Mise-en-Scene as (pre)text; an insistence on a negotiated space for the creating of new theatre works

 

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dc.contributor.advisor Mills, Liz en_ZA
dc.contributor.author Newton, Larissa Ann en_ZA
dc.date.accessioned 2016-03-17T12:44:47Z
dc.date.available 2016-03-17T12:44:47Z
dc.date.issued 2007 en_ZA
dc.identifier.citation Newton, L. 2007. Mise-en-Scene as (pre)text; an insistence on a negotiated space for the creating of new theatre works. University of Cape Town. en_ZA
dc.identifier.uri http://hdl.handle.net/11427/17960
dc.description.abstract The purpose of this exploration is to reflect on the activity of writing for performance, with the focus specifically on the generation of the dramatic text, and to further the notion of mise en scene as prescribed by Pavis. (Pavis, 1983: 25) This is in relation to the making of a new South African play entitled Reach, written by myself, Lara Foot Newton and directed by Clare Stopford. The exploration looks at a model of theatre making where the writer is present during the rehearsal phase. I propose that there is a pre-mise en scene, which exists as pre(text) for the dramatic and performance texts. This pre - mise en scene pre-figures or alludes to the possible "object of knowledge u (Pavis, 1983 : 25) before its manifestation. This pre - mise en scene is the first encounter with the negotiated space of writing for theatre ; of writing the dramatic text ; of a first writing of the performance. The exploration is divided into three parts: Part 1. Mise en scene as ( pre)text. A network of associations which are negotiated into the dramatic text. With reference to Pavis ((Pavis, 1983 : 25) and Brook (Brook, 1993 : 52) Part 2 : Mise en scene as (p r e)text and the dramatic text. The co-dependent relationship which exists between mise en scene as (pre)text and the writing of the dramatic text within a negotiated space. With reference to Harold Pinter, in his Nobel prize lecture in 2005 entitled Art, Truth and Politics where he describes how sound, light and dialogue collude to give birth to character in relation to his two plays The Homecoming and Old Times ) Part 3 : Mise en scene as (pre)text, the dramatic text and the performance text. The relationship which exists between mise en scene as (pre)text and the dramatic text, and mise en scene in relation to possible meaning and interpretation within the performance text. With reference to the notion of dramaturgy (Meyrick, 2006 : 281) and to workshopped plays by director Barney Simon. en_ZA
dc.language.iso eng en_ZA
dc.title Mise-en-Scene as (pre)text; an insistence on a negotiated space for the creating of new theatre works 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 Michaelis School of Fine Art en_ZA
dc.type.qualificationlevel Masters
dc.type.qualificationname MA en_ZA
uct.type.filetype Text
uct.type.filetype Image
dc.identifier.apacitation Newton, L. A. (2007). <i>Mise-en-Scene as (pre)text; an insistence on a negotiated space for the creating of new theatre works</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art. Retrieved from http://hdl.handle.net/11427/17960 en_ZA
dc.identifier.chicagocitation Newton, Larissa Ann. <i>"Mise-en-Scene as (pre)text; an insistence on a negotiated space for the creating of new theatre works."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 2007. http://hdl.handle.net/11427/17960 en_ZA
dc.identifier.vancouvercitation Newton LA. Mise-en-Scene as (pre)text; an insistence on a negotiated space for the creating of new theatre works. [Thesis]. University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 2007 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/17960 en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Newton, Larissa Ann AB - The purpose of this exploration is to reflect on the activity of writing for performance, with the focus specifically on the generation of the dramatic text, and to further the notion of mise en scene as prescribed by Pavis. (Pavis, 1983: 25) This is in relation to the making of a new South African play entitled Reach, written by myself, Lara Foot Newton and directed by Clare Stopford. The exploration looks at a model of theatre making where the writer is present during the rehearsal phase. I propose that there is a pre-mise en scene, which exists as pre(text) for the dramatic and performance texts. This pre - mise en scene pre-figures or alludes to the possible "object of knowledge u (Pavis, 1983 : 25) before its manifestation. This pre - mise en scene is the first encounter with the negotiated space of writing for theatre ; of writing the dramatic text ; of a first writing of the performance. The exploration is divided into three parts: Part 1. Mise en scene as ( pre)text. A network of associations which are negotiated into the dramatic text. With reference to Pavis ((Pavis, 1983 : 25) and Brook (Brook, 1993 : 52) Part 2 : Mise en scene as (p r e)text and the dramatic text. The co-dependent relationship which exists between mise en scene as (pre)text and the writing of the dramatic text within a negotiated space. With reference to Harold Pinter, in his Nobel prize lecture in 2005 entitled Art, Truth and Politics where he describes how sound, light and dialogue collude to give birth to character in relation to his two plays The Homecoming and Old Times ) Part 3 : Mise en scene as (pre)text, the dramatic text and the performance text. The relationship which exists between mise en scene as (pre)text and the dramatic text, and mise en scene in relation to possible meaning and interpretation within the performance text. With reference to the notion of dramaturgy (Meyrick, 2006 : 281) and to workshopped plays by director Barney Simon. DA - 2007 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2007 T1 - Mise-en-Scene as (pre)text; an insistence on a negotiated space for the creating of new theatre works TI - Mise-en-Scene as (pre)text; an insistence on a negotiated space for the creating of new theatre works UR - http://hdl.handle.net/11427/17960 ER - en_ZA


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