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Description
This dissertation considers why several characters on the Early Modern Stage choose to remain silent when speech seems warranted. By examining the circumstances and effects of self-silencing on both the character and his/her community, I argue that silencing is an exercise of power that simultaneously subjectifies the silent one and compels the community (textual or theatrical) to ethical self-examination. This argument engages primarily with social philosophers Pierre Bourdieu, Alain Badiou, and Emmanual Levinas, considering their sometimes contradictory ideas about the ontology and representation of the subject and the construction of community. Set alongside the Early Modern plays of William Shakespeare, Ben Jonson and Thomas Kyd, these theories reveal a rich functionality of self-silencing in the contexts of gender relations, aberrant sociality, and ethical crisis. This multi-faceted functionality creates a singular subject, establishes a space for the simultaneous existence of the subject and his/her community, offers an opportunity for empathetic mirroring and/or insight, and thereby leads to social unification. Silence is, in its effects, creative: it engenders empathy and ethical self- and social-reflection.
ContributorsKrouse, Penelope (Author) / Perry, Curtis (Thesis advisor) / Thompson, Ayanna T (Thesis advisor) / Fox, Cora V (Committee member) / Arizona State University (Publisher)
Created2011
Description
“Mierda.” was an original 50-minute solo dance and theater performance by Jordan Klitzke along with guest artist Gina Jurek that premiered from September 6-8, 2018 at Arizona State University. The creative tools of sensation, presence, and fantasy were applied in the development of an individualized movement vocabulary focused on the artist’s embodiment of contrasting ideas. That research was then further cultivated into an immersive theatrical collage that stimulated relational thinking and heightened consciousness. “Mierda.” was an example of a contemporary creative process that utilized the languages of dance and theater. The performance was a unique continuation of artistic research undertaken by pioneers in the dance and theater fields such as Danielle Agami, Lloyd Newson, Hofesh Schechter, and Anne Bogart. It was documented and created over a nine-month period including the three final performances. The form and content of “Mierda.” was not predetermined, but emerged throughout the creative process and performance of the work. The resulting narrative demonstrated the revelatory potential of this style of theatrical inquiry. Precise energy, tension and questioning formed an immersive, intimate experience for the viewers and performers and invited the audience to “fill in the blanks” as they connected with the emerging narrative. The final work was a collage of surprising juxtapositions on both the micro-level of individual movements and the macro-level of theatrical structure. Analysis of the work resulted in a critical understanding of the creative tools used along with future proposals for continued research. Not only did the research enlighten and contextualize the practices of an emerging choreographer, it also argued for a new understanding of the value of Dance as a personal practice of reflection and growth.
ContributorsKlitzke, Jordan (Author) / Standley, Eileen (Thesis advisor) / Conder, Carley (Committee member) / Eckard, Bonnie (Committee member) / Arizona State University (Publisher)
Created2018
Description
This document analyzes the use of the Principles of Design within the applied project It’s My Party, a multimedia dance theatre production, as a means to address and overcome the stigmatization of the Human Immunodeficiency Virus (HIV). Through the orchestration of dance, music, props, acting, video, and spoken word, this interdisciplinary work investigates how these production elements synthesize into a transformative theatrical experience for audiences. Outlined in this document is the eight month design process. The process included concept design, assessing, processing, customizing the message, script development, rehearsals, and video production, and concluded with an evening length production. Analyzed through the structural narrative of The Hero’s Journey, this autobiographic work details the author’s HIV-positive (HIV+) coming out story from a restorative narrative perspective. By addressing the subject of HIV from a contemporary point-of-view, this project strives to reencode the troubling associations affiliated with HIV with an empowered and hopeful understanding.
ContributorsAlvarez, Ricardo (Author) / Schupp, Karen (Thesis advisor) / Magenta, Muriel (Committee member) / Rajko, Jessica (Committee member) / Standley, Eileen (Committee member) / Arizona State University (Publisher)
Created2016