Procházet podle oponent "MCLAREN, Ewan"
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- Narrating TexturesSchrezenmeir, Theresa(Akademie múzických umění v Praze.Divadelní fakulta, 2019)Datum obhajoby: 2019-06-19The following writings explore textures in the context of devised projects inspired by daily and performative encounters and research creation. Three practical projects, undertaken in the field of theatre during the course of the author’s MA studies at DAMU Prague, used textures as a principle, stating the interest to facilitate and experience qualities and consistencies of meetings. Textures hereby create links between different elements of these projects, stretching from haptic and magical practices to methods of archaeology, body work and strategies of queering, work with technology or experiments with scenographies and strangers. In the context of these projects narrating is identified as a practice to incorporate and create various subjective and intersubjective experienced realities. The motivation for this field of research was an impulse for performing experiments which are thinking through their doing and are claiming, inventing, changing or identifying connections. Besides incorporating spontaneity, randomness and intuition, this thesis is influenced by the curiosity of extending and reading practical research with theories from embodied, sonic and vibrational approaches and writings by thinkers critically moving between art practice and philosophy. The thesis subsequently considers and proposes modes of touching, listening and gathering as ways to perceive and shape visible and invisible tissues between our relations. As abstract and concrete materialities, the idea of textures explores a conceptualization of surfaces as a ‘ground’ for creation.
- THE PERSONAL OBJECT AS AN ACTIVATOR FOR THE POTENTIAL OF RELATINGUbben, Ine Carlo Jacqueline(Akademie múzických umění v Praze.Divadelní fakulta, 2020)Datum obhajoby: 2020-09-17This M.A. thesis researches how the personal object is an activator for the potential to relate in the theatre performance HIER, HERE, TADY. In this participative performance personal objects invite their owners, audience and performer, to research their everydayness. The performance is a meeting point for people and objects to relate. The first chapter explains the role of the performer. She opens up the meeting point by the dramaturgical propositions she makes. She proposes the time and space to sit with the personal object and she can facilitate or provoke the exploration. The second chapter accounts for the role of the audience. In this performance every member of the audience is a participant, inhabiting a creative and co-authorial relationship to the work through attentive observation and attentive action. The third chapter clarifies how the third element, the personal objects of the performer and participating audience members transform into theatrical objects. And how these theatrical objects activate the participants to research their everydayness by relating to it, to each other and to other objects of the same kind. When humans sit with and explore their personal objects, they can reveal, evoke and elicit their content. The general conclusion explains what the conditions are for the personal object to become an activator for potential of relating, as examined in the performance HIER, HERE, TADY.