JavaScript is disabled for your browser. Some features of this site may not work without it.
| dc.contributor.author | Dang, Tiffany | |
| dc.date.accessioned | 2022-05-10T13:49:16Z | |
| dc.date.available | 2022-05-10T13:49:16Z | |
| dc.date.issued | 2022-05-10 | |
| dc.identifier.uri | http://hdl.handle.net/10429/2308 | |
| dc.description | Theatre is everywhere. We naturally live socially everyday by playing a role of ourselves on a theatre stage, which is the world. But these daily interactions do not impose a new perspective of the environment. It is part of a routine, habit, and activity. Theatrical performance allows for experimentation. It is a fictional and once-lived event. This unique quality expresses our spaces in a different outlook. Through the unfamiliar use, of performances in spaces, it introduces new characteristics and ways that places could be interacted with. Theatrical performance includes small scale interventions with limiting resources. Grotowski’s “Poor Theatre” explores utilizing what is already existing to create performances. In conventional theatre settings, it is common to design sets, costumes, props for each production. The approach of using found items and backdrops, highlights the relationship between the people and the existing space. The sense of environmental theatre is further amplified by having no distinctive boundaries within the space, which allows for further engagement. These are site-specific theatre performances, where found spaces are the backdrop. Brook’s “The Empty Space” analyzes theatre spaces as fluid and describes that any space could be a stage for performance. How can ephemeral and theatrical “play” within our existing spaces be used as a method to inform and reveal user experiences through the everyday environment? How does the practice of theatre performance and architectural design belong in the same discourse? Through various experimental performances and studies, existing spaces and environments can be understood from a different perspective through theatrical performances. It is suggested that people “make to know” and “learn by doing.” By creating, it experiments with engaging people with places. Through spatial performativity, performers are imitating how people act and behave. From these performances, it can be analyzed through the lens of design and spatial, social and cultural memory, and the senses and stimuli. This challenges the conventional notions of formal performance spaces and practices. But it may be questioned as to why this approach of using theatrical performances within the built environment to evaluate spaces, is necessary in practice. The user experiences within spaces do not require to be examined by “playing.” However, the experience of the spectacle is a unique intensity that forgets reality and initiates visceral reactions. It gives purpose to experimentally “play.” The collective sense of physical gathering between the performers is a celebratory moment and ceremonial event. This further strengthens the relationship with our environments. Although theatre is subjective, performance shares relatability from its stories, emotions and sociability. Through the act of performing and intentional exploration, it can be used as a tool to design spaces based on the performer’s experiences and discoveries. | en_US |
| dc.description.abstract | Theatre is everywhere. Each day, it is natural that we live socially by playing a role of ourselves on a theatre stage, which is the world. But these daily interactions do not impose a new perspective on the environment. Performance lives within our spatial realities and allows for momentary experimentation through expression. These theatrical performances can also include small-scale interventions with limiting resources. How can ephemeral and theatrical “play” within our existing spaces be used as a method, to inform and reveal user experiences of the everyday environment? How do the practices of theatre performance and architectural design belong in the same discourse? Through the lens method and analyzing various theatrical performance precedents, exercises, installations and workshops, existing spaces can be learned by a regenerated outlook through theatrical performances. By “creating to know” and “learning by doing”, it experiments by engaging others with familiar places and reflecting on experiences. This challenges the conventional notions of formal performance spaces. Bridging the gap between the practice of architecture and theatrical performance, it is a study on how people perform and interact within the environment, but re-imagined. | en_US |
| dc.language.iso | en_US | en_US |
| dc.subject | Theatre | en_US |
| dc.subject | Playing | en_US |
| dc.subject | Imagination | en_US |
| dc.subject | Environmental | en_US |
| dc.subject | Stage | en_US |
| dc.subject | Perform | en_US |
| dc.subject | Site-specific | en_US |
| dc.title | Environmental (Re)Imagination | en_US |
| dc.title.alternative | Experiencing the Built Space Through Theatrical Site-specific Performances | en_US |
| dc.type | Thesis | en_US |
