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Full-Text Articles in Arts and Humanities
Moments In Performance: Developing An Aid For Articulation And Reflection, Shelby R. Mckenzie
Moments In Performance: Developing An Aid For Articulation And Reflection, Shelby R. Mckenzie
Theses : Honours
Embodiment is an innately human experience. Why then, is it so difficult for society to come to a shared understanding of what it is to be embodied? This problem is particularly relevant in a theatrical context. Critical thinking across the disciplines of Philosophy, Science and History have impacted an actor's theoretical understanding of embodiment. However, this has not affected their corporeal understanding. As an actor I realised that this gap led to my inability to articulate the embodied experience in my practice. This inability to explain the experience meant I was unable to experience it consistently. This thesis examines how …
Monologuing The Music: A New Actor Training Practice For New Times, Nicole Stinton
Monologuing The Music: A New Actor Training Practice For New Times, Nicole Stinton
Research outputs 2014 to 2021
The myth that musical theatre actors cannot act is alive and well. Director, musician and lecturer Dr Zachary Dunbar asserts that the industry frequently chooses between actors who cannot sing or singers who cannot act (2016, 71). Popular blogger WestEndProducer purports that the musical theatre ‘twirley’ is often considered as a jack of all trades but a master of none (2017). In conservatoire style training, could traditional triple-threat skill-focused courses include more holistic educative approaches that integrate the three disciplines of acting, singing and dancing and, longer-term, contribute to dispelling the aforementioned myth? Whilst this question cannot be answered without …
Directing Through Dialogue: A Theatre Director’S Exploration Of Leadership, Gabrielle Frances Metcalf
Directing Through Dialogue: A Theatre Director’S Exploration Of Leadership, Gabrielle Frances Metcalf
Theses: Doctorates and Masters
The esteemed position that a director holds in the creative process is a recent phenomenon. It emerged towards the end of the 19th century. Then, the role of a theatre director encompassed the idea of a single, creative force, coordinating and controlling the elements of a production. Not much has changed. Despite the significance of the role, the literature is largely silent on how a director directs and how a director leads. The paucity of research on the director’s leadership style reflects the way in which the practice of directing occurs — behind closed-doors. Its private nature can deter and …