Free falling bird : an encounter with the Trojan women of Euripides.

 

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dc.contributor.author Jephta, Amy en_ZA
dc.date.accessioned 2015-01-27T09:42:33Z
dc.date.available 2015-01-27T09:42:33Z
dc.date.issued 2012 en_ZA
dc.identifier.citation Jephta, A. 2012. Free falling bird : an encounter with the Trojan women of Euripides. University of Cape Town. en_ZA
dc.identifier.uri http://hdl.handle.net/11427/12318
dc.description Includes bibliographical references. en_ZA
dc.description.abstract The focus of this research relates to finding praxis for making theatre within a contemporary feminist framework with specific emphasis on writing for the theatre. It explores ways of opening up the possibility of feminist conversations beginning with the written text and how playwriting may problematise the representations of women on stage. This essay is a supporting document to my script, Free Falling Bird, as well as a supplement to the full production of the script in partial fulfillment of my MA degree in Theatre and Performance with a focus on playwriting. Firstly, I will establish a context by tracing the history and evolution of feminist performance practice, focusing especially on process, form and purpose, and introduce Sue-Ellen Case’s notion of contiguity as well as recent developments in post-feminism from theorists Elizabeth Wright and Elin Diamond. I will use the work of Roland Barthes, Richard Schechner, Hans-Thiess Lehmann and Catherine Bouko to trace parallel developments in the field of post dramatic theatre, especially with regards to the ‘death of the author’ and the decentralisation of the playwright as the maker of meaning. Finally, I will introduce Simone Benmussa and Helene Cixous’ term ‘spheres of disturbance’, as adopted by Elaine Aston, to propose how feminist playwriting may offer an intervention which disturbs the representations of women on stage. Secondly, I explore a practical model for creating and staging theatre which is located in the ‘sphere of disturbance’. Using a scheme proposed by Aston, I will offer an analysis of my own text and look at Diamond’s writing on narrative interventions in order to offer ways that the feminist text may be ‘ activated’ in performance. Finally, I return to the post dramatic, focusing on Hans-Thiess Lehmann’s notion of independent auditory semiotics, Liz Mills’ writing on acoustic spaces and Bouko’s ideas around the jazz body of the performer to investigate how the silenced female can articulate, speak and sound herself. I will lastly discuss how the combination of theory and practice articulated in this essay will feed into my own process as I work towards staging work which embodies and gives voice to the female experience. en_ZA
dc.language.iso eng en_ZA
dc.subject.other Theatre and performance en_ZA
dc.title Free falling bird : an encounter with the Trojan women of Euripides. en_ZA
dc.type Master Thesis
uct.type.publication Research en_ZA
uct.type.resource Thesis en_ZA
dc.publisher.institution University of Cape Town
dc.publisher.faculty Faculty of Humanities en_ZA
dc.publisher.department Department of Drama en_ZA
dc.type.qualificationlevel Masters
dc.type.qualificationname MA en_ZA
uct.type.filetype Text
uct.type.filetype Image
dc.identifier.apacitation Jephta, A. (2012). <i>Free falling bird : an encounter with the Trojan women of Euripides</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Department of Drama. Retrieved from http://hdl.handle.net/11427/12318 en_ZA
dc.identifier.chicagocitation Jephta, Amy. <i>"Free falling bird : an encounter with the Trojan women of Euripides."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Department of Drama, 2012. http://hdl.handle.net/11427/12318 en_ZA
dc.identifier.vancouvercitation Jephta A. Free falling bird : an encounter with the Trojan women of Euripides. [Thesis]. University of Cape Town ,Faculty of Humanities ,Department of Drama, 2012 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/12318 en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Jephta, Amy AB - The focus of this research relates to finding praxis for making theatre within a contemporary feminist framework with specific emphasis on writing for the theatre. It explores ways of opening up the possibility of feminist conversations beginning with the written text and how playwriting may problematise the representations of women on stage. This essay is a supporting document to my script, Free Falling Bird, as well as a supplement to the full production of the script in partial fulfillment of my MA degree in Theatre and Performance with a focus on playwriting. Firstly, I will establish a context by tracing the history and evolution of feminist performance practice, focusing especially on process, form and purpose, and introduce Sue-Ellen Case’s notion of contiguity as well as recent developments in post-feminism from theorists Elizabeth Wright and Elin Diamond. I will use the work of Roland Barthes, Richard Schechner, Hans-Thiess Lehmann and Catherine Bouko to trace parallel developments in the field of post dramatic theatre, especially with regards to the ‘death of the author’ and the decentralisation of the playwright as the maker of meaning. Finally, I will introduce Simone Benmussa and Helene Cixous’ term ‘spheres of disturbance’, as adopted by Elaine Aston, to propose how feminist playwriting may offer an intervention which disturbs the representations of women on stage. Secondly, I explore a practical model for creating and staging theatre which is located in the ‘sphere of disturbance’. Using a scheme proposed by Aston, I will offer an analysis of my own text and look at Diamond’s writing on narrative interventions in order to offer ways that the feminist text may be ‘ activated’ in performance. Finally, I return to the post dramatic, focusing on Hans-Thiess Lehmann’s notion of independent auditory semiotics, Liz Mills’ writing on acoustic spaces and Bouko’s ideas around the jazz body of the performer to investigate how the silenced female can articulate, speak and sound herself. I will lastly discuss how the combination of theory and practice articulated in this essay will feed into my own process as I work towards staging work which embodies and gives voice to the female experience. DA - 2012 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2012 T1 - Free falling bird : an encounter with the Trojan women of Euripides TI - Free falling bird : an encounter with the Trojan women of Euripides UR - http://hdl.handle.net/11427/12318 ER - en_ZA


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