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Title: Acting to actuality : the impact of the ludic on performer training
Author: Kendrick, Lynne
ISNI:       0000 0004 2685 5138
Awarding Body: Goldsmiths, University of London
Current Institution: Goldsmiths College (University of London)
Date of Award: 2010
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This thesis argues that the impact of the ludic on performer training can be analysed by the application of play theory. Theories of play are apt for analysis of the emergence of ludic performance practices, in particular how the ludic functions as a basis for training for these. This thesis analyses the ludic practices in the postLecoquian performer training of Philippe Gaulier, John Wright and Jon Davison and focuses specifically on the workshop. Their respective techniques are infiltrating performer training in the UK and as a consequence the activities and languages of play are becoming accepted, yet there is little analysis or understanding of how these ludic practices function. The research questions for this thesis ask what is the ludic and what are its potential intersections with performance analysis? What is the interplay between ludus (structure) and the paidic (free)? And what is the relation between play and actuality? To respond to the first question I provide an overview of the scope of play theory in particular its relation to cultural theory, performance analysis and the paradigm of Performance Studies and I isolate a methodology based on Roger Caillois' play theory of ludus and paidia. This methodolqgy is formed in order to address the second thesis question and to explore how the ludic interplay between structure and freedom functions in performer training. I use Caillois' continuum of ludus/paidia to analyse the ludicity of Gaulier, Wright and Davison's respective techniques as manifested in the workshop format and I propose that the result of this analysis reveals a paidic aesthetic of training and performing. 'Acting to actuality' refers to the development of training from representative to presentative performance in which realism and modes of realistic performance are eschewed for the reality of the presence of the performer and the activities in which the performer is engaged. This thesis also explores the function of the ludic in this shift, particularly in relation to the emergence of clown performance and argues that a paidic aesthetic produces an actual, not an acted, performance.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available