Directing through montage : a chronological look at the construction of performance through the creation and combination of its various elements
Sykes, Leo (1995) Directing through montage : a chronological look at the construction of performance through the creation and combination of its various elements. PhD thesis, University of Warwick.
WRAP_THESIS_Sykes_1995.pdf - Requires a PDF viewer such as GSview, Xpdf or Adobe Acrobat Reader
Official URL: http://webcat.warwick.ac.uk/record=b1367761~S15
This thesis is an investigation into the working practices of Odin Teatret. It focuses on
the making of the latest group performance, Kaosmos, made between 1992-1993. The
thesis extracts certain transmissible principles of practice from the process of Kaosmos.
These principles are concerned with the director's work on performance. The work of
the actor is therefore only referred in order to illuminate or explain this. The thesis
covers all areas of creative work involved in making performance: the director's
instructions, the actors' actions, the texts, music, songs, sound, set, lighting, costumes
This is the first study of the work of Eugenio Barba that follows his process of making
a performance from inception to finish, and, from this, extracts principles of practice.
This is not just a theoretical or historical document, but one that can hopefully
contribute to the working practices of other directors.
The method of investigation was primarily practical. I was assigned the role of
assistant director on Kaosmos. This gave me a daily insight into the working practice
of Odin Teatret in rehearsal. The thesis documents this process through practical
analysis and extracts from my work diary. It concludes with a performance-text of
Kaosmos, the basis of which I created during the process as a working document for
Barba and the actors.
The thesis is divided into two main parts: the first part gives the theoretical
background to the working practices to be documented later in the thesis. The second
part shows how these theories of practice were actually implemented in rehearsal. The
aspects here perceived as being central to the making of performance are: 1) the ability
to begin work on a performance at a stage before meanings, characters and narratives
have been established and 2) the use of montage as the main structural dynamic in the
creation of performance.
The intention of the thesis is not to draw any hard-and-fast conclusions. This would
endanger the creative nature of the practice it documents and turn the information here
offered into a handbook of rules. The intention is rather to allow the information to
inspire and inform other practitioners, without creating any definition of how this
should occur. It is of upmost importance that each artist interpret and use what is here
written in their own individual manner.
All the quotes are given in their language of publication, all translations contained in
the text are by myself.
|Item Type:||Thesis or Dissertation (PhD)|
|Subjects:||P Language and Literature > PN Literature (General) > PN1993 Motion Pictures|
|Library of Congress Subject Headings (LCSH):||Barba, Eugenio -- Criticism and interpretation, Odin teatret, Kaosmos, Motion pictures -- Production and direction|
|Official Date:||November 1995|
|Institution:||University of Warwick|
|Theses Department:||Department of Theatre Studies|
|Supervisor(s)/Advisor:||Barker, Clive, 1931-|
|Extent:||v, 385 leaves|
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