End date: 2009 × Start date: 2004 × Type: PhD thesis × Subject: performance ×

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    Indelible: a movement based practice-led inquiry into memory, remembering and representation
    Ellis, Simon K. ( 2005)
    Indelible is a performance and dance research project. It has three outcomes or pathways, presented on DVD-ROM, via which the user-reader can experience multi-modal perspectives on remembering, memory, and representing performative ideas, events and actions. These pathways are video, writing and interactive and together they form a series of hypermedia framings by which the corporeal and philosophical underpinnings of the project are witnessed. The research is considered to be practice-led, in which my practice consists of choreographic strategies, physical actions, media-based processes, and writing. Within these core representations I have sought to confront the methodological and theoretical paradox affecting performance makers electing to recontextualise their work beyond live processes. How might the absence or disappearance of a so-called live work contribute to the overall design and representational practices underlying the outcomes? In this sense the three pathways that comprise Indelible generate a complex network of artistic, scholarly, poetic, and methodological layerings or enfoldings in which the user-reader is presented with possibilities for experiencing the vital subjectivity and inherent fallibility of memory and remembering. (For complete abstract open dopcument)
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    Trance forms: a theory of performed states of consciousness
    Morelos, Ronaldo Jose ( 2004-06)
    This study investigates forms of theatre/performance practice and training that can be seen to employ ‘trance’ states or engage the concept of ‘states of consciousness’ as performative practice. Trance is considered to be the result of sustained involvement with detailed information that is structurally organised, invoking imaginative and affective engagements that are maintained as interactions between the performer, other performers, the environment and audience of the performance. This thesis investigates trance performance through the conceptual lens of dramatic arts practice. In their respective cultural contexts, trance and theatre attain qualities considered as sacredness. Trance practice and performance, across a range of cultural contexts, are analysed as social processes - as elements of power relations that influence the performer, audience and environment of the performance. As performance traditions and events, this study will examine strands of praxis that can be drawn from Constantin Stanislavski to Lee Strasberg to Mike Leigh; from Antonin Artaud to Samuel Beckett and Jerzy Grotowski; from the Balinese trance performance form of Sanghyang Dedari in the 1930s to the 1990s; from the Channeling practitioners in the U.S. in the 1930s to Seth and Lazaris in the 1970s to the 1990s; and from traditions of military training, performance violence, and rhetoric associated with the attacks of the 11th of September 2001 in the U.S. and its aftermath.