Abstract
This PhD by Completed Work contextualizes my practice in interactive dance theatreperformance through an in-depth examination of three works: REPLICAS (2016), Space
Rebel Princess (2018), and How Long Is a Piece of String? (2022). The first two of these
works are for outdoor and alternative spaces. The remaining two are for child and family
audiences. What they all share is an interest in not only how audiences interact with
performances, but how performances interact with audiences as engaged receivers.
Investigating interaction in performance, four themes have emerged through embodied
research. Firstly, the theme of space and more particularly, the effects that a ‘specific extent’,
(a space as it pertains to interactivity in live performances both in theatres and outdoor and
alternative locations) has on power and inclusion. Through an analysis of the values
embedded in theatre buildings, I examine the impacts of these specific extents on re-shaping
the power dynamics between artists and audience. My work contributes to this discussion a
consideration of space as a third actor which affects the relationship between artists and
audience. Secondly, the theme of time: aspects of both temporal sequence and duration in the
creation of interactive performance. In particular, I consider the role of channels in the
successful transmission of retainable information to the audience, and I examine the
relational time that synchronises performer and audience responses during interactions.
Additionally, I consider the required time within the structure of the performance itself to
develop progressively more involved, meaningful interactive possibilities and the role of time
in the development and performance journey of a work. Thirdly, the theme of materials: how
costume, sets, props, and technology confer a transformative power. This theme examines the
role that costumes, sets, props, and technology have in the context of inviting joyful, positive,
and creative interactions. In particular it addresses the role of costume and transformation in
shifting the audience-performer relationship; the role of props, sets, technology, and costume
as a bridge to participation; and further their roles in building an embodied, memorable
connection with audiences. Finally, the theme of choice and its role within interaction design.
In order to integrate audience choice within performance, artists must relinquish control,
opening the door for unpredictable audience behaviour. This theme asks why it might be
worthwhile to design opportunities for choice and interaction within a performance,
interactive forms and the implications of their development and the possibilities for further
exploration. Through these themes I examine key insights that have arisen out of my practice
in and reflections on interactive dance theatre performance from 2014 to 2024.
| Date of Award | 20 Jun 2025 |
|---|---|
| Original language | English |
| Awarding Institution |
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| Supervisor | Rachel Carroll (Supervisor) |