Knowledge production through artistic research : the structure and embodiment of creative action in theatre making

Van Wyk, Ockert Jacobus (2019-04)

Thesis (MDram)--Stellenbosch University, 2019.

Thesis

ENGLISH ABSTRACT: The artistic research conducted during the respective phases of this practice-led study is based on a singular theatre-event that evolved through my collaboration with secondary school dramatic arts students, a creative-collaborator, visual art students, singers, musicians and artistic contributors. The research undertaken formulates and demonstrates my impressions, as theatre practitioner and theatre pedagogue, on the ways in which the actions, activities, contributions and lived experiences of the participants involved in the making of a collaborative theatreevent collectively determine the operation of its creative action. The intrinsic attributes of my praxis, as discovered and observed by means of the systematic inquiry and reflection of this study, hypothesise the structure of creative action to comprise a complex and non-linear interrelation of intentional, coincidental, conscious, unconscious, interactive and reiterative acts of ‘embodied cognition’. In keeping with the methodology of Artistic Research, the academic narrative utilises stylistic devices – including metaphoric titles, the insertion of images and sound clips, and typographic designs - to symbolise activities and occurrences of theatre-making that include: instances of invention; moments of insight; practice-based decisions and deviations; chance encounters; and fortuitous incidents and collaboration/s. The study suggests that the actions, incidents and events that give rise to, and evolve from, creative action are subject to, and qualified by, conceptual, sensory, corporeal and visceral conditions and intentions that are respectively foregrounded at specific times and during specific phases of theatre-making. By drawing on experiential knowledge gained from this collaborative and multi-media theatre-event, the thesis demonstrates and describes the ways in which creative action is realised and practiced through the implementation of individualised approaches and strategies that are geared towards the construction and embodiment of physical and spoken texts. In addition, the research offers insights into the ever-shifting and multifunctional role of the theatre practitioner, pedagogue and researcher as the negotiator of dissonant heterogeneous voices in a collaborative collective who are actively involved in a shared creative experience.

AFRIKAANSE OPSOMMING: Die artistiese navorsing uitgevoer tydens die fases van hierdie praktykstudie is gegrond op 'n enkele teatergebeurtenis wat ontwikkel is deur my samewerking met dramastudente, 'n kreatiewe medewerker, beeldende kunsstudente, musikante en artistieke bydraers. Sentraal tot die studie is die formulering en demonstrasie van die manière waarop die handelinge, aktiwiteite, bydraes en belewenisse van die deelnemers betrokke by die skep van 'n teatergebeurtenis die gesamentlik werking van die kreatiewe aksie bepaal. Die ontdekkings en waarnemings wat ek as teaterpedagoog en teaterpraktisyn, deur middel van sistematiese ondersoek en refleksie tydens hierdie studie gemaak het, bied ‘n hipotese van die struktuur van kreatiewe aksie as 'n komplekse en nie-lineêre interverwantskap met opsetlike, toevallige, bewuste, onbewuste, interaktiewe en herhalende dade van 'beliggaamde kognisie'. In ooreenstemming met die metodologie van Artistieke Navorsing, gebruik hierdie akademiese vertelling stilistiese instrumente - byvoorbeeld metaforiese titels, die invoeging van beelde en klank, en tipografiese ontwerpe - om aktiwiteite en gebeurtenisse van teaterskep te simboliseer, insluitend: oomblikke van ontdekking en insig; praktykgebaseerde besluite en afwykings; insidente van toeval; asook kollektiewe meewerking. In die studie word gestel dat die handelinge, voorvalle en gebeure wat aanleiding gee tot en die ontwikkeling van kreatiewe aksie onderworpe aan en gekwalifiseer, deur spesifieke konseptuele, sensoriese, liggaamlike en visserale toestande en bedoelings wat onderskeidelik uitgelig word op spesifieke tye en gedurende spesifieke fases van “teater-maak”. Die tesis demonstreer en beskryf, uit die ervaringskennis van hierdie kollektiewe teatergebeurtenis, die wyses waarop kreatiewe aksie gerealiseer en beoefen word deur middel van die implementering van geïndividualiseerde benaderings en strategieë wat gerig is op die konstruksie en beliggaming van fisieke en gesproke tekste. Die studie het ook ten doel om die waarde van die voordurend veranderende multifunksionele rol van die teaterpraktisyn, pedagoog en navorser, as die onderhandelaar van die dissonante heterogene stemme van die meewerkende kollektief wat aktief betrokke is by 'n gedeelde kreatiewe ervaring, te formuleer.

Please refer to this item in SUNScholar by using the following persistent URL: http://hdl.handle.net/10019.1/106138
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