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|Title: ||Applied live art: Co-authorship in socially engaged and site-responsive performance practice|
|Authors: ||Sánchez-Camus, Roberto|
|Advisors: ||Templeton, F|
|Keywords: ||Live art|
|Publication Date: ||2011|
|Publisher: ||Brunel University School of Arts PhD Theses|
|Abstract: ||Applied Live Art: Co-Authorship in Socially Engaged and Site-Responsive Performance Practice looks at the ways in which performance can integrate participants and local context into the development of new devised work. This practice-led research is based on a methodology that grew out of three performance case studies completed in diverse international settings with a varied range of participants. The case studies are: Napoli Scorticata completed in 2007 in Naples, Italy; Youth Visions, completed in 2008 in Northeastern Ghana, West Africa; Triangulated City, completed in 2009 in Beirut, Lebanon. Within these diverse contexts the research questions the role of authorship when working in socially engaged practice, focusing on how practitioners can shift the focus from the artist to the body politic. Merging social engagement with a site-responsive approach, the research proposes that the artistic medium is the social system and as such argues that the modes of employment require a focus of appreciation on the generative process, context and product combined. The research is presented in two parts. Part I is an interactive DVD with images of the development process and final presentations as well as a video of each performance work. Part II is a written thesis that explores the modes of engagement, outlines the methods of development and structures a general working methodology that can be referenced by other performance practitioners.
The thesis proposes Applied Live Art as a term to describe practices that include a hybrid of time-based media options, which include a social component as their primary focus. The research outcomes conclude with an analysis of place making and its importance when working with both site and society.|
|Description: ||This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.|
|Sponsorship: ||British Council Middle East; British Council Italy; Royal Holloway Drama Department; University of London Central Research Fund; President’s Emergency Fund for AIDS Relief; and Theatre Communications Group|
|Appears in Collections:||School of Arts Theses|
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