The political promise of choreography in performance and/as research: First Physical Theatre Company’s manifesto and repertory, 1993-2015
- Authors: Finestone-Praeg, Juanita
- Date: 2020
- Subjects: Choreography -- Political aspects , Dance -- South Africa -- Makhanda , Dance -- Political aspects , Performance art -- South Africa -- Makhanda , Performance art -- History and criticism , Performance art -- Research , Performance art -- Study and teaching , Performance art -- Philosophy , Experimental theater -- South Africa -- Makhanda , Experimental theater -- History and criticism , Political art -- South Africa -- Makhanda , First Physical Theatre Company , First Physical Theatre Company -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/149373 , vital:38844
- Description: This study redefines the political in dance by drawing on the scholarly concept of the “choreopolitical” (André Lepecki) and extending it into analysing related concepts such as the “postdramatic” (Hans-Thies Lehmann), performance and/as research, among others from Performance Studies scholarship as well as from First Physical Theatre Company’s pioneering legacy of production, pedagogy and research in making Phyical Theatre performance. Following from the notion that performance is both a site and a method of study/knowing, the research invites a rethinking of the relationship between art (performance), epistemology and the political, in the sense that performance becomes a way, not of simply re-presenting the political but, as its own way of knowing, actively questioning the very categories on which the political is premised. The argument for Physical Theatre as having nascent potential to invoke what I call “the power of the small” is analysed as a choreopolitical method and community of practice that has a generative capacity to produce the “intimate revolts” (Julia Kristeva) or body of questions that can perform the imaginative curiosities/forms required to create provocative, subversive, ethical, reflexive and charged performance. My argument is supported by critical commentary, insight, choreological analysis and reflection on the dramaturgical strategies and choreopolitics of selected commissioned choreographers and dance forms that extended FPTC’s manifesto and production between 1993 and 2015. My project has the following three goals: (i) to contextualise, conceptualise and identify key issues in the identity, pedagogy and performance ethos of Physical Theatre as a performance philosophy and form; (ii) to engage critically with the praxis of Physical Theatre within the contextual, cultural, historical and political relationships between Physical Theatre and other performance practices in South Africa; and (iii) to document, analyse and interpret selected claims, works and performance processes from the archive of FPTC’s repertory and training manifesto from 1993 to 2015. The research evaluates the political significance and consequence of FPTC’s heritage and legacy problematising constraints, possibilities, tensions, failures and proposing the hope of imaginative entanglements with practising freedoms.
- Full Text:
- Date Issued: 2020
- Authors: Finestone-Praeg, Juanita
- Date: 2020
- Subjects: Choreography -- Political aspects , Dance -- South Africa -- Makhanda , Dance -- Political aspects , Performance art -- South Africa -- Makhanda , Performance art -- History and criticism , Performance art -- Research , Performance art -- Study and teaching , Performance art -- Philosophy , Experimental theater -- South Africa -- Makhanda , Experimental theater -- History and criticism , Political art -- South Africa -- Makhanda , First Physical Theatre Company , First Physical Theatre Company -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/149373 , vital:38844
- Description: This study redefines the political in dance by drawing on the scholarly concept of the “choreopolitical” (André Lepecki) and extending it into analysing related concepts such as the “postdramatic” (Hans-Thies Lehmann), performance and/as research, among others from Performance Studies scholarship as well as from First Physical Theatre Company’s pioneering legacy of production, pedagogy and research in making Phyical Theatre performance. Following from the notion that performance is both a site and a method of study/knowing, the research invites a rethinking of the relationship between art (performance), epistemology and the political, in the sense that performance becomes a way, not of simply re-presenting the political but, as its own way of knowing, actively questioning the very categories on which the political is premised. The argument for Physical Theatre as having nascent potential to invoke what I call “the power of the small” is analysed as a choreopolitical method and community of practice that has a generative capacity to produce the “intimate revolts” (Julia Kristeva) or body of questions that can perform the imaginative curiosities/forms required to create provocative, subversive, ethical, reflexive and charged performance. My argument is supported by critical commentary, insight, choreological analysis and reflection on the dramaturgical strategies and choreopolitics of selected commissioned choreographers and dance forms that extended FPTC’s manifesto and production between 1993 and 2015. My project has the following three goals: (i) to contextualise, conceptualise and identify key issues in the identity, pedagogy and performance ethos of Physical Theatre as a performance philosophy and form; (ii) to engage critically with the praxis of Physical Theatre within the contextual, cultural, historical and political relationships between Physical Theatre and other performance practices in South Africa; and (iii) to document, analyse and interpret selected claims, works and performance processes from the archive of FPTC’s repertory and training manifesto from 1993 to 2015. The research evaluates the political significance and consequence of FPTC’s heritage and legacy problematising constraints, possibilities, tensions, failures and proposing the hope of imaginative entanglements with practising freedoms.
- Full Text:
- Date Issued: 2020
Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department
- Authors: Haxton, Robert Peter
- Date: 2014
- Subjects: Lehmann, Hans-Thies -- Postdramatisches Theater -- English , Rhodes University -- Department of Drama , First Physical Theatre Company , Experimental theater -- South Africa , Experimental theater -- History and criticism , Performance art -- South Africa , Performance art -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2163 , http://hdl.handle.net/10962/d1015671
- Description: This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.
- Full Text:
- Date Issued: 2014
- Authors: Haxton, Robert Peter
- Date: 2014
- Subjects: Lehmann, Hans-Thies -- Postdramatisches Theater -- English , Rhodes University -- Department of Drama , First Physical Theatre Company , Experimental theater -- South Africa , Experimental theater -- History and criticism , Performance art -- South Africa , Performance art -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2163 , http://hdl.handle.net/10962/d1015671
- Description: This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.
- Full Text:
- Date Issued: 2014
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