Matching Items (8)
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- All Subjects: Theatre
- All Subjects: Devising
- Creators: Hunt, Kristin
Description
This research study examines the interaction between youth queer narratives and young people through examining my core research question, How do young people engage, interpret, and respond to queer narratives? Applying a feminist narrative analysis to examine the qualitative data, I propose a methodological research shift where the voices of youth are valued as content experts; an artistic shift that moves content-creation away from a top down traditional media model and towards a youth-centered new media approach for art making; an aesthetic shift away from over-used stereotypes, tropes, and stale representations and instead innovate to represent intersectional, spectrum-based diversity of the LGBTQ+ experience.
This qualitative research study utilizes questionnaires, focus groups, and case study interviews, to engage adolescent perceptions of queer narratives. The youth, ranging in ages from 15 to 18 years old and living in the Phoenix, Arizona metro area, explore and examine LGBTQ+ themes, characters, plots in traditional and new media.
My dissertation examines youth interactions with queer narratives through three chapters. These address themes of: character, identity, and representation; plot and the search for accuracy; and the symbiotic exchange between narrative and community. Throughout the dissertation, young people analyze narratives, reflect on their own lives, and envision the future of youth queer narrative. The youth describe a move away from traditional media and towards new media platforms with user-created content, social network interaction, and the sharing of common experiences with peers. Finally, I examine the implications of both the research findings and the methodology on the future of youth-engaged qualitative research, as well as the performing arts.
This qualitative research study utilizes questionnaires, focus groups, and case study interviews, to engage adolescent perceptions of queer narratives. The youth, ranging in ages from 15 to 18 years old and living in the Phoenix, Arizona metro area, explore and examine LGBTQ+ themes, characters, plots in traditional and new media.
My dissertation examines youth interactions with queer narratives through three chapters. These address themes of: character, identity, and representation; plot and the search for accuracy; and the symbiotic exchange between narrative and community. Throughout the dissertation, young people analyze narratives, reflect on their own lives, and envision the future of youth queer narrative. The youth describe a move away from traditional media and towards new media platforms with user-created content, social network interaction, and the sharing of common experiences with peers. Finally, I examine the implications of both the research findings and the methodology on the future of youth-engaged qualitative research, as well as the performing arts.
ContributorsWaldron, Andrew (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Hunt, Kristin (Thesis advisor) / Saldana, Johnny (Committee member) / Hughes, Erika (Committee member) / Arizona State University (Publisher)
Created2018
Description
Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
Performing the Electrical traces the histories and futures of electrical discovery and knowledge through cultural performances, socio-political assemblages, and the more-than-human worldmaking functions of energy in general and electricity in particular, or what I refer to as energy-as-electricity. This project seeks to transform how energy-as-electricity is perceived, and thereby to re-vision the impact that energy-rich relationships might have ecologically—in both the social and environmental senses of the word. As a practice-led inquiry I use my scenographic sensibilities in combination with performance studies and energy humanities lenses to identify how energy-scapes form through social performances, material relations, and aesthetic/ritualistic interventions. This approach allows me to synthesize vastly different scales of energy-as-electricity performatives and spatialities and propose alternative framings which work towards decolonizing and re-feminizing energy-rich relationships. This research considers the way power flows, accumulates, and transforms through performance as embodied expression, practice and eventful doings of human and more-than-human agents. It asks: if place is practiced space (Henri Lefebvre), how can decolonizing and re-feminizing energy-rich relationships transform normative power relationships (or power geometries, as cultural geographer Doreen Massey refers to such globalized interconnections)—which are formed through electricity, technologies and colonial-capitalism? I ground this inquiry as an ecological intervention in order to investigate how performing with electricity differently (both in collective imaginations and quotidian interactions), can change the ways that electricity is produced and consumed in the time of the Anthropocene, Capitalocene, and Plasticene. The following study produces written and tacit knowledge that expands the framing of energy-rich relationships shared between human and more-than-human performatives. My provocation is that experiential encounters are critical for expanding the ontological plurality of energy-as-electricity with ecological a/effect. Drawing on the insights of performance scenographer Rachel Hann, I demonstrate that scenographic methodologies in an expanded field, along with embodied sensing, provide productive insights into this endeavor of expansion. This project both serves as a space making/space keeping provocation and offers a methodology for devising more desirable futures.
ContributorsFoster Gluck, Geneva (Author) / Underiner, Tamara (Thesis advisor) / Hunt, Kristin (Committee member) / McHugh, Kevin (Committee member) / Arizona State University (Publisher)
Created2020
Description
For my Barrett Creative Project I set out to make an Elizabethan inspired women’s costume and write about my process. Images of the completed costume and process photos are included in the appendix. I researched the differences between my modern day costume construction techniques and those of dressmakers from the original period of the 16th century. An important distinction that I must make is that I set out to create a costume rather than a historical reproduction of a garment. This allows me to have both creative freedom and an ability to take advantage of the technology to which I have access. I will begin by reviewing the steps I took to construct the costume itself. The task began long before I ever sat down to stitch pieces together. Pollatsek writes, “Popular culture tends to show two versions of making clothing: mass - production drudged in sweatshops, or virtually instantaneous bursts of creative magic . . . (making costumes for the stage), most people do not see the planning and time that the transformation of fabric into wearable art entails. Creating costumes actually requires a combination of art, craft, and engineering” (1). I found her statement to ring true, as the completion of this project incorporated not just sewing but historical research, pattern-making, costume design, and project management. The final product of this project is a costume that very closely resembles the initial rendering. Due to the onset of Covid-19, in order to adhere to social distancing practices, I was unable to photograph the finished project on my model. The alterations marked in our final fitting were completed and the costume is made to her latest measurements.
ContributorsMurphy, Niamh Leavy (Author) / Furr, Constance (Thesis director) / Moench, Sarah (Thesis director) / Hunt, Kristin (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
DescriptionA short film where female actresses are given the opportunity to play male Shakespeare roles breaking gender norms.
ContributorsLass, Alaina (Author) / Espinosa, Micha (Thesis director) / Hunt, Kristin (Committee member) / School of Community Resources and Development (Contributor) / School of International Letters and Cultures (Contributor) / School of Music, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
Description
Theatre for social change, or more generally, theatre that addresses political issues in a community, often leans on participation as a way of democratizing the theatrical space and opening the conversational floor to more than just the traditional creative team. In practice, participatory theatre nonetheless can and has been used as a tool of propaganda rather than a tool for democratic social change. These seemingly-incompatible applications of participation in political theatre present a problem for those who want to use it: what versions of participatory theatre provide a space for other voices, and what versions of participatory theatre ostensibly appear to, but ultimately only function as tools to justify an ideology? To explore this question I examine a common form of participatory theatre: interactive theatrical trials. Specifically, I analyze the agitation trials of post-revolutionary and early Soviet Russia using Augusto Boal's frameworks from his devlopment of Theatre of the Oppressed.
ContributorsMoore, Daniel Elijah (Author) / McAvoy, Mary (Thesis director) / Hunt, Kristin (Committee member) / School of Music, Dance and Theatre (Contributor) / Department of Physics (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
DescriptionAn auto-ethnographic overview of the author's personal experiences in professional and educational stage management in Arizona. Provides a critique of ASU's stage management program and offers solutions to improve the sustainability and safety of student stage managers.
ContributorsMattson, Jordan Clare (Author) / Hunt, Kristin (Thesis director) / Kirkham, William (Committee member) / School of Music, Dance and Theatre (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
DescriptionWritten reviews and rankings of fifteen shows that played in the West End during the 2023 season.
ContributorsLewis, Cheyenne (Author) / Hunt, Kristin (Thesis director) / Peavey, Katie (Committee member) / Barrett, The Honors College (Contributor) / School of Politics and Global Studies (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-12