http://hdl.handle.net/2160/4866 MA dissertations from the Department of Theatre, Film & Television Studies that received a distinction or are of Welsh or Celtic interest Sat, 25 May 2013 15:41:40 GMT 2013-05-25T15:41:40Z http://hdl.handle.net/2160/7887 In terms of liveness discourse, and with reference to The Bunny Game: what are the implications of the way performance art and film are combined within the paltform of film? Gruschka, Karolina Anna Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/2160/7887 2012-01-01T00:00:00Z http://hdl.handle.net/2160/4957 [In]tangible Traces...? A critical Reflection Adam, Sian The performance took the form of a 60-minute audio tour of Aberystwyth, starting at the train station and ending at the large shelter on the promenade. At ten minute intervals, walkers were set up with an Mp3 player, headphones, hand drawn map and guided by the Mp3 soundtrack on a route around the town, between places where they heard the voices of local inhabitants telling their memories. Along the route were some strategically placed live presences who acted as silent guides. At the end the walkers were offered a hot drink and slice of homemade bara brith. The research explores memory and place and walking through the areas of philosophy (Edward Casey, Husserl), Cultural Studies (Marc Auge), (Rebecca Solnit), psychogeography (Martin Coverley), performance studies (Pearson), and everyday life (Highmore). This document may also be of borderline interest to human geography and the social sciences. The influences include Rimini Protokoll, Janet Cardiff, Graeme Miller, Mike Pearson, Wrights & Sites, Allan Kaprow, Augusto Boal and the community theatre movement. The methodology took the form of asking local inhabitants to take me on what I called ‘memory walks’, where they were to be my guide around the places within the town which held memories for them, and where I would record them telling me their memories. I also recorded everyday sounds from around the town and edited them together using the application Garage Band into a continuous track. All the sounds and voices were recorded by myself using a flash mic, in and around Aberystwyth during the period June-September 2009. The audio track was completed using Logic Pro. All images in this document are my own. Included with this document are the DVD made of the walk on the day of assessment and a CD of the audio track. Appendices are included of documentation from the performance, namely the map given to the walkers, and the credits sheet. Mon, 01 Mar 2010 00:00:00 GMT http://hdl.handle.net/2160/4957 2010-03-01T00:00:00Z http://hdl.handle.net/2160/4935 Enlarging the small ones: a critical reflection on the MA performance by Shannon Roszell Roszell, Shannon The Performance. ‘The Small Ones’ examines just those: the small items, the small moments and the small memories that compose a life. It is a solo performance exploring memory and object juxtaposing live-feed projections with the body in space. The piece is a series of examinations of these memories through objects that are revealed to the audience through a live-feed projection. In ‘The Small Ones’, the presence of the live performer sits in stark contrast to dozens of objects that have been carefully preserved in jars. In each of these jars rests an object, but more important than the object is the memory attached. One live-feed projection invites the audience to see the small object as it is enlarged on the screen while a second live-feed projection allows for the close observation of the performer, as she shares associated texts. The digitized image allows the audience to encounter these objects in an aesthetic and heightened manner and acts as a gateway into the performance of memory. At the same time, there is an interplay between the live, living body onstage and the projected image of this body that is certainly not alive. This dance between the live body and the digital image, past experience and present memory evokes questions of mortality and pays homage to the passing of time. The Commentary. ‘ENLARGING THE SMALL ONES’ seeks to provide further insight into the performance ‘The Small Ones’. The commentary is divided into three sections each working to elucidate different aspects of the work. Section one articulates the process of creation as recollected by the artist and details her practice-as-research into the performance of memory and its relationship to object. Section two considers the philosophical and theoretical underpinnings of the performance: the way objects are performed in the piece, the digitized image versus the live body as well as the treatment of time and duration. Section three draws conclusions from the research, contextualizing how the artist’s memory has been altered through the creation and performance of the piece. Fri, 01 Jan 2010 00:00:00 GMT http://hdl.handle.net/2160/4935 2010-01-01T00:00:00Z http://hdl.handle.net/2160/4935 Enlarging the small ones: a critical reflection on the MA performance by Shannon Roszell Roszell, Shannon The Performance. ‘The Small Ones’ examines just those: the small items, the small moments and the small memories that compose a life. It is a solo performance exploring memory and object juxtaposing live-feed projections with the body in space. The piece is a series of examinations of these memories through objects that are revealed to the audience through a live-feed projection. In ‘The Small Ones’, the presence of the live performer sits in stark contrast to dozens of objects that have been carefully preserved in jars. In each of these jars rests an object, but more important than the object is the memory attached. One live-feed projection invites the audience to see the small object as it is enlarged on the screen while a second live-feed projection allows for the close observation of the performer, as she shares associated texts. The digitized image allows the audience to encounter these objects in an aesthetic and heightened manner and acts as a gateway into the performance of memory. At the same time, there is an interplay between the live, living body onstage and the projected image of this body that is certainly not alive. This dance between the live body and the digital image, past experience and present memory evokes questions of mortality and pays homage to the passing of time. The Commentary. ‘ENLARGING THE SMALL ONES’ seeks to provide further insight into the performance ‘The Small Ones’. The commentary is divided into three sections each working to elucidate different aspects of the work. Section one articulates the process of creation as recollected by the artist and details her practice-as-research into the performance of memory and its relationship to object. Section two considers the philosophical and theoretical underpinnings of the performance: the way objects are performed in the piece, the digitized image versus the live body as well as the treatment of time and duration. Section three draws conclusions from the research, contextualizing how the artist’s memory has been altered through the creation and performance of the piece. Fri, 01 Jan 2010 00:00:00 GMT http://hdl.handle.net/2160/4935 2010-01-01T00:00:00Z