Postmodern elements of theories and practice in the collaborative works of the necessary stage, Caryl Churchill and the Wooster group

228 17 18642 4 34507 document 18642 TanCheongKheng99MPhil.pdf application/pdf 3bcc2f6e61007dbd029650a36c04283e MD5 13457001 2012-02-23 12:59:04 http://etheses.bham.ac.uk//id/eprint/228/1/TanCheongKheng99MPhil.pdf 228 1 1 application/pdf application/pdf en public

TanCheongKheng99MPhil.pdf

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/18642 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/18642 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/18642 archive 4031 disk0/00/00/02/28 2012-02-23 12:59:18 2019-01-18 13:47:42 2012-02-23 12:59:18 thesis show 0 Tan Cheong Kheng Alvin Crow Brian ftp://ubira.bham.ac.uk/eTheses/228_TanCheongKheng/ University of Birmingham Postmodern elements of theories and practice in the collaborative works of the necessary stage, Caryl Churchill and the Wooster group unpub PN2000 30sch_huma Images included with the permission of The Necessary Stage This thesis investigates collaboration as a creation method that contests the assumptions behind traditional theatre’s hierarchical structure. Traditionally, the playwright occupies the primary creation phase, leaving the director, designers and actors to fulfill an interpretative function. However, works primarily reliant on non-literary signifiers require a methodology that involves artists from varied disciplines earlier in the creation process. Collaborating hierarchically gives way to co-authorship collaboration, revising the natures of artistic roles, relationships and composition. Interdisciplinary practice is adopted by practitioners interested in exploring the interactions between the literary text and the resources of other disciplines, giving rise to hybrid and semiotic-based performance texts. The aim of this thesis is to appreciate the ways in which issue-orientated ‘60s and ‘70s social transformation theatre is contemporised to a theatre of empowerment whose object is to challenge rationalised mindsets and empower imaginations through engaging the audience as co-artist. The collaborative practices of British playwright Caryl Churchill and American’s Wooster Group are compared to examine the relationships between their processes and application of artistic strategies in organising their materials. The thesis concludes with an analysis of how a Singaporean theatre company, The Necessary Stage modifies and applies the lessons learned in its collaborative works Pillars and Galileo (I Feel The Earth Move). 1999-07 1998-11 graduation 1711278 eng uobscanned Scanned by Hollingworth & Moss This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. The author The Necessary Stage public 229 University of Birmingham School of English, Drama and American & Canadian Studies, Department of Drama and Theatre Arts m_ph na 1999-07 graduation