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Title: (Syn)aesthetics and disturbance - Tracing a transgressive style
Authors: Machon, Josephine
Advisors: Broadhurst, SM
Issue Date: 2003
Publisher: Brunel University School of Arts PhD Theses
Abstract: An examination and exploration of ‘the (syn)aesthetic style’, a particular sensate mode of performance and appreciation that has become prominent in recent years in contemporary arts practice. The (syn)aesthetic performance style fuses disciplines and techniques to create interdisciplinary and intersensual work with emphasis upon; the (syn)aesthetic hybrid; the prioritisation of the body in performance and the visceral-verbal ‘play-text’. ‘(Syn)aesthetics’ is adopted as an original discourse for the analysis of such work, appropriating certain quintessential features of the physiological condition of synaesthesia to clarify the impulse in performance and appreciation which affects a ‘disturbance’ within audience interpretation. Original terms employed attempt to elucidate the complex appreciation strategies integral to this performance experience. These include the double-edged semantic/somatic or making-sense/sense-making process of appreciation, which embraces the individual, immediate and innate, and the ‘corporeal memory’ of the perceiving body. Liveness and the live(d) moment are considered, alongside notions of ritual and transcendence and the primordial and technological. The argument surveys the inheritance that saw to this contemporary style emerging, in Britain in particular, considering female performance practice, intercultural and interdisciplinary ensemble performance and the ‘New Writing’ aesthetic. Critical and performance theorists referred to include Friedrich Nietzsche, the Russian Formalists, Roland Barthes, Julia Kristeva, Hélène Cixous, Luce Irigaray, Antonin Artaud, Valère Novarina, Howard Barker and Susan Broadhurst. Contemporary practitioners highlighted as case studies exemplary of (syn)aesthetic practice are Sara Giddens, Marisa Carnesky, Caryl Churchill and Sarah Kane. Furthermore, documentation of a series of original performance workshops explores the (syn)aesthetic impulse in performance and analysis from the perspectives of writer, performer and audience. (Syn)aesthetics as an interpretative device endeavours to enhance understanding of the intangible areas of performance which are increasingly difficult to articulate, thereby presenting a mode of analysis that extends performance theory for students and practitioners within the arts.
Description: This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.
Appears in Collections:Dept of Arts and Humanities Theses

Files in This Item:
File Description SizeFormat 
Clip10. Perf Hit.wmvAppendix 11: Workshop Performance - 'Hit Him', Vicky speaks, cd-rom clip 102.15 MBWMVView/Open
Clip9. Perf Trace 2.wmvAppendix 11: Workshop Performance - Trace 2, Sam speaks cd-rom clip 96.04 MBWMVView/Open
Clip8. Perf Angry.wmvAppendix 11: Workshop Performance - Angry, Paul speaks, cd-rom clip 88.11 MBWMVView/Open
Clip7. Perf Trace.wmvAppendix 11: Workshop Performance - Trace 1, Alex speaks, cd-rom clip 74.1 MBWMVView/Open
Clip6. Perf Enter.wmvAppendix 11: Workshop Performance - Entering the space, cd-rom clip 64.18 MBWMVView/Open
Clip5. Play Trace 2.wmvWorkshop 2.6 'Traces 2' - Alex speaks, Paul signs, Sarah dances, Vicky observes: cd-rom clip 56.25 MBWMVView/Open
Clip4. Play 4 Trace 1.wmvWorkshop 2.4 'Traces 1' - Paul moves, Verity speaks, Alex, Sam, Vicky watch: cd-rom clip 45.9 MBWMVView/Open
Clip3. Play 3 Singing.wmvWorkshop 2.3 'Signing' - Paul and Sam, Alex, Verity: cd-rom clip 37.37 MBWMVView/Open
Clip2. Rolling.wmvWorkshop 2.2 'Rolling in the Text' - Paul rolling, Alex, Sam, Vicky: cd-rom clip 21.2 MBWMVView/Open
Clip1. Firs Angry.wmvWorkshop 2.1 'First Angry' - Alex, Paul, Sam, Vicky, Verity: cd-rom clip 1 6.89 MBWMVView/Open
FulltextThesis.pdf1.66 MBAdobe PDFView/Open

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