Shown alone: Solo performance as a rehearsal for democracy
| dc.contributor.advisor | Sebesta, Judith | en_US |
| dc.contributor.author | Abrams, Lesley | |
| dc.creator | Abrams, Lesley | en_US |
| dc.date.accessioned | 2013-05-16T09:39:18Z | |
| dc.date.available | 2013-05-16T09:39:18Z | |
| dc.date.issued | 2003 | en_US |
| dc.identifier.uri | http://hdl.handle.net/10150/291749 | |
| dc.description.abstract | The popularity of politically engaged and autobiographical theatrical solo performance grew at the end of the twentieth century in the United States. Why? Using performance texts, videos, live performance and interviews, as well as sociological texts, categories of solo performance were created, revealing commonalities among performers. As expected, it was discovered that there is no single reason for the surge in the art form. The rise of technology, the empowerment movements of the sixties and seventies, an increased emphasis on self-actualization, a decrease in communal activities and postmodernism in art were significant contributors. Economic pressures contribute to why artists choose to go alone, but solo performance is also a means of political discourse and dissent. The relationship between audience and performer mirrors the ritual of witnessing, allowing audiences to empathize with the socio-political experiences of others. Solo performance becomes a form of democratic participation when seen from this perspective. | |
| dc.language.iso | en_US | en_US |
| dc.publisher | The University of Arizona. | en_US |
| dc.rights | Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. | en_US |
| dc.subject | Theater. | en_US |
| dc.title | Shown alone: Solo performance as a rehearsal for democracy | en_US |
| dc.type | text | en_US |
| dc.type | Thesis-Reproduction (electronic) | en_US |
| thesis.degree.grantor | University of Arizona | en_US |
| thesis.degree.level | masters | en_US |
| dc.identifier.proquest | 1414223 | en_US |
| thesis.degree.discipline | Graduate College | en_US |
| thesis.degree.discipline | Theatre Arts | en_US |
| thesis.degree.name | M.A. | en_US |
| dc.identifier.bibrecord | .b44417615 | en_US |
| refterms.dateFOA | 2018-08-30T02:04:46Z | |
| html.description.abstract | The popularity of politically engaged and autobiographical theatrical solo performance grew at the end of the twentieth century in the United States. Why? Using performance texts, videos, live performance and interviews, as well as sociological texts, categories of solo performance were created, revealing commonalities among performers. As expected, it was discovered that there is no single reason for the surge in the art form. The rise of technology, the empowerment movements of the sixties and seventies, an increased emphasis on self-actualization, a decrease in communal activities and postmodernism in art were significant contributors. Economic pressures contribute to why artists choose to go alone, but solo performance is also a means of political discourse and dissent. The relationship between audience and performer mirrors the ritual of witnessing, allowing audiences to empathize with the socio-political experiences of others. Solo performance becomes a form of democratic participation when seen from this perspective. |
