The phenomenology of non-theatre sites on audience

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/22989 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/22989 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/22989 archive 4031 disk0/00/00/30/52 2013-01-21 15:16:55 2019-01-23 09:55:25 2013-01-21 15:16:55 thesis show 0 Newman Jo Reilly Kara University of Birmingham The phenomenology of non-theatre sites on audience unpub NX PN2000 10col_artl site-specific, phenomenology, devising, contemporary performance Research from this thesis was published as: The Phenomenology of Non- Theatre Sites on Audience by Jo Newman Theatre Notebook, Vol. 66, No. 1, 2012 Through a detailed performance analysis of Kindle Theatre’s Eat Your Heart Out (2009), Punchdrunk’s Faust (2006) and my own practice directing Tin Box Theatre’s Stop the Clocks (2011), this thesis investigates the phenomenological impact of performances which take place in non-theatre sites. I explore phenomenology with reference to Maurice Merleau-Ponty and his Phenomenology of Perception, in relation to existing notions of theatre phenomenology examined by Bert O. States and Stanton B. Garner. Using site-specific discourse to frame my analysis, I emphasise that the phenomenological experience of an audience is key within site-specific work, and of significance to existing conversations about the genre. I argue for the importance of phenomenology in such work specifically since it offers a live, multi-sensory experience to audiences in a world of increasing digitisation. 2012-07 2011-09 graduation eng author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties.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. public 51 University of Birmingham School of English, Drama and American & Canadian Studies, Department of Drama and Theatre Arts m_ph na 2012-07 graduation