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Item Iterative Performance: Resistance and Opportunity in the Rhythm of Returns(2023-05-01) Jetton, JillianThis paper defines iterative performance as a live, time-based project in which multiple returns to the same framework (score, prompt, location, group) at regular intervals fundamentally shapes the dramaturgy of the work. The author asserts that the rhythm of regular returns inherent to iterative performance offers an alternative temporality that resists dominant, capitalist and heteronormative modes of living and making art, and creates the conditions for distinct artistic possibilities. Chapter 1 outlines the theoretical frameworks for this argument and introduces three key ways in which iterative performance is able to achieve the aforementioned goals. Chapter 2 explores three case studies through interviews with the artists, textual research and first-hand experience. The chapter concludes with two appendices, one a composite interview with Alex Torra and Iris McCloughan about The Sincerity Project , the other a partial index of contemporary iterative performance projects.Item Ride The Cyclone, The Musical: A Modern Morality Play(2023-05-01) Burgus, BryelleThroughout the 15th and 16th centuries morality plays were used by Christianity to teach their moral values to the community. Focused on the life of an individual human being, an “everyman” that represented all of mankind, morality plays followed the everyman’s innocence, fall, and penitential redemption. Using spectacle, dramatization, comedy, and satire, morality plays preached of the mortal inevitability of sin and the spiritual importance of repentance. Utilizing the most well known morality play, Everyman, as a lens, I will be examining and analyzing the 2008 Ride The Cyclone as a modern day morality play that is reflective of our modern world. Through my analysis and comparison of plot and structure, moral values, and character analysis, I will prove that the character of choir member Ocean O’Connell Rosenberg is a modern day everyman plagued by the selfishness and pride that is rampant in our society, who can only be saved by witnessing the vices and the virtues of those around her, and identify the musical’s message and moral as a call for humanity in a time when we seem to have lost it entirely.Item THE IMPORTANCE OF CONSIDERING A STUDENT’S GENDER IDENTITY WHEN TEACHING STAGE COMBAT AND MOVEMENT TRAINING(2023-05-01) Hunter, AliyaAn actor’s training is essential for the development of their craft. This training can be offered through schools, classes, or conservatories, cover interdisciplinary fields, and allow students to gain a solid foundation in their art. Among many components of acting training is movement training, which teaches students to recognize and relearn physical patterns in the body. Gender identity has been shown to affect people’s movement, postures, and physical habits through the process of socialization. This has not formally been taken into account during theatrical movement training. Stage combat, which is usually a component of theatrical movement training, requires its students and practitioners to adopt an aggressive and strong physicality while also remaining safe and connected with a partner or partners. More often than not, movement training and stage combat have not officially taken the gender identities of students into account when structuring classes. Both types of training require students to take on various and sometimes strong and assertive physicalities; people who have faced gender-based discrimination, harm, or violence may be slower to learn these physicalities because of the way socialization has physically affected them. Movement class teachers and curriculum developers need to formally take gendered, physical socialization of students into account and continue allowing its students to explore movement within stage combat in a way that counteracts gendered and physical socialization.Item Aesthetics & Politics: A Brief History of Japan & The US’S 20th Century(2022-05-01) Brown, RickyThis paper is a look at the combination of aesthetics and politics and how that combination effected the lives of black Americans, Japanese women and the people of Korea under Japanese occupation during the early 1900s.Item Trans Cannibalism(2023-05-01) Guhde, REDIn this writing, cannibalism as a symbol of taboo and villainy are explored alongside trans identities and modes of making. Using examples from popular media such as Silence of the Lambs and Psycho, cannibalism and queerness are vessels to explore how performance is made. When your existence is politicized and your body is a symbol of fear, how does that inform the process of creating art? How can trans artists cannibalize and consume in order to reify and remake new possibilities of performance? To begin, examples of pop culture cannibals are examined and dissected through the lens of trans villainy. Trans identities as inherently villainous or taboo is posited against the taboo around cannibalism. This analysis is enacted in practice via the Brazilian art movement of antropofagia from its origins to modern day theatrical interpretations. The liminal space of trans bodies in the digital world is explored in the final chapter, in which the consumption of virtual bodies can be a tool for liberation or continued oppression. Following the essay is a conversation with John Jarboe regarding her performance Rose: You Are What You Eat in which RED and John get into the nitty gritty of trans cannibalism. White this paper is merely a lily pad and not yet a landing place, the question of finding liberation in the taboo is the fulcrum of this writing. What does it mean when we are all cannibals?