Browsing by Subject "Performance art"
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Item A strategic planning model for the performance workshop (Taiwan): an internship report(Texas Tech University, 2002-08) Lu, Hung-huiPlanning has always been considered as a basic management function. Since the late 1950s, strategic planning has come into use in the business realm. Soon, many nonprofit organizations in the United States followed the course of for-profit businesses and adopted the process for their needs. These practices, however, are mainly limited to the United States. This dissertation is the first in-depth study of current management situation in Taiwan theatres. The intention of this study is to build a strategic planning model for a performance company in Taiwan. By implementing a strategic plan, the company can gain certain benefits. Furthermore, the planning processes and the model can be applied to or adapted for other theatres in Taiwan. In order to fulfill the objective, this study combines theories and cases of strategic planning in nonprofit arts organizations from published resources with working experiences gained through an internship program at Performance Workshop, a nonprofit, nonprofessional, and mainstream theatre in Taiwan. This study analyzes the strengths, weaknesses, opportunities, and threats of the company. It points out possible objectives and draws up practicable action plans reflect these objectives for the theatre. This strategic planning model is presented to Performance Workshop for its consideration.Item Artaud's "Daughters" : "Plague," "Double," and "Cruelty" as feminist performance practices of transformation(2012-05) Barfield, Heather Leigh; Jones, Omi Osun Joni L., 1955-; Canning, Charlotte; Jones, Omi Osun Joni L., 1955-; Bonin-Rodriguez, Paul; Strong, Pauline; Stone, AllucquereThe purpose of this study was to identify Artaudian criteria contained in three different performance practices including (1) a television performance, (2) a live performance, and (3) a workshop performance. These included, respectively, (1) an episode from The X-Files television series; (2) MetamorphoSex, a live ritual performance with performance artist Annie Sprinkle; and (3) Rachel Rosenthal’s DbD Experience Workshop. Core criteria of Artaudian Theater of Cruelty were established through analyses of the relevant literature. These criteria were then coupled with characteristics of French feminist theory and a “shamanistic” perspective to create a theoretical-analytic tool with Artaudian criteria as its centerpiece. Also, performance analysis, experiential and experimental reflexive-subjectivity, and performative poetics were techniques applied for analytic purposes. Analyses identified a range of Artaudian criteria and feminist and “shamanistic” characteristics in the three performances; these included radical and performative poetics, embodied states of ecstasy and transformation, and non-reliance on written texts and scripts in performance practices. Among other things, analyses of different performance practices indicates that identified Artaudian performances, as a whole, tend to hinge upon performing “in the extreme” and may inadvertently serve to reinscribe race and imperialist hegemonies through an exaggeration of performing “whiteness in the extreme.” Additionally, women performing “in the extreme” are often unfairly characterized as heightened and exaggerated examples of “womanness.” Masked behind themes of women’s empowerment are cultural and performative archetypes of woman as “goddess,” “monster,” or heartless “cyborg.” Implications of these findings are discussed as well as the creation of public spaces where groups of people gather for an “extreme” performative event that, through dramatic spectacle and purpose, unites them with a particular theme or focus. It is argued that such spaces have the potential to catalyze endeavors seeking transformation and, in particular, transform the social lives of the participants.Item Comedy of PurposesRoeder, LarsonItem Dancing in place: the radical production of civic spaces(2007) Somdahl, Katrinka Cleora, 1970-; Hoelscher, Steven D.; Adams, Paul C.Public spaces can be manipulated by choreographers to create political identifications that last long beyond the ephemeral performance event. How public space is defined and utilized is intimately connected with a society's definition of who is to be included and the kind of political community to be fostered. Through an engagement with feminist and political geographic writings I argue that dance, as an art form that is dominated by women, can create meaningful public spaces where these women express political attitudes, assert claims to the public realm, and actively use it for their own purposes. Using qualitative methods, three choreographers are highlighted to investigate how they each use symbolism, the social narratives concerning each site, and the built environment to communicate with their audiences about gentrification, environmental protection, and restrictive social mores. This work asserts that the social value of art combined with the nonverbal communication powers of the body leads to a heightened awareness of the political voice of the women involved in these urban performances.Item Letting go : acting process into performance(2013-05) Barnes, Geoffrey Warren; Christian, PamelaTheatre and DanceItem My journey to an artist : I’m not a writer-- but I got a story to tell(2010-05) Stephens, La Tasha René; Dorn, Fran; Beckham, Andrea p.; Jones, Joni l.This thesis tracks my journey as an artist as I developed personally and as my performance piece moved from conception to implementation. The story begins with what I understood to be a lack of material written for and about a specifically targeted audience. The thesis goes on to discuss how that need could be met, how I could be the catalyst for change and how that process could change my life forever. I have also included my experience as a solo performer whose previous training had prepared me only for collaboration with other actors. This thesis also discusses my process of creating and developing I’m not a writer… but I got a story to tell and concludes with reflections on my final performance.Item Readymaintenance : systems, feminist economics, and the immaterial readymade in the work of Mierle Laderman Ukeles(2015-08) Giordano, Rebecca Leslie; Reynolds, Ann Morris; Smith, CheriseIn 1968, Mierle Laderman Ukeles wrote the Maintenance Art Manifesto. She announced a new art making practice as well as an original economic theory from a feminist perspective. Maintenance, "the back half of life," as she once called it, has been the lens through which Ukeles has made art for more than 45 years. To enact her theory, Ukeles uses the avant-garde tradition of claiming aspects of everyday life as art.'This thesis examines two key features of Ukeles work from before 1977. Her economic theory, Maintenance, is a rich and complex view that centralizes the experience of women and those efforts and workers who keep society going and people living. Leaning on Jean Baudrillard, I argue that this subaltern feminist economic theory refutes the productivist tendencies in avant-garde art and society at large, which Ukeles refers to as "development." Because Marxism, like capitalism, privileges production and growth over all other aspects of life, understanding Ukeles' unique contributions to both economics and art requires a different approach to labor and value than has been previously discussed by historians and critics who have relied largely on Marx's theory of labor value. Beginning with Antonio Gramsci, I offer a close analysis of Ukeles' theorization from the subaltern position of maintenance that aims to reveal the essential and ever present qualities of maintenance while resisting the hegemony of development.'Building from my economic analysis, I am able to examine how Ukeles successfully performs a subaltern critique in an art practice by developing a technique using immaterial readymades. To make maintenance work visible Ukeles developed a technique that extended the readymade practices of Duchamp and others to include the non-productive labor of maintenance. Her readymades manifest as conceptual performances of labor done in the settings in which they would occur --whether that is the largest garbage dump or the oldest public museum in America. Drawing heavily from Michel Foucault and Raymond Williams, I consider how Ukeles' immaterial readymades reveal discursive constructions of value and meaning. This analysis offers a new way of understanding the functions of readymades more generally.Item T0WARD CY83RGN0S1S(2016-05) Stuckey, Rachel Meredith; Williams, Jeff, M.F.A.; Henderson, LindaCan we experience enchantment with cyberspace as we can with outer space? Can late-night web browsing provide unexpected encounters equivalent to those had in the space between radio frequencies? These questions drive my art and research. What I am pursuing is cybergnosis, or intuitive experiences of mysterious spiritual realities on the cyberplane. My goal is to question traditionally held divisions between technology and the human, and to explore marginal views of technologies. My research involves embedding myself in outlier online communities, some composed of people who feel afflicted by computers, and others who are collaborating with them in unusually empowered ways, be they spiritual, psychological, political or otherwise. I use video based performance, net-based projects, and multimedia installations to evoke empathetic yet critical renderings of these experiences. In this report, I write about five of my artworks: Estrin Tide is Fresh, Everyone Else is Tired (2016), Hello Nebula? It’s me, Margaret. (2015), Innernet Addict (2015), T0WARD CY83RGN0S1S(2015), and Welcome to my Homepage! (2014).Item This Emotional Closet : women's relationships with clothing(2015-05) O'Bannion, Mercedes Bron; Mickey, Susan E.; Isackes, Richard; Buchanan, JasonClothes are objects presented in society to be experienced and translated by others. This thesis identifies three female stereotypes found in literature: mother, virgin, and whore. By addressing the historical and social context that exist in American culture, I can begin to explain how these three stereotypes are dependent upon appearance perception. In exploring the identities that clothing can communicate, I hope to contribute an understanding of the phenomenological aspects in everyday dressing. This thesis will also discuss how my research informed my choices in the development and creation of an immersive theatrical experience, This Emotional Closet.Item Time slips : queer temporalities in performance after 2001(2011-08) Pryor, Jaclyn Iris; Paredez, Deborah, 1970-; Jones, Joni; Reynolds, Ann; Rossen, Rebecca; Stewart, KathleenThis project examines contemporary performances that disrupt normative understandings of time/history. I argue that the complimentary regimes of heterosexuality and capitalism produce the temporal logics that create the psychic and material conditions under which U.S. queer subjects experience everyday, national, and transnational trauma. These logics include the construction of time/history as linear, teleological, and progress-oriented, and the idealized citizen as similarly straight, productive, and amnesic. I then analyze the ways in which queer performance can resist and transform chrono-normativity by creating "time slips": worlds in which past and present are given permission to touch; history/memory to repeat; and the future to reside in the now. Case studies include Ann Carlson and Mary Ellen Strom's Geyser Land (2003); floodlines (2004-2010), which I conceived and directed; and Peggy Shaw and The Clod Ensemble's Must: The Inside Story (2011). I situate my analysis against the backdrop of a post-9/11 security state that makes these performative disruptions particularly vital at this historical moment.Item Towards a holy commercial theatre: Betty Buckley, history, performance, and theory(Texas Tech University, 2000-05) Error, Darise HelenBetty Buckley is unique in that she has established herself as a genuine Broadway star, with her reputation and celebrity status resting on the foundation of her stage work, in an environment which is not particularly conducive to that feat. She did not rest there, however, as Playbill On-Line's Associate Editor Andrew Gans points out: "In an era where theatre performers are rarely known outside of the New York area, Buckley has managed to become one of the few performers who work primarily in the theatre to become well-known and respected around the world." Buckley has accomplished this through hard work and discipline, but also through a distinctive acting technique and philosophy which combines very traditional and nontraditional Western theatrical thought with Eastern philosophy and spirituality. With this technique and philosophy, Buckley has managed to transcend the seemingly indelible line which separates academic theatre—the theatre of theorizing and perpetual experimentation—and commercial theatre. Borrowing from the terminology of Jerzy Grotowski and Peter Brook, Betty Buckley is a kind of "Holy" actor, and Buckley's is a rare "Holy" theatre in which theory is utterly practical, and the practice is commercially viable. This dissertation is the first in-depth, scholarly analysis of Buckley's performance theory. Chapter I provides a brief biography which focuses on Buckley's substantial, diverse body of work. Chapter II provides a short survey of critical observations about her work from Buckley's fellow actors, from her Triumph of Love director Michael Mayer, and from newspaper and magazine critics, with some commentary from Buckley herself Chapter III addresses Buckley's performance technique and theory in depth and detail: the Western sources—those with whom she actually studied and those she researched on her own, the Eastern sources—meditation, Siddha Yoga, and Eastern philosophy, and a discourse of how all of these seemingly diverse elements coalesce into a cohesive, practical approach to theatre and acting. Chapter IV draws parallels between Buckley's philosophies and practices and the "Holy," and Chapter V concludes.