Browsing by Author "Trubridge, Sam"

Now showing 1 - 2 of 2
  • Thumbnail Image
    Item
    1:1 : (manifestoes for a theatre of matter) : a thesis presented in partial fulfillment of the requirements for a degree of Masters in Design at Massey University
    (Massey University, 2005) Trubridge, Sam
    This thesis revisits the manifestos of Twentieth Century theatre makers in order to establish a manifesto for performance design in the Twenty-First Century. It proposes that a material theatre is necessary in order to re-sensitise its audience and counter the 'de-realisation' that has infected and desensitised popular notions of war and global trauma. At the beginning of this new century there are new crises to mirror those that Antonin Artaud, Tadeusz Kantor, Peter Brook, and Jerzy Grotowski responded to in their own theatre and writings. With reference to the work of these artists this manifesto will construct an argument and rationale for 'The Theatre of Matter': a visual and spatial language for performance that affirms and implicates the material bodies of audience, performer, and space. By this design performance can become a complicit setting: the place of cruelty, ritual, realisation, and restoration that Helene Cixous calls "the place of crime and place of pardon" (Drain, 1995, p.340). Research through two realised productions of 'The Restaurant of Many Orders', reflection upon these productions, and conceptual drawings will make it possible to challenge and review the manifesto; thus setting it into motion within a practical framework.
  • Thumbnail Image
    Item
    Pelagic states : beyond nomadic and oceanic practices : an exegesis written in partial completion of a PhD in Creative Practice at Massey University College of Creative Arts
    (Massey University, 2018) Trubridge, Sam
    Oceanographers have a name for that remote part of the ocean that is not connected to or defined by a coastline or sea-bed. This is the ‘pelagic zone’, where movement and operation occurs in a completely four-dimensional environment. My creative practice examines, occupies, and emerges from this condition, applying it across the spatial, technical, cultural, geographic, philosophical, and aesthetic layers across various works and processes. In the theatres, galleries, public spaces, dry deserts, and ocean spaces that I have worked in there is a pervasive liquidity and a pelagic nature that characterises all the states and forms that my works move through. This thesis argues that a fluid, mobile, and self-sufficient methodology of this kind is necessary in order to navigate the equally fluid landscapes of contemporary performance and culture, traversing diverse disciplinary boundaries, geographies, and modes of working in order to formulate a unique model for what is defined here as a pelagic practice. The ‘pelagic’ (from ancient Greek ‘pelagos’: of the open sea) is an adjective describing a complete, unboundaried liquidity. It is a term is often attached to species of ocean-going birds and fish, with little use outside of scientific texts, thus providing this research with an undefined space for discussion on creative practice, performance, and philosophy. It is also a term that suggests a proximity to and correlation with Pacific theorists and culture, allowing me to pay homage to this significant body of knowledge whilst avoiding appropriation of their specific cultural knowledge or viewpoints.--From Orientation