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Now and again : strategies for truthful performance
thesis
posted on 2017-02-22, 03:37 authored by Peter FraserThis thesis considers whether there is some kind of truth that shows itself in performance and how it is achieved. The investigation focuses on somatic practices and the performer's own awareness. It outlines concepts of authenticity and truth (particularly ontological truth) that might be relevant to bodily experience and (with particular reference to Drew Leder) whether the discontinuity in embodied experience is an obstacle, or a means, to experiencing or perceiving truth. Despite being Husserl's 'remarkably incompletely constituted thing,' the body makes available our sense of a continuous world, a continuous body and a unified Self. These perceived unities, of body, identity and world, block from
view the moments and processes by which they come to be, but these unities, as habitually
experienced, can be disrupted, creating a 'gap' in which being-becoming becomes available to attention. Central to this process are attention, proprioceptive awareness (which provides both a means of observing the body in its transformations and of making those transformations), imagination and a willingness to improvise. The performance practices of Rosalind Crisp, Deborah Hay and Body Weather (originating from Min Tanaka) effect strategies that open 'gaps' as fields of becoming- focusing on attention, perceiving and being perceived, and omnicentral phenomenological investigation. The thesis discusses
and documents 'Lizard -a box of gaps', my performance experiment in exploring, from
within, the type of somatic experience and awareness provided by, seemingly,
incompatible modes and ideologies of performance.
History
Principal supervisor
Sruart GrantYear of Award
2015Department, School or Centre
Theatre and PerformanceCourse
Master of PhilosophyDegree Type
MASTERSCampus location
AustraliaFaculty
Faculty of ArtsUsage metrics
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