Melbourne Conservatorium of Music - Theses

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    Being scripted
    CUST, VERONICA ( 2012)
    This thesis examines the role of materiality and site-specificity in generating performancebased film work. In focus, is how the body can be scripted, prompted, or instructed by thephysical characteristics of objects and spaces that it encounters. Historical and contemporaryvideo art and filmmaking practices are surveyed bringing into question the parameters of“object” and “performance” shaped through the medium of film. This paper and the creativework that has subsequently developed, considers the potential of film, to facilitate performancethrough its embodied sense of time and durational framing.This thesis is separated into three sections, which examine the foundations and outcomes of myproject with reference to creative practices that have influenced and shaped my understandingof the dynamic nature between performance and film. The first section identifies with myrelationship to sculptural practice, and works to unpack the elements of this discourse withreference to objects, space and the performing body. The second section revolves around“repetition” as a generative force within the context of performance. Practices and texts areexamined that illustrate the relationship between actions and futile outcomes. The final sectionof this paper focuses on the impact of specific cinematic practices, which have played a seminalrole in the development of my conceptual and technical relationship to performance and themoving image. This thesis is separated into three sections, which examine the foundations and outcomes of my project with reference to creative practices that have influenced and shaped my understanding of the dynamic nature between performance and film. The first section identifies with my relationship to sculptural practice, and works to unpack the elements of this discourse with reference to objects, space and the performing body. The second section revolves around “repetition” as a generative force within the context of performance. Practices and texts are examined that illustrate the relationship between actions and futile outcomes. The final section of this paper focuses on the impact of specific cinematic practices, which have played a seminal role in the development of my conceptual and technical relationship to performance and the moving image.
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    Noumenal secrecy: transference of dislocated acts of possession
    MCLANE ALEJOS, SHERRY ( 2012)
    In this paper, associations with philosophical arguments, critical design theories, meta-fictional discourses, and experimental publishing houses are drawn into a platform where suspension of disbelief is required to systematise the recording of data, speculations, and psychical transference. So as to actively engage with discourses of Otherness and transmutate the boundaries between objective chance and chaos; validity and hoax are no longer in the equation, tricksters are for hire. Both, the conceptual and material research is focused on the shift from interference and noise dialectics onto transference of fictional speculations that create the corpus and the annunciation of noumenal performance presence. It originates within the invocation of the exogenic agencies and its consummation is offered through ensembles that involve electronics, sound, digital media and design elements. Does this methodological platform of exchange and praxis, solely work as fiction for believers, or does an act or event offer potentialities for further engagement?
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    The body at the receiving end of political power
    Popov, Bagryana Alexandrova ( 2012)
    This research examines the experience of the body at the receiving end of political power, focusing specifically on the experience under the totalitarian regime in Bulgaria. Entwined within this are elements of family history, and the investigation of how experiences of political repression are remembered and how physical performance might begin to speak about these experiences. Notions of embodiment and ethics are central to the work.