Masters Degrees (Drama and Theatre Arts)

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Browsing Masters Degrees (Drama and Theatre Arts) by Subject "Dissertation (M.A. (Drama and Theatre Arts))--University of the Free State, 2014"

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    Die fundamentele grondbeginsels in die skepping van liggaamlike bewustheid vir die akteur
    (University of the Free State, 2014) Grové, Minette; Venter, P. A.; Luwes, N. J.
    English: Through an exploratory and descriptive study, this thesis investigates the fundamentals in creating bodily awareness for the actor. A lack of integrated knowledge, regarding the importance of the role of bodily awareness in actors‟ training and in using the body, has been identified. Various identified fundamentals are compared with the theory and techniques of Movement fundi, Feldenkrais, in order to determine the actor‟s focus areas in creating bodily awareness. In the literature review, Stanislavski‟s system of actor‟s training, and the application thereof by the actor, has been proposed as conceptual framework for the investigation. This study focuses on body as the actor‟s instrument and not on the other instruments, such as voice and speech. Fundamentals identified in this study, include: awareness of tension and relaxation; identifying and changing of habits/mannerisms; knowledge of the body and muscular composition; movement; observation; repetition; changing of thought processes and self-image; re-establishing the connection between thoughts and the body; improving spatial orientation; and co-ordination. The study indicates that the actor should focus on overcoming his own shortcomings and on choosing the relevant method that addresses his shortcomings. The practitioner‟s training and background, as well as the actor‟s objectives, interests and physical limitations, should be the basis when determining what to include in the actor‟s physical training. The study has also revealed that, although there are similarities in the methods on the fundamentals of bodily awareness, each theory is unique as regards methods of training and implementation. It has, however, been found that the methods studied can be integrated in training the actor. The shared goal of the Stanislavski, Alexander, Laban and Feldenkrais methods indeed is the improvement of an actor‟s bodily awareness, as well as the promotion of effective, motivated movements. Through movement the actor will become aware of the factors influencing bodily awareness and the body in general. It therefore also is through movement that the actor will get to know his body, and be able to make a deliberate choice to identify and eliminate the factors affecting the body negatively. Overall, it has been found that movement indeed is the medium through which bodily awareness is developed and advanced. Practical as well as theoretical knowledge has to be gained, as starting point, examining the composition of the body. This study has concluded that an actor should implement and practice the fundamentals for creating bodily awareness on a daily basis. It has also been concluded that there is no ideal method for creating bodily awareness, but that commitment and willingness to learn, as well as the on-going application of the fundamentals, will indeed result in the successful creation of bodily awareness.
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    Teaching dance as a means of intercultural reconciliation
    (University of the Free State, 2014) Manenye, Masedi Godfrey; Luwes, N. J.
    English: The research problem and purpose of this dissertation was, firstly, to investigate the apparent interracial tension and intercultural intolerance in South Africa. Secondly, the aim and objective were to explore dance as a nonverbal artistic teaching tool for intercultural and interracial reconciliation. Investigation of applicable literature in the field of study supported the theory that a devised dance theatre production would be a workable process to attain the aims of the study. The methodology applied was based on Process As Research (PAR). Student dancers from different racial, cultural and language groups, as well as different genders, were selected to create a dance project under the guidance of a choreographer. Before and during rehearsals and after performances, interviews were filmed and observations recorded. The study describes the processes followed for deciding on the theme and the organisational work plan. The practical implementation of the plan, rehearsal processes and completion of the devised theatre dance project are explained. Initial problematic issues and the ways and means the participants implemented to overcome them, are discussed. Teaching dance as a means of intercultural reconciliation 10 Collected data before, during and after the intervention, indicates how dance can bring about cultural understanding among people of different racial, traditional and cultural backgrounds in a devised theatre production. Research findings presented, illustrate that dance as nonverbal communication becomes an effective unifying language that can cross intercultural and interracial borders. Thus, the study concludes that dance can advocate to being an effective learning tool for intercultural reconciliation. It brings about respect and awareness, enabling people from different cultures to learn about the ‘others’. Nonverbal communication is thus seen as complementary to verbal communication in attaining that. Finally the study proposes that the world outside the theatre and the stage could also be seen as a ‘dance floor’ for all who are willing to dance into the future as reconciled nations.
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    'n Teoretiese ondersoek na die arbitrêre aard van teaterkonvensies vir die analise van die vertoningsteks
    (University of the Free State, 2014-01) Strydom, Walter; Van Jaarsveld, Anthea
    Afrikaans: Die vervlietende, eenmalige teatervertoningsteks as produk van die teatermeduim bied uitdagings vir die akademiese analise daarvan. Teatersemiotiek se mislukking – weens sy fragmenterende, statiese en onvolledige aard – lei tot „n hernude ondersoek in die veld vir „n toepaslike benadering wat meer holistiese en akademies aanvaarbare analitiese praktyke te weeg sal bring. Die teoretiese studie ondersoek „n wetenskaplik gegronde, maar ook intuïtiewe metode vir die analise van die teatervertoningsteks op grond van die beperkinge wat die arbitrêre aard van konvensionele praktyke vir die teatergebeurtenis stel. Die voorgestelde multidissiplinêre benadering tot die analise van vertoningstekste, wat die analiseerder se intuïsie en identiteit in ag neem tesame met „n hernude aanwending van teatersemiotiek is moontlik haalbaar binne die kwalitatiewe veld. Hierdie insiggewende analitiese werkwyse kan prakties toegepas word om die doeltreffendheid daarvan te bepaal.