Psychological awareness in training and performance : Elsa Gindler and her legacy

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

In search of 'Taiwaneseness' : reconsidering Taiwanese Xing-ju from a post-colonial perspective

Xing-ju literally means 'New Theatre' in Mandarin and denotes the non-traditional performing style in Taiwan. Xing-ju is regarded as the product of colonisation in Taiwan. The thesis began with the first emergence of Xing-ju in the Japanese colonial era at the beginning of the twentieth century, and went on to examine the development of Xing-ju and its sub-forms within a colonial historical context. Having gone through different colonial regimes, Xing-ju has developed into the local theatre form characterizing the hybridity of Taiwanese culture. My study aims to fill a gap in Taiwanese contemporary theatre history, to look at Xing-ju and its sub-forms from a post-colonial perspective, and to provide a continuous and complete Xing-ju history within a theoretical context. In addition, how Xing-ju has exemplified ‘Taiwaneseness’ while presenting multiple cultural characteristics is also examined. This thesis also draws on primary source data, obtained via field research, to analyse the characteristics of Xing-ju performances. Finally, while addressing my research questions through theoretical analysis, I also examine them through the lens of practical work. Inspired by critical syncretism, I experiment with an alternative way to explore the nature of Taiwanese culture and theatre form. With its hybrid cultural characteristics including Japanese Shinpa-geki, Chinese Peking Opera, Ge-zai Xi and Western theatre styles, I discuss how a definition of ‘Taiwaneseness’ emerges through Xing-ju.EThOS - Electronic Theses Online ServiceTaiwan Ministry of EducationGBUnited Kingdo

Teaching with the Special Issue ‘Against the Canon’. Theatre, Dance and Performance Training Journal Blog

A collaborative document, with contributions from: Mark Evans, Cass Fleming, Rebecca Loukes, Sara Reed and Amy Russell. This piece of writing aims to offer reflection and provocation on the ways that the Theatre, Dance and Performance Special Issue ‘Against the Canon’ might be used as part of teaching and learning activities within theatre, dance and performance courses and training programmes. We write this as academics and artists, aware of our position as white and privileged – and we invite critique, challenge and debate