Humour's critical capacity in the context of South African dance, with two related analyses
- Authors: Elliott, Nicola
- Date: 2010
- Subjects: Dance -- South Africa Choreography -- South Africa Dance criticism -- South Africa Theater -- South Africa South African wit and humor
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2137 , http://hdl.handle.net/10962/d1002369
- Description: This thesis spans two fields - South African dance and the philosophy of humour - and attempts to link them through an understanding of their formal mechanisms. I attempt to establish two main ideas: that there is a need for a critical praxis in South African dance, and that humour in dance can be part of this process. In Chapter One, I discuss elements of the South African dance and theatre industries pre- and post-1994 towards arguing my first point (that South African dance would benefit from a critical praxis). I probe some of the challenges facing artists and describe howchoreographers are dealing thematically and stylistically (but not formally) with the concept of the 'New' South Africa. Through an investigation of concerns voiced by critics regarding choreographic form in the country, I argue that South African dance would benefit from critical formal investigations in dance-making. Finally, I discuss traditional views of humour in South African dance/theatre and in philosophy, which suggest that humour is predominantly seen as frivolous and unworthy of serious attenfion. In Chapter Two, I offer a defence for humour's more profound critical aspects, suggesting that humour can in fact be seen as critical 'thinking in action'. A discussion of theories about humour reveals that the basis for humour is the incongruous. A subsequent discussion of form in theatre and dance shows how the incongruous might work within dance form to create meta-dance. In this way, I attempt to link the two fields of humour and South African dance and to make the connection between the critical capaci~ies of meta-dance and those of humour. I suggest, in other words, that humour in dance can create a critical awareness, of the likes advocated in Chapter One. In Chapter Three, I discuss aspects of two works: my own This part should be uncomfortable (2008) and Nelisiwe Xaba's Plasticization (2004). The two analyses differ from each other as does the humour in both works. Despite the differences, I argue that humour in both works is operating on a critical level that includes a meta-level of signification.
- Full Text:
- Authors: Elliott, Nicola
- Date: 2010
- Subjects: Dance -- South Africa Choreography -- South Africa Dance criticism -- South Africa Theater -- South Africa South African wit and humor
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2137 , http://hdl.handle.net/10962/d1002369
- Description: This thesis spans two fields - South African dance and the philosophy of humour - and attempts to link them through an understanding of their formal mechanisms. I attempt to establish two main ideas: that there is a need for a critical praxis in South African dance, and that humour in dance can be part of this process. In Chapter One, I discuss elements of the South African dance and theatre industries pre- and post-1994 towards arguing my first point (that South African dance would benefit from a critical praxis). I probe some of the challenges facing artists and describe howchoreographers are dealing thematically and stylistically (but not formally) with the concept of the 'New' South Africa. Through an investigation of concerns voiced by critics regarding choreographic form in the country, I argue that South African dance would benefit from critical formal investigations in dance-making. Finally, I discuss traditional views of humour in South African dance/theatre and in philosophy, which suggest that humour is predominantly seen as frivolous and unworthy of serious attenfion. In Chapter Two, I offer a defence for humour's more profound critical aspects, suggesting that humour can in fact be seen as critical 'thinking in action'. A discussion of theories about humour reveals that the basis for humour is the incongruous. A subsequent discussion of form in theatre and dance shows how the incongruous might work within dance form to create meta-dance. In this way, I attempt to link the two fields of humour and South African dance and to make the connection between the critical capaci~ies of meta-dance and those of humour. I suggest, in other words, that humour in dance can create a critical awareness, of the likes advocated in Chapter One. In Chapter Three, I discuss aspects of two works: my own This part should be uncomfortable (2008) and Nelisiwe Xaba's Plasticization (2004). The two analyses differ from each other as does the humour in both works. Despite the differences, I argue that humour in both works is operating on a critical level that includes a meta-level of signification.
- Full Text:
Revolt as a strategy of de-reification in contemporary performance practice
- Authors: Smit, Sonja
- Date: 2010
- Subjects: Mantero, Vera Bouwer, Jaco, 1973- Performance art -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2147 , http://hdl.handle.net/10962/d1002379
- Description: This thesis investigates the concepts of revolt and de-reification and how these can be perceived and implemented within the context of performance. The argument focuses on the ability of revolt to question and unsettle processes of reification which in turn manifest a strategy of de-reification. I investigate the potential in contemporary performance practice to challenge prevailing modes of perception and restore the production of desire to the spectator through strategies of de-reification. This research is approached through a qualitative process which entails a reading and application of critical texts to the analysis. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of the two works selected for analysis. Chapter One functions as an introduction to the concept of reification and the necessity of a process geared towards de-reification through revolt. I argue that revolt is already embedded in avant-garde artistic practices through an experimental and questioning approach to artistic practice and the production of meaning. Chapter Two is an analysis of Vera Mantero’s solo work, one mysterious Thing said e.e cummings* (1996). This is structured around two identifiable elements, one being the resistance to signification (designification), which is argued as a strategy of revolt within the piece. The second is the notion of abjection, which works doubly to aid the resistance to signification as well as working as a strategy of revolt by its implication in the work. Chapter Three analyses Jaco Bouwer’s Untitled (2008), specifically dealing with the notion of absence as a strategy of revolt and de-reification. The discussion is focused on the potential complication of desire through absence as enacting a larger project of revolt. As in Chapter Two, this is similarly related to the fragmentation of signs through designification which emphasises the strategy of absence. This thesis concludes with the idea that meaning-making in performance can be considered a process. Instead, the lack or failure of meaning within these selected performance practices enables a return to the individual (performer and spectator) as the agent of desire.
- Full Text:
- Authors: Smit, Sonja
- Date: 2010
- Subjects: Mantero, Vera Bouwer, Jaco, 1973- Performance art -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2147 , http://hdl.handle.net/10962/d1002379
- Description: This thesis investigates the concepts of revolt and de-reification and how these can be perceived and implemented within the context of performance. The argument focuses on the ability of revolt to question and unsettle processes of reification which in turn manifest a strategy of de-reification. I investigate the potential in contemporary performance practice to challenge prevailing modes of perception and restore the production of desire to the spectator through strategies of de-reification. This research is approached through a qualitative process which entails a reading and application of critical texts to the analysis. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of the two works selected for analysis. Chapter One functions as an introduction to the concept of reification and the necessity of a process geared towards de-reification through revolt. I argue that revolt is already embedded in avant-garde artistic practices through an experimental and questioning approach to artistic practice and the production of meaning. Chapter Two is an analysis of Vera Mantero’s solo work, one mysterious Thing said e.e cummings* (1996). This is structured around two identifiable elements, one being the resistance to signification (designification), which is argued as a strategy of revolt within the piece. The second is the notion of abjection, which works doubly to aid the resistance to signification as well as working as a strategy of revolt by its implication in the work. Chapter Three analyses Jaco Bouwer’s Untitled (2008), specifically dealing with the notion of absence as a strategy of revolt and de-reification. The discussion is focused on the potential complication of desire through absence as enacting a larger project of revolt. As in Chapter Two, this is similarly related to the fragmentation of signs through designification which emphasises the strategy of absence. This thesis concludes with the idea that meaning-making in performance can be considered a process. Instead, the lack or failure of meaning within these selected performance practices enables a return to the individual (performer and spectator) as the agent of desire.
- Full Text:
The advent of the 'Festivore' an exploration of South African audience attendance in the performing arts at the National Arts Festival
- Authors: Antrobus, Richard Roy
- Date: 2010
- Subjects: Standard Bank National Arts Festival -- Economic aspects , Arts -- Economic aspects , Performing arts festivals -- Economic aspects -- South Africa -- Grahamstown , Arts -- South Africa -- Economic aspects , Arts -- South Africa -- Finance , Arts -- South Africa -- Political aspects , Arts audiences -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2130 , http://hdl.handle.net/10962/d1002362
- Description: In South Africa, the performing arts have contributed to enhancing national identity and distinctiveness despite coming up against weak legislation, policy and infrastructure to support their growth and proliferation (Fredericks, 2005: 9). Coupled with a decline in both government and consumer support and the contradictory disparity between valuing the arts and the funding of the arts, theatre companies can no longer rely on the comfort of external subsidies and financial support. In order to be economically viable and sustainable to ensure their survival, there is an increasing demand for theatre companies to look to novel ways of increasing audience demand for theatre and improving audience attendance. However, instead of risking artistic integrity and the performance product to satisfy the market, this research suggests that promotion and development of theatre at arts festivals provides a platform to access a wider theatre-going public, which therefore facilitates a change in the market focus toward appreciation of the product (production). It explores leading arguments pertaining to the attendance of arts and cultural events, namely, Peterson and Simkus (1992), later updated by Peterson‟s (2005)„omnivore-univore‟ argument. The argument purports cultural consumption as binary in nature: either significant and diverse or limited, if not absent altogether. Supported by a number of case-studies, including Chan and Goldthorpe (2005) and Montgomery and Robinson (2008) and Snowball et al. (2009), the investigation challenges Bourdieu‟s (1984) theory on cultural distinction as well as the homology and individualisation argument. In determining the factors that influence cultural taste and consumer behaviour, including motivators and inhibitors of attendance and a predominant emphasis on audience risk and information asymmetry, the research was placed in a local context, providing an overview of the socio-economic theatre environment in South Africa. It investigated the nature, structure and impact of local festivals (as events) in changing audience demand and theatre attendance. With specific reference to the South African National Arts Festival (NAF) the research notes the effects of Hauptfleisch‟s „eventification‟ phenomenon on univore attenders and therefore expands the omnivore-univore theory to include a new breed of attender: the “Festivore”. A case study explored the “Festivore” hypothesis through empirical research, surveys and face-to-face qualitative interviews and on-seat questionnaire responses by festival attenders. Personal interviews and communication was also carried out with leading experts in the field. The data was then analysed using SPSS 13 electronic statistical analysis programme to determine the socio-demographics and the factors that affect theatre attendance of existing, as well as potential target, theatre audiences at the National Arts Festival The study concluded that South African theatre attenders are generally omnivorous consumers and that, more importantly, there seems to be a shift towards „festivorous‟ consumption. Furthermore, evidence supports the development and proliferation of festivals as a means not only to support and promote the arts in South Africa but, more importantly, to generate new theatre audiences and entrench theatre attendance into South African culture.
- Full Text:
- Authors: Antrobus, Richard Roy
- Date: 2010
- Subjects: Standard Bank National Arts Festival -- Economic aspects , Arts -- Economic aspects , Performing arts festivals -- Economic aspects -- South Africa -- Grahamstown , Arts -- South Africa -- Economic aspects , Arts -- South Africa -- Finance , Arts -- South Africa -- Political aspects , Arts audiences -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2130 , http://hdl.handle.net/10962/d1002362
- Description: In South Africa, the performing arts have contributed to enhancing national identity and distinctiveness despite coming up against weak legislation, policy and infrastructure to support their growth and proliferation (Fredericks, 2005: 9). Coupled with a decline in both government and consumer support and the contradictory disparity between valuing the arts and the funding of the arts, theatre companies can no longer rely on the comfort of external subsidies and financial support. In order to be economically viable and sustainable to ensure their survival, there is an increasing demand for theatre companies to look to novel ways of increasing audience demand for theatre and improving audience attendance. However, instead of risking artistic integrity and the performance product to satisfy the market, this research suggests that promotion and development of theatre at arts festivals provides a platform to access a wider theatre-going public, which therefore facilitates a change in the market focus toward appreciation of the product (production). It explores leading arguments pertaining to the attendance of arts and cultural events, namely, Peterson and Simkus (1992), later updated by Peterson‟s (2005)„omnivore-univore‟ argument. The argument purports cultural consumption as binary in nature: either significant and diverse or limited, if not absent altogether. Supported by a number of case-studies, including Chan and Goldthorpe (2005) and Montgomery and Robinson (2008) and Snowball et al. (2009), the investigation challenges Bourdieu‟s (1984) theory on cultural distinction as well as the homology and individualisation argument. In determining the factors that influence cultural taste and consumer behaviour, including motivators and inhibitors of attendance and a predominant emphasis on audience risk and information asymmetry, the research was placed in a local context, providing an overview of the socio-economic theatre environment in South Africa. It investigated the nature, structure and impact of local festivals (as events) in changing audience demand and theatre attendance. With specific reference to the South African National Arts Festival (NAF) the research notes the effects of Hauptfleisch‟s „eventification‟ phenomenon on univore attenders and therefore expands the omnivore-univore theory to include a new breed of attender: the “Festivore”. A case study explored the “Festivore” hypothesis through empirical research, surveys and face-to-face qualitative interviews and on-seat questionnaire responses by festival attenders. Personal interviews and communication was also carried out with leading experts in the field. The data was then analysed using SPSS 13 electronic statistical analysis programme to determine the socio-demographics and the factors that affect theatre attendance of existing, as well as potential target, theatre audiences at the National Arts Festival The study concluded that South African theatre attenders are generally omnivorous consumers and that, more importantly, there seems to be a shift towards „festivorous‟ consumption. Furthermore, evidence supports the development and proliferation of festivals as a means not only to support and promote the arts in South Africa but, more importantly, to generate new theatre audiences and entrench theatre attendance into South African culture.
- Full Text:
Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body
- Authors: Acker, Shaun Albert
- Date: 2010
- Subjects: Dance -- 19th century Dance -- 20th century Dance -- 21st century Aerialists Movement, Aesthetics of Feminine beauty (Aesthetics) Movement notation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2129 , http://hdl.handle.net/10962/d1002361
- Description: This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.
- Full Text:
- Authors: Acker, Shaun Albert
- Date: 2010
- Subjects: Dance -- 19th century Dance -- 20th century Dance -- 21st century Aerialists Movement, Aesthetics of Feminine beauty (Aesthetics) Movement notation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2129 , http://hdl.handle.net/10962/d1002361
- Description: This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.
- Full Text:
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