dc.contributor.advisor |
Brown, C |
en |
dc.contributor.author |
O'Neil, Claire |
en |
dc.date.accessioned |
2016-08-01T21:27:06Z |
en |
dc.date.issued |
2016 |
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dc.identifier.citation |
2016 |
en |
dc.identifier.uri |
http://hdl.handle.net/2292/29725 |
en |
dc.description |
Full text is available to authenticated members of The University of Auckland only. |
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dc.description.abstract |
Through foregrounding bodies in social spaces as a conscious experiment in everyday life (Shilling, 2007), this creative practice research comprising a performance event and writing, develops and tests the dancer’s agency using specific and intrinsic conditions and processes extracted (predominantly) from sociology, in particular Pierre Bourdieu’s (1930–2002) notions of field and habitus. It queries how a choreographic practice can dig alternative routes for acclimatising and aligning the social body through interrogating lived realities as a source for building a creative toolkit that aims to further the repertoire for a dance-‐theatre-‐choreography. Individual and collective experiences, potential disturbances (social drama) and empowering actions (capital) are analysed and re-‐embodied in search of an anti-‐illusional and improvised performance landscape. As part of the research process, eleven participants engaged in ‘site-‐sittings’: observations of bodies in public spaces (a ‘crossroads of fields’). As participant-‐observers or fieldworkers in urban locations, they made verbal recordings describing what they witnessed both kinesthetically and socially. Here the choreographic and sociological processes interwove yet did not assume each other’s domain. The observational process does not seek conclusive societal data, but rather aims to restore corporeality as a foundational source of useful and meaningful intentions rooted in the pre-‐objective plane of experience. (Bourdieu & Wacquant, 1992). Fieldwork for (extra) ordinary folk, a semi-‐structured dance improvisation, attempts a choreographic performance mode and aesthetic that pushes expectations of dance as a witnessed event by asking the audience to let go of regular ideas of compositional harmony and allow a ‘mobile architecture’ (Manning, 2013, p.99) to unfold before them. This writing contends that through variations of struggle derived through interplay of spatial and corporeal rules and regularities the intersubjective relations of a quasi-‐society emerge, bringing the social choreography to life. |
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dc.publisher |
ResearchSpace@Auckland |
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dc.relation.ispartof |
Masters Thesis - University of Auckland |
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dc.relation.isreferencedby |
UoA99264870311402091 |
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dc.rights |
Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. |
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dc.rights |
Restricted Item. Available to authenticated members of The University of Auckland. |
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dc.rights.uri |
https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm |
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dc.rights.uri |
http://creativecommons.org/licenses/by-nc-nd/3.0/nz/ |
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dc.title |
Embodying sociology towards a social choreography |
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dc.type |
Thesis |
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thesis.degree.discipline |
Dance Studies |
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thesis.degree.grantor |
The University of Auckland |
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thesis.degree.level |
Masters |
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dc.rights.holder |
Copyright: The Author |
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pubs.elements-id |
537397 |
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pubs.record-created-at-source-date |
2016-08-02 |
en |
dc.identifier.wikidata |
Q112926152 |
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