Homecoming: finding a place for shamanic practice in the creation of post colonial theatre

 

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dc.contributor.advisor Pather, Jay en_ZA
dc.contributor.author Kiel, Sue en_ZA
dc.date.accessioned 2015-03-02T09:41:32Z
dc.date.available 2015-03-02T09:41:32Z
dc.date.issued 2010 en_ZA
dc.identifier.citation Kiel, S. 2010. Homecoming: finding a place for shamanic practice in the creation of post colonial theatre. University of Cape Town. en_ZA
dc.identifier.uri http://hdl.handle.net/11427/12549
dc.description.abstract At the centre of my research, in the light of my homecoming and notions of home, there is a question: might I find a place where dimensions of shamanism might intersect with modes of performance, in the creation of theatre for the 21st Century? In this liminal hybrid moment, a place between the present and the future, I suggest that art is actually necessary and that it is essential for artists to build a counter-narrative, both locally and globally, to terror, suffering and denial. Art and social change can be a trend for certain nations, societies, even artists and theorists. In my view, however, which is my point of departure, it is particularly in an era of self reference, modernity, post modern and post colonial rupture and fragmentation that an informed coherence between the inexplicable terror of unsettling major social upheaval and the individual, may be able to be sketched once again and with certainty, by and through art and performance; if not actual transformation; then a witnessing, an acknowledgement and an end to the pain of denial. This explication begins with an overview of current socio-political dilemmas, and looks at the role of theatre in impacting change. My exploration continues with an examination of the role of shamanism as a tool to assist the theatre maker, the actor and even the audience in the pursuit of a transforming experience where one might initiate a shift in perceptions, thought and consciousness. In my observation of current theatre makers in South Africa, I am finding that this is already taking place. The object of this paper is to frame and make more specific, the role of shamanism as it connects to interdisciplinary techniques and technologies for performance. In my practical research, which will include my culminating production, Passages (provisional title), I attempt to tease out these methodologies in order to expand my work and be a part of the development of theory and practice in theatre making in these significant and urgent times, for my 21st Century homes. The primary theorists that I have referenced, contained in my theoretical framework, are Ashraf Jamal, Sarah Nuttall, Achille Mbembe, Homi Bhabha, Breyten Breytenbach, Iain Chambers and Hamid Naficy. In my research for my praxis, I have worked predominantly with the findings of Richard Schechner, Victor Turner, Antonin Artaud, Peter Sellars, Jerzy Grotowski, Alison Oddey and Rachel Karafistan. en_ZA
dc.language.iso eng en_ZA
dc.subject.other Drama en_ZA
dc.title Homecoming: finding a place for shamanic practice in the creation of post colonial theatre 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 Kiel, S. (2010). <i>Homecoming: finding a place for shamanic practice in the creation of post colonial theatre</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Department of Drama. Retrieved from http://hdl.handle.net/11427/12549 en_ZA
dc.identifier.chicagocitation Kiel, Sue. <i>"Homecoming: finding a place for shamanic practice in the creation of post colonial theatre."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Department of Drama, 2010. http://hdl.handle.net/11427/12549 en_ZA
dc.identifier.vancouvercitation Kiel S. Homecoming: finding a place for shamanic practice in the creation of post colonial theatre. [Thesis]. University of Cape Town ,Faculty of Humanities ,Department of Drama, 2010 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/12549 en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Kiel, Sue AB - At the centre of my research, in the light of my homecoming and notions of home, there is a question: might I find a place where dimensions of shamanism might intersect with modes of performance, in the creation of theatre for the 21st Century? In this liminal hybrid moment, a place between the present and the future, I suggest that art is actually necessary and that it is essential for artists to build a counter-narrative, both locally and globally, to terror, suffering and denial. Art and social change can be a trend for certain nations, societies, even artists and theorists. In my view, however, which is my point of departure, it is particularly in an era of self reference, modernity, post modern and post colonial rupture and fragmentation that an informed coherence between the inexplicable terror of unsettling major social upheaval and the individual, may be able to be sketched once again and with certainty, by and through art and performance; if not actual transformation; then a witnessing, an acknowledgement and an end to the pain of denial. This explication begins with an overview of current socio-political dilemmas, and looks at the role of theatre in impacting change. My exploration continues with an examination of the role of shamanism as a tool to assist the theatre maker, the actor and even the audience in the pursuit of a transforming experience where one might initiate a shift in perceptions, thought and consciousness. In my observation of current theatre makers in South Africa, I am finding that this is already taking place. The object of this paper is to frame and make more specific, the role of shamanism as it connects to interdisciplinary techniques and technologies for performance. In my practical research, which will include my culminating production, Passages (provisional title), I attempt to tease out these methodologies in order to expand my work and be a part of the development of theory and practice in theatre making in these significant and urgent times, for my 21st Century homes. The primary theorists that I have referenced, contained in my theoretical framework, are Ashraf Jamal, Sarah Nuttall, Achille Mbembe, Homi Bhabha, Breyten Breytenbach, Iain Chambers and Hamid Naficy. In my research for my praxis, I have worked predominantly with the findings of Richard Schechner, Victor Turner, Antonin Artaud, Peter Sellars, Jerzy Grotowski, Alison Oddey and Rachel Karafistan. DA - 2010 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2010 T1 - Homecoming: finding a place for shamanic practice in the creation of post colonial theatre TI - Homecoming: finding a place for shamanic practice in the creation of post colonial theatre UR - http://hdl.handle.net/11427/12549 ER - en_ZA


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