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Traces and Echoes: A Methodology for the Making of Embodied Performance.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Traces and Echoes: A Methodology for the Making of Embodied Performance./
Author:	Temussi, Valentina.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	142 p.
Notes:	Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
Contained By:	Dissertations Abstracts International83-03A.
Subject:	Nature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28705632
ISBN:	9798544211624

Traces and Echoes: A Methodology for the Making of Embodied Performance.
Temussi, Valentina.

Traces and Echoes: A Methodology for the Making of Embodied Performance. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 142 p.

Source: Dissertations Abstracts International, Volume: 83-03, Section: A.

Thesis (Ph.D.)--Liverpool John Moores University (United Kingdom), 2021.

This item must not be sold to any third party vendors.

This research is an investigation on how movement practice embedded in the creative process from the very beginning can have a radical effect on the resulting performance. My exploration of the consequences of the use of movement as an integral part of the creative process has been conducted specifically through one major performance making project, and four other different performances that allowed me to further research and systematize a personal method of practice that I called "Traces and echoes". To contextualize my research, I conducted an historical overview of the possible sources of movement practice as part of actor training and of performance making. I complemented my investigation with the analysis of the creative processes of three contemporary theatre makers, coming from very different theatrical backgrounds, but sharing a strong physical awareness in their creative and rehearsal processes: Kellie Hughes, Lluis Homar and Andres Corchero.My investigation has been conducted both on a theoretical and on a practical level to develop and organize a personal method. In my practical investigation over the course of three years, I proceeded organising the exercises I had been devising and using already over many years, and I tested them in five different performances I worked on. In this thesis I analyse one performance in particular, The empty square/space in the bright light, because I completed the structure of my method through its creation. I worked on this particular performance with students, both dancers and actors, in a standard four weeks rehearsal time frame where the entire dramaturgical structure and composition depended on the findings and the use of my method. One big concern I always felt especially in traditional acting training and in some theatre productions, is that often movement is only relegated to the final part of the rehearsal process as though it was a costume that the actors could wear in the last moments of the rehearsals to enhance their performances. This misinterpretation of movement practice leads most of the time to a systematized approach where actors are asked to learn and repeat codified gestures rather than being guided through a process where movement is an integral part of the understanding and the interpreting work. Furthermore, the possibility of movement being also a way for analysing and then working on the actual content of a performance, opens up the possibility of using it as a tool in the rehearsal process not only for actors but for directors as well. Movement practice becomes part of a working process that can allow actors and directors to go beyond the sole creation of characters, and actually use it to analyse and possibly create the entire dramatic material. Personally, I find this process fascinating because it allows both the performers and the directors to have a vision from the inside and from the outside of the worked material, meaning that the dramatic material can be embodied in the rehearsal process and then reworked also stepping away and composing the dramaturgical structure starting from what has been discovered and developed in the creative context.

ISBN: 9798544211624Subjects--Topical Terms:

545102
Nature.

Traces and Echoes: A Methodology for the Making of Embodied Performance.
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