10 research outputs found
Ang Gey Pin - Theater nach Grotowski und Richards?
No full textABSTRACT (deutsch)
Die vorliegende Forschungsarbeit Ang Gey Pin – Theater nach Grotowski und Richards? stellt eine Untersuchung der künstlerischen Entwicklung und kreativen Arbeit der Schauspielerin Ang Gey dar. Da Ang Gey Pin meist in Verbindung mit dem Workcenter of Jerzy Grotowski und Thomas Richards genannt wird, an dem sie insgesamt neun Jahre verbrachte, sie jedoch seit 2006 als autonome Künstlerin tätig ist, konzentriert sich diese Forschung speziell auf ihre künstlerische Recherche nach dem Workcenter. Das heißt sowohl zeitlich, als auch „nach“ im Sinne von „im Erbe von“ Grotowski und Richards: Untersucht wird in wieweit Ang Gey Pin in der Linie der beiden Theatermacher steht, das heißt, wie sehr sie beeinflusst ist von dieser Tradition; sowie ob ihre Nennung als „grotowskische“ Schauspielerin beziehungsweise ihre Erwähnung vorrangig in diesem theatralen Kontext heute noch gerechtfertigt und ausreichend ist.
Um diesen Fragen nachgehen zu können, unterteilt sich die Arbeit in drei Hauptkapitel. Im ersten Teil wird vor allem auf Grotowski, dessen Arbeit und die Entwicklungsetappen dieser eingegangen. Zudem wird Grotowskis Wirken in einen historischen Kontext gestellt. Dies dient der Kontextualisierung und dem besseren Verständnis von Ang Gey Pins Arbeit und deren Hintergründe. Somit wird herausgestellt in welcher kreativen und zeitlichen Phase Ang Gey Pin mit dem Workcenter kooperierte. Im Weiteren geht die vorliegende Forschungsarbeit genauer auf Ang Gey Pins Schauspielarbeit ein. Dabei werden immer wieder Bezüge hergestellt zu grotowskischen Ideen und fernöstlichen Prinzipien, da diese für ihre Arbeit Grundelemente darstellen. Der letzte Teil der Arbeit ist der Frage gewidmet, woher die Künstlerin kommt, also in welchen theatralen Traditionen sie steht. Sowohl ihre Prägung durch die Arbeit mit dem Workcenter und ihre dortige Entwicklung werden diskutiert, als auch ihre künstlerische Laufbahn unabhängig von der Zeit am Workcenter wird betrachtet – von Beginn ihrer persönlichen kreativen Recherche bis heute. Dabei werden Einflüsse, wie fernöstliche Philosophieansätze insbesondere der taoistische Zugang untersucht, welche auf der Suche der Künstlerin aus Singapur nach ihren „Wurzeln“ und heimatbezogenen Kulturgütern und Weisheiten basieren. Neben jener grundlegenden Thematik und Inspirationsquelle ihrer Arbeit werden ebenso Rahmenbezüge kritisch beleuchtet, wie etwa das interkulturelle Theater. Dies stellt sozusagen ihr Umfeld dar, welches ihre tägliche Arbeit in verschiedenen Ländern, Kulturen und Kontexten bestimmt.
Da Ang Gey Pin gleichzeitig repräsentativ für eine Generation nach der grotowskischen Theaterarbeit steht, schließt die Arbeit mit einem Forschungsausblick, welcher mit weiterführenden Fragen nach den neuesten Entwicklungen, Anregungen sowie Veränderungen sucht und Raum schafft für Evolutionsprozesse und Interpretationsmöglichkeiten. Gerade diese Fragestellungen sind im Hinblick auf die bereits erlangten Neuerungen Grotowskis aus gegenwärtiger Perspektive unumgänglich für eine ernsthafte theatrale Auseinandersetzung und kreative Forschung, sowie für weiterführende wissenschaftliche Untersuchungen in diesem Bereich.ABSTRACT (englisch)
The present scientific research concentrates on the creative work and development of the theatre artist Ang Gey Pin. Her work is often cited in the context of The Workcenter of Jerzy Grotowski and Thomas Richards, where she stayed altogether nine years. As Ang Gey Pin works as an autonomous artist since 2006, the present research mainly focuses on her work after that period. One of the two main topics of the analysis deals with her current work. This means the analysis is focusing on the artistic activities that she created and worked on after her grotowskian experiences. In this correlation the second main topic analyses her artistic creations from various cultural and biographical perspectives in order to reveal the evident link to and the influences on her work by the Workcenter. In addition this analysis demonstrates to which degree her artistic work today is influenced by this tradition and if it is still justified and adequate to mention her in the “grotowskian” context only.
For an accurate elaboration of the key questions the work is divided into three main chapters. The first chapter introduces and explains the work of Grotowski and all the different phases of his theatrical research as well as his work seen in a historical context. This helps to understand Ang Gey Pin´s work and her theatrical background. It illustrates in which creative and temporal phases of Grotowski and the Workcenter the artist Ang Gey Pin was actually present. Furthermore Ang Gey Pins acting work is studied in reference to “grotowskian” elements and philosophical and cultural Far Eastern principles, as these two aspects serve as an important base for her creative activities. The last chapter concentrates on Ang Gey Pin’s background in the light of theatrical heritage. Her working period and her personal evolution during the time at the Workcenter are discussed and her individual creative career from the beginning until today is explicated. Another intrinsic element contemplated in this chapter is her artistic influences. Especially Taoist ideas – part of far eastern philosophical concepts – are an evident source in her work. These ideas play an important role in the work of this artist from Singapore, as they are a manifest element within her personal creative search. This inner “need” to go back to her original traditions is an evident base in her creative research and performative work. This becomes apparent for example in her most recent performance Feast of You Shen, which is described in analytical detail in the last chapter. Furthermore the present research intends to provide a global overview of the socio-political context of her work in different countries, cultures and environments in the context of so called “intercultural theatre”. The theatrical work of Ang Gey Pin is not only of interest because of her profound and significant creative input in the theatrical world but also because she can be seen as a representative figure for a generation “after Grotowski”.
This analysis ends with future prospects of the latest developments, changes and inspirations in today’s theatrical backgrounds after Grotowski. These aspects are essential for the possibility of a creative research, for a critical theatrical discourse and for further academic reviews based on the innovations Grotowski already realized
Sourcing Within: A Reflexive Investigation of a Creative Path
No full textMy Practice-as-Research doctoral dissertation, Sourcing Within: A Reflexive Investigation of a Creative Path explores potential sources for performer training and the creative process in performance work. I draw extensively from my embodied research in Taijiquan and songs from my Chinese cultural source, which I have explored since the early 1990s. Stemming from this embodied practice, I examine the notion of "care of the self" since Greco-Roman time, and how it can enhance the work of the performer via her physical and vocal presence. My research methodology draws upon Robin Nelson's writings on Practice as Research, Foucault's ideas in Practice of Self and Clark Moustakas's Phenomenological Research, primarily Heuristic Inquiry with the practitioner and her experiences as key resources.
In parallel to care of the self runs the idea of care of the craft as in Konstantin Stanislavski's notion. What I argue for is a persistent practice on/through the source techniques that can lead to a unity of the bodymind, thus elevating the quality of the performer's practice. My hands-on experiences have also nourished my pedagogical work with cross-disciplinary and cross-cultural performing practitioners through my Sourcing Within project (since 2006). All these human interactions and shared experiences have enriched and expanded the scope of my research, as evidenced in my writing.
Part of my Practice-as-Research is a creative synthesis entitled Wandering Sounds which I have created in collaboration with musician Nickolai D. Nickolov. Our collaboration explores the coalescence of text, song, music, and movement within a performance. The performance encompasses "musicality" and asks whether musical and performative integration can yield a renewed path for creativity. It aims at reaching audiences from various cultural and linguistic backgrounds. This piece has served as an important platform in my investigation of whether or not it is possible to transmit the insight gained in a performer's self-practice to the audience in the performance context. Wandering Sounds has also facilitated my inquiry into whether or not the audience can follow the performer's process of self-transformation by watching it in performance
An Intuitive Walk – a thread to play along
No full textA commentary reading on the Walking Thread Initiative, subsequent to the Sourcing Within workshop under the Knowing From The Inside project (KFI), Department of Anthropology, University of Aberdeen
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A path from Irvine: Theatrical and anthropological explorations of self-knowledge
No full textAnswer the Question ‘How does nature nurture your training?’
No full textThis is the author accepted manuscript.This is Evelyn O'Malley's contribution to the article. The full article is available via the DOI in this recor
Are anthropologists makers? Towards regenerative scholarship and pluriversities
No full textCurrently, there is a shift occurring towards understanding anthropologists as makers. This is part of a recent onto/epistemic change in the discipline that emerged in the early 2000s and is now beginning to become established. In broad brush strokes, the change is from a fixist ontology to what could be considered emergence ontologies. Consequently, anthropologists are becoming more deliberate about the effects of their scholarship, and as a result, are making all sorts of things as part of their anthropological crafting. Ingold’s work has been pivotal in bringing this about. In this chapter, Gatt traces the development in her anthropological work towards paying increasing attention to what she makes as an anthropologist. This has led to a long-term plan working towards developing forms of regenerative scholarship based on the notion of the pluriversity. The chapter proceeds to present a proposal for a possible form of regenerative anthropology drawing together the educational expertise and speculative musings of Alexie, Allen, Ang, Lembo, Ravetz and Spatz.</p
Resonant space: religion, theatre, and the Chinese martial arts
No full textResonant Space constellates the martial, ritual, and theatrical elements of the Chinese martial arts with the practice of contemporary theatre and dance. This interdisciplinary approach blends the embodied experiences of the author, a lifelong student of the Chinese martial arts and a theatre director and dance dramaturg, with the study of Chinese cultural history. This is a work for scholars and practitioners of the Chinese martial arts, of contemporary dance and theatre, and for scholars of Chinese religion and cultural history
Utility of newer technologies for the diagnosis of active and latent tuberculosis
No full textIncludes bibliographical references (leaves 91-109).Since the 1800s the tuberculin skin test (TST) has been the only available test for latent tuberculosis (LTBI). Recently, interferon-gamma release assays (IGRAs) have been developed which are based upon the responses of peripheral blood effector cells to M.tb-specific antigens [early secretory antigenic target -6 (ESAT-6) and culture filtrate protein (CFP10)]. Discordance between the TST and IGRAs has been well documented but remains largely unexplained
Minbar al-Sharq, No.530 (vol. 27, Dec. 31, 1948)
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