This thesis finds inspiration in practitioner academics such as Craig and
Meyerhold, and is conceived as a practice-informed research degree, consisting
of a written element and a practical element that draw on and inspire each other.
That there is value in both practising and analysing an art form is argued, and
‘case studies’ are made of practitioner/theorists at either end of the genealogy
traced in the research: both those at the beginning of the 20th century and those at
the beginning of the 21st. A case is made for judging the work of artists such as
Robert Lepage, Robert Wilson, Complicité, and Faulty Optic as exemplars of
contemporary Visual Theatre practice, combining and being inspired by the twin
modes of puppetness and the cinematic. Alongside case studies of these
practitioners sits analysis of the practical element of the thesis: a work-inprogress
piece of auteur-led Visual Theatre practice that questions and
illuminates the written component of the thesis.
|Date of Award||Sep 2009|