THE INTERPLAY PERFORMANCE PRACTICE: PLAY AND SOCIAL CHANGE IN LATE CAPITALISM

Practitioners of the performance form “InterPlay” utilize dance, storytelling and song to build community and generate social change. I elucidate how this community of practitioners conceptualizes “social change.” I argue that the InterPlay social movement organizes around the application of play to performances of self in everyday life. I explore how the InterPlay non-profit corporation, Body Wisdom Inc., employs this technique to address racial justice in its organizational practices. I also examine how practitioners understand their use of this performance play in places of work, concluding that—even in these endeavors—they see social change as a process immanent to both individual people and the systems they create, not as the intervention of an autonomous external power. Ultimately, I argue that, within late capitalism, play should no longer be conceptualized as an activity separate from everyday sociality but as an immanent process of change constitutive of a socioaesthetic domain.

INTIMATE APPAREL: AN EXPLORATION OF COSTUME DESIGN IDEAS AND PROCESS FOR THE UNIVERSITY OF MARYLAND’S DEPARTMENT OF THEATRE, DANCE AND PERFORMING 2015 PRODUCTION

The following thesis navigates the primary artistic concept, design process and execution of Marchlena Rodgers’ costume design for the University of Maryland’s production of Intimate Apparel. Intimate Apparel opened October 9, 2015 in the University of Maryland’s Kay Theatre. The piece was written by Lynn Nottage directed by Jennifer Nelson. The set was designed by Lydia Francis, Lighting was designed by Max Doolittle.

Dancing the Archive: Rhythms of Change in Post-Volcano Identities on Montserrat, West Indies

In this dissertation, I demonstrate how improvisations within the structures of performance during Montserrat’s annual festivals produce “rhythms of change” that contribute to the formation of cultural identities. Montserrat is a small island of 39.5 square miles in the Caribbean’s Leeward Islands, and a volcanic disaster in the 1990s led to the loss of villages, homes, and material possessions. The crisis resulted in mass displacement and emigration, and today’s remaining population of 5,000 is now in a stage of post-volcano redevelopment. The reliability of written archives for establishing cultural knowledge is tenuous, and the community is faced with re-energizing cherished cultural traditions. This ethnographic research traces my embodied search for Montserrat’s history through an archive that is itself intangible and performative. Festivals produce some of the island’s most visible and culturally political events, and music and dance performances prompt on- and off-stage discussions about the island’s multifaceted heritage. The festival cycle provides the structure for ongoing renegotiations of what it means to be “Montserratian.” I focus especially on the island’s often-discussed and debated “triangular” heritage of Irishness, Africanness, and Montserratianness as it is performed during the festivals. Through my meanderings along the winding hilly roads of Montserrat, I explored reconfigurations of cultural memory through the island’s masquerade dance tradition and other festival celebrations. In this work, I introduce a “Cast of Characters,” each of whose scholarly, artistic, and public service work on Montserrat contributes to the shape and transformation of the island’s post-volcano cultural identities today. This dissertation is about the kinesthetic transmission of shared (and sometimes unshared) cultural knowledge, the substance of which echoes in the rhythms of Montserrat’s music and dance practices today.

Scenic Design of James and the Giant Peach

The purpose of this thesis is to provide research, supporting paperwork, production photographs and other materials that document the scenic design process for James and the Giant Peach at Adventure Theatre MTC. This thesis contains the following: concept statement, scenic research images collected to express location, and the emotional/ intellectual/ psychological landscapes for the production, preliminary sketches, photographs of the ¼” scale model, drafting plates and supporting paint elevations to communicate the design, prop list and accompanying research, archival production photographs to document the completed design, and finally periodical reviews of the show.

LOOKING FOR DIONYSUS: HEDWIG RAABE AND THE HAUNTING OF THE BIRTH OF TRAGEDY

This thesis explores the relationship of the actress Hedwig Raabe’s 1866 performance in Charlotte Birch-Pfeiffer’s play Die Grille to the philosopher Friedrich Nietzsche’s 1872 book The Birth of Tragedy. This exploration is structured by theatre scholar Marvin Carlson’s concept of haunting. I conclude that the haunting of Nietzsche’s text by Raabe’s performance destabilizes the former and points towards new ways of understanding The Birth of Tragedy in the fields of theatre and performance studies.