Faceless body in performance: an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Performance and Media Arts (MPMA), 2015 / Zahra Killeen-Chance ; supervisors: Janine Randerson, Jennifer Nikolai.
Faceless Body in Performance is a practice-led research project in live and digital performance. There are two series of solo performances, Breath of Air and Black Glove, which explore choreographic procedures that can direct the audience towards ambiguous plays of relation within the embodied, sens...
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| Corporate Author: | |
| Format: | Ethesis |
| Language: | English |
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| Online Access: | Click here to access this resource online |
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| 100 | 1 | |a Killeen-Chance, Zahra, |e author. | |
| 245 | 1 | 0 | |a Faceless body in performance: |b an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Performance and Media Arts (MPMA), 2015 / |c Zahra Killeen-Chance ; supervisors: Janine Randerson, Jennifer Nikolai. |
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| 347 | |a PDF |c 112.4 Mb |3 Exegesis | ||
| 502 | |a Exegesis |b MPMA |c Auckland University of Technology |d 2015. | ||
| 504 | |a Includes bibliographical references. | ||
| 516 | |a Text (PDF file (65 pages, 112.4 Mb)) | ||
| 520 | 3 | |a Faceless Body in Performance is a practice-led research project in live and digital performance. There are two series of solo performances, Breath of Air and Black Glove, which explore choreographic procedures that can direct the audience towards ambiguous plays of relation within the embodied, sensory encounter of the performance. The focus is on decentring the modalities of visibility, invisibility, aurality, stillness, and motion, with the aim of exposing intermodal relationships across the senses and genders. The project is located in a post-phenomenological paradigm where the body, environment, and technology are regarded as a field of mutually dependent relations. Don Ihde's post-phenomenological exploration of amplification technology and notion of an auditory turn, provide a framework for viewing the solo performances as indeterminate plays of relation across the senses and technology. Jacques Derrida's strategies of deconstruction and notion of undecidability, provide a lens for viewing each of the solo performances as an open-ended process that is irreducible to a final meaning. The project argues that there is a range of choreographic procedures, which can expose performance as an embodied, relational process that resists stabilisation into a single modality or meaning. | |
| 520 | 8 | |a Author supplied keywords: Performance; Breath; Deconstruction; Solo performance; Practice-led; Embodied; Ambiguous plays of relation. | |
| 530 | |a Also held in print (63 leaves : illustrations ; 30 cm) in off-campus storage, box 152. | ||
| 650 | 0 | |a Performance art. |9 322081 | |
| 700 | 1 | |a Randerson, Janine, |e degree supervisor. |9 822687 | |
| 700 | 1 | |a Nikolai, Jennifer, |e degree supervisor. | |
| 710 | 2 | |a Auckland University of Technology. |b School of Art and Design. | |
| 710 | 2 | |a Auckland University of Technology, |e degree granting institution. |9 331914 | |
| 856 | 4 | 0 | |u http://hdl.handle.net/10292/9768 |z Click here to access this resource online |
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