Matching Items (7)
Filtering by
- All Subjects: Performance
- Creators: School of Film, Dance and Theatre
Description
Japanese literature of the Heian Era (794-1185) abounds with references to musical instruments and episodes of performance. This thesis provides some insight into that music by translating sections of the "Wakana II" (Spring Shoots II) chapter of the early 11th-century novel Genji monogatari (The Tale of Genji). It explains the musical references and shows how, in the context of the novel, musical performance, musical teaching, and interpersonal relationships were inextricably intertwined. Detailed appendices provide background on traditional Japanese musical instruments, musical theory, and related subjects.
ContributorsBotway, Lloyd (Author) / Creamer, John (Thesis advisor) / Chambers, Anthony (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
My study centers on the novel Katakiuchi Kidan Jiraiya Monogatari (1806-1807) by Kanwatei Onitake (1760-1818). Jiraiya Monogatari was the first literary reading book to be adapted for the kabuki stage. It was also the prototype on which Mizugaki Egao, Kawatake Mokuami, Makino Shouzou; and others based their bound picture books, kabuki, and films. The tale is composed of two revenge incidents, both of which have the same structural framework and are didactic in tone. In my study, I analyze the two revenge incidents by examining their narrative structures. Each incident has the same three-act structure: setup, confrontation, and resolution. The setup of each revenge incident introduces the main characters and their relationships and establishes the dramatic vehicle, which is an unexpected incident that sets the revenge in motion. The confrontation contains myriad non-linear inserts, plot twists, and reversals of fortune, all of which have the effect of a narrative delay. This prolongation of the outcome of a simple revenge plot allows readers the necessary space in which they can form their own judgments regarding good and evil and consider karmic cause and effect. The resolution, including the climax as well as the ending of the revenge, demonstrates the didactic notion of punishing evil and karmic effect. The two revenge incidents embody two rules, kanzen chouaku and inga, which together highlight the didacticism of Jiraiya monogatari.
ContributorsZhang, Jin (Author) / Creamer, John (Thesis advisor) / West, Stephen (Committee member) / Chambers, Anthony (Committee member) / Arizona State University (Publisher)
Created2012
Description
This project and research intended to address how to successfully run and teach a high school level Theatre I course. The research portion of the project focused on activities to use in the classroom, how to run a drama club and put on productions, and how to create a positive classroom environment where students feel comfortable creating art. The creation portion of the project focused on the things a teacher will need in the classroom: an introduction letter, vision statement, syllabus, and unit plans. The final product includes three unit plans: Introduction to Theatre I, Introduction to Acting, and Theatre and Social Change. The use of the materials in this thesis can help first-time Theatre teachers to become better prepared to run their classroom.
ContributorsKircher, Alyssa Elaine (Author) / Sterling, Pamela (Thesis director) / Whissen, Elaine (Committee member) / Saldana, Johnny (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / Division of Teacher Preparation (Contributor)
Created2014-05
Description
The purpose of this research was to create a theoretical lesson plan to teach the French Revolution, and specifically the March on Versailles, to secondary-level (middle and high school) students. This lesson plan incorporates a simulation of the March on Versailles for students to participate in as a supplement to their usual lesson, and as a different and engaging method of learning. For the purposes of this honors thesis, the research and information gathered was split into four individual sections: a pedagogy, a historiography, a series of short biographies, and a script which is accompanied by a short film of the dialogue. These four parts would work together in order for an instructor to easily build either a simple, short, one-class lesson or a multi-lesson project for their students. The parts combine research into educational studies and research on French Revolutionary history in order to encompass all aspects of a lesson. The goal of such research into a potential lesson plan would be to create a history lesson which is more interesting to all students, especially those who struggle to find enjoyment in history. Moving forward, this theoretical lesson would be put into practice with middle or high school students in order to gauge their interest and engagement with the subject before and after a simulation in their class.
ContributorsNun, Taylor Jaylene (Author) / Thompson, Victoria (Thesis director) / Harris, Lauren (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The desire for normalcy is constant, regardless of how unattainable one knows it is. As it seems, the harder one tries for a normal life, the harder it becomes to find it. The more life I experience, the more I realize that normalcy is a construct, completely based in generalizable concepts. Normal will vary from person to person, and even within that, life always provides plenty of deviations from the norm. Within those deviations lies trauma. Trauma is difficult to handle, period. It is even more difficult to handle alone. You Can't Cry While Drinking (Coffee) follows a collegiate arts student as she strives for normalcy while dealing with her mother's terminal diagnosis. This piece focus on alienation, mental health, relationships between women, and the damage that ignoring trauma can cause. It views her actions through the lens of comedy, as laughter can convey a vast and accessible range of emotions. Throughout my college career, I have gone through a significant amount of life stressors, beyond the traditional college work load. Instead of becoming overcome with grief from the traumas I have dealt with, I decided to analyze my life from an outside perspective, taking pieces to share with others. In my observations and experience, sharing stories of hardships with others is mutually beneficial. It allows the individual to come to terms with what they have experience while allowing others to not feel alone if they are struggling with their own lives. There is a considerable amount of comfort in the realization that one does not have to go through traumatic experiences alone. This creative project was performed March 2nd through the 5th. The public exposure was a substantial portion of the process, as sharing trauma was integral to the study of this thesis.
ContributorsGalbiati, Tess Angeline (Author) / Scott, Jason (Thesis director) / Eckard, Bonnie (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
As an artist, I set out to creatively answer three important questions that were discovered in a variety of ways over the course of my academic career. They all had one thing in common, the awareness and wonder around how impactful presence is. But what is presence? Merriam-Webster Dictionary defined presence as, “The state or fact of existing, occurring, or being present in a place or thing.” And, “A person or thing that exists or is present in a place but is not seen. (Presence) After a tangible experience with loss, grief, disappointment, and extenuating life circumstances for many cast members involved in this seven-month movement research project, the internal battle for physical, mental, and emotional presence began to be a daily pursuit. The originally produced work, Presence-The Walk, takes a look into the unpopular practice of being still in an ever-moving society, as well as what the process of healing can look like for an individual. Videographer and MFA candidate Lawrence Fung was a large collaborator on the final product of this work. After having to adapt several different versions of the final product due to cast changes, opportunities for public performance, and the COVID-19 pandemic, dancer, mover, and artist Victoria Ward shares her experience and research exploring the constant pursuit of presence and what it looked like to present professional work given an even shorter timeline. Interdisciplinary collaboration with photographers, artists, and spoken word was also a key aspect of this work alongside the research completed by her cast of seven dancers.
ContributorsWard, Victoria Marie (Author) / Conder, Carley (Thesis director) / Meredith, Shauna (Committee member) / Rosenkrans, Angela (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This performance attempts to decolonize possibilities for love through unarcheology, an invented method intended to re-narrate artifacts "dug up" by institutions of oppressive power and utilized in service of particular ideologies. Through unarcheologies of Sirhan Sirhan, the performer's father, and the performer's own body, the performance offers a critical call for us to examine the ways that colonial logics of criminality, threat, and wrongness always already implicate Palestinian bodies and our relations with them.
Rhetorics of criminality have long been written onto Palestinian bodies. From Dareen Tatour's imprisonment by the state of Israel to the U.S. detaining Adham Hassoun indefinitely as a "security threat", these rhetorics lead to material violence against Palestinians on a global scale, as well as on a discursive and interpersonal level. Communicative work which seeks to decolonize the Palestinian body in its various settings is vital to our survival in literal as well as symbolic ways. From a postcolonial perspective, we cannot extricate the individual from the communal, the local, the national, the global nor the universal. A postcolonial understanding of "survival" demands that we reflexively interrogate the Palestinian body in its sociohistorical complexity and on its own terms.
Autoethnography is uniquely situated as a method for postcolonial analyses of Palestinian survival. Chawla and Atay argue, "postcolonialism and autoethnography are inherently self-reflexive practices… that necessitate a centering of both the subject–object within a local and historical context" (4). In this performance, I introduce "unarcheology" as a postcolonial method for learning to love the Palestinian body. Using media and embodied performance, I stage a series of scripts comprised of poetic autoethnographic reflection, repurposed diary entries from an archetypal Palestinian "criminal," and the text of my father's indictment. These scripts, composed through a queer, collage-like method I call "unarcheology," are separated into temporal sections (past, present, and future) and audience members determine the order of their performance, thus demanding direct engagement in the performance's decolonial project. Staged on and around a single pile of dirt, this performance interrogates colonial barriers of criminality preventing the capacity to critically love Palestinians. It documents the survival that Palestinians are forced to embody- its goal, however, is the pursuit of critical, generous, decolonized love.
Rhetorics of criminality have long been written onto Palestinian bodies. From Dareen Tatour's imprisonment by the state of Israel to the U.S. detaining Adham Hassoun indefinitely as a "security threat", these rhetorics lead to material violence against Palestinians on a global scale, as well as on a discursive and interpersonal level. Communicative work which seeks to decolonize the Palestinian body in its various settings is vital to our survival in literal as well as symbolic ways. From a postcolonial perspective, we cannot extricate the individual from the communal, the local, the national, the global nor the universal. A postcolonial understanding of "survival" demands that we reflexively interrogate the Palestinian body in its sociohistorical complexity and on its own terms.
Autoethnography is uniquely situated as a method for postcolonial analyses of Palestinian survival. Chawla and Atay argue, "postcolonialism and autoethnography are inherently self-reflexive practices… that necessitate a centering of both the subject–object within a local and historical context" (4). In this performance, I introduce "unarcheology" as a postcolonial method for learning to love the Palestinian body. Using media and embodied performance, I stage a series of scripts comprised of poetic autoethnographic reflection, repurposed diary entries from an archetypal Palestinian "criminal," and the text of my father's indictment. These scripts, composed through a queer, collage-like method I call "unarcheology," are separated into temporal sections (past, present, and future) and audience members determine the order of their performance, thus demanding direct engagement in the performance's decolonial project. Staged on and around a single pile of dirt, this performance interrogates colonial barriers of criminality preventing the capacity to critically love Palestinians. It documents the survival that Palestinians are forced to embody- its goal, however, is the pursuit of critical, generous, decolonized love.
ContributorsTbakhi, Nissim Dawn (Author) / Linde, Jennifer (Thesis director) / Rohd, Michael (Committee member) / LeMaster, Benjamin (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05