Inspired by the question of what forces us to think and employing the Deleuzian concepts of affect and the new, this thesis argues that the technologies used in theatre production construct an affective encounter from which new thinking may emerge. Moreover, this thesis maintains that a consideration of the affective encounter is a productive means of further understanding theatricality because the experience of theatricality is rooted in the affective encounter. This argument brings together theatricality and thinking through the experience of affect that is produced by the technologies used in performance. Technology becomes an integral element to this project because it is positioned as the disruptive element that incites the affective encounter from which theatricality and new thinking may emerge. This examination of the relationship between thought, technology, and theatricality is grounded by an analysis of theatre productions by The Builders Association, Troika Ranch, Toni Dove, and Marie Brassard. It is further structured by an evaluation of ways that technology shapes and reshapes understandings of space, presence and event; each of which are significant elements in our conceptualizations of theatricality. More specifically, the individual chapters consider how technologies used in performance produce disruptions that open spaces for thinking the new. This is done through an examination of the ways that screens articulate the disjuncture inherent to theatrical space; how vocal mediation challenges conceptions of presence as an originary site; and how the theatrical event is reconstituted by the use of technologies that

Moving Towards Thought: Theatricality, Technology, and the Theatre

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Literacy as a performing art: a phenomenological study of oral dramatic reading

Video Artist Bill Viola's work is often cited as spiritual, or influenced by Asian thought. In order to delve more deeply into what ‘spiritual’ might mean, this article explores specific features of Viola's work that directly relate to Buddhist awareness practice.

Seeing the mind, stopping the mind, the art of Bill Viola

Based on semiotic, aesthetic response, reader response, and drama in education theories, this phenomenological study seeks to describe the literary experience of text through oral interpretation for middle to high SES, fourth and eighth grade students as compared to Low SES fourth and eighth grade students. Using the research methodology of Moustakas (1994) and data analysis of Teddlie (2000), this study proposes to describe and understand the relation of literary understanding and oral dramatic expression implicit in the descriptive paralinguistic and chronemic patternizations of the oral rendition of text and describe the act of reading as phenomenology. Descriptions of the perceptions and reading experiences of Low Socioeconomic Status (SES) and Middle-High SES dramatic readers was obtained through multiple interviews and recorded readings. Rich descriptions were used as the basis for a reflective structural analysis. Ultimately, the goal was to determine the effect of the voice of interpretation on the perception of the reader and to determine the benefit of dramatization as a tool for comprehension across varied educational and experiential backgrounds. Results reflected an across the board positive correlation between students' perceptions of reading as a significant and meaningful learning experience and students' use of dramatic interpretation through the indices of the voice. For oral dramatic readers, the purpose for reading was the process, not just the product. Dramatic readers see reading as something composed that must be performed. They are able to perform the "story" much like a musical score, backing for patterns, beats, and rhythms. Literacy then is a performing art, by definition a form of aesthetic response that is autobiographical in essence, constructivist in nature, and a highly personal "phenomenon." 

Like a Film

Such are the principal traits by which musicologists have been unable to define a Baroque music: music as expressive represent-ation, expression here referring to feeling as if to an affect of accord. What has happened to cause the answer-or rather, the quite diverse range of answers-to change since the Baroque musicians? Solutions no longer pass through accords. It is because the conditions of the problem itself have changed: we have a new Baroque and a neo-Leibnizianism. The same construction of the point of view over the city continues to be developed, but now it is neither the same point of view nor the same city, now that both the figure and the ground are in movement in space. Something has changed in the situation of monads... To the degree that the world is now made up of divergent series (the chaosmos), or that crapshooting replaces the game of Plenitude, the monad is now unable to contain the entire world as if in a closed circle that can be modified by projection. Gilles Deleuze, The Fold: Leibniz and the Baroque

Timothy Murray

Papers

Like a Film

Digital Baroque: Via Viola or the Passage of Theatricality