Permanent URI for this collection
Browse
Recent Submissions
Item Exploring the applicability of Lessac Kinesensics (LK) principles in community theatre to aid bodyvoice efficacy.(Tshwane University of Technology, 2023-10-01) Maseko, Isana; Dr K. Lemmer; Prof M MunroThis study explores the applicability of Lessac Kinesensics, specifically its principles, as a body voice pedagogy in a multilingual South African community theatre setting. Few studies of voice for community theatre training (formal/informal) concerning performance exist. This study used six Lessac Kinesensics principles to harness, hone, and promote healthy vocal behaviours amongst community theatre performers. Specific Lessac Kinesensics principles of embodiment and envoi cement were used for performers to access vocal approaches for both acting and performance development. Lessac Kinesensics is explored from lived experience, as such theories of embodiments are used to underscore the research methodologies. The study uses performance ethnography, as a framework of research intervention, data collection and analysis. The use of performance ethnography derives from the researcher’s experience of facilitating body voice at a university and as a community theatre actor. The study highlighted the grave need for body voice approaches in community theatre, both for the actor’s well-being and creative endeavours.Item Investigating the adoption and adaption of method acting in South African theatre.(Tshwane University of Technology, 2024-01-31) Thaba, Eddie; Dr Karina Lemmer; Prof Owen SedaThis study investigates the adoption and possible adaptation of Method acting by ten theatre actors in the province of Gauteng. The study seeks to identify in the candidates’ approach to a role six major elements of Method acting stemming from Russian acting teacher, Konstantin Stanislavski’s acting technique called “the System”. The study focuses on the candidates’ first acquaintance with a script (if any), rehearsal, and onstage portrayal of a role. To achieve this, the study first explores the genesis of Stanislavski’s System, its voyage from Russia to America, and its resultant adaptation into different American techniques given the umbrella term, Method acting. The study also examines different interpretations and iterations of the Stanislavski System by scholars and practitioners and then identifies six major elements common in both American Method and Stanislavski’s System. This enabled me to generate questions posed to the research participants during open-ended interviews, after which, two tables of analysis, one dealing with the adoption, and the other with adaptation, were developed. The study takes a qualitative research design of a phenomenological genre, which falls under the Interpretivist/Constructivist research paradigm, the main goal of which is to understand the subjective world of human experience. To minimise misinterpretation and bias, I applied Giorgi’s analytical procedures of “bracketing and reduction.