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The Dancing Word
The product of over eighteen years of embodied research by the author, The Dancing Word presents a systemic and phenomenological description of a contemporary intercultural theatre practice. This volume offers a blueprint for both training and collaborative performance creation that integrates the best of western laboratory theatre with the practice and ontological underpinnings of Chinese martial (Wushu) and healing/self care (Qigong) arts. This is a book for theatre practitioners, students, scholars, and those interested in exploring transcultural methodologies.
eBook
A Categorical Setting for Transition Systems
Transition systems of various “transition types” are used to model various computational phenomena in many aspects of theoretical computer science. A convenient categorical approach is to model transition systems as coalgebras for a monad T. Possible transition types include non-determinism, probability, divergence, or weights in a semiring. There are several interesting notions of morphisms of transition systems—transition preserving functions, functional bisimulations, and relation-based like simulations and bisimulations.This thesis takes the analogy of “simulations as relational morphisms” seriously, and expresses simulations as Kleisli morphisms for a powerset-like monad on the category of non-deterministic transition systems (analogous to the relationship between Rel and Set). This monad is shown to be an instance of a lax distributive law PP → PP. In a more general setting, we seek to exhibit a correspondence theorem between lax distributive laws ST → TS and monads on categories of T-transition systems. The simple category of T-coalgebras turns out to be too small, so we introduce a notion of T-actions, which simultaneously generalise T-coalgebras and monoid actions. We frame many well known constructions of transition systems (including the cartesian closed structure, and a notion of graph homotopy) in terms of T-actions.
Dissertation
Experimental and Numerical Evaluation of a Novel Piling System for Sound Wall Applications
Sound walls are utilized for mitigating ambient noise caused by traffic or industrial and commercial activities. Drilled shafts are conventionally used as foundations for sound walls; however, steel piles can provide faster installation and immediate utilization. A novel pile concept was developed which comprises an H-pile modified to better resist typical load patterns faced by sound wall piles, which may include lateral force and moment from wind and uplift force from adfreeze. The modifications include one or two plates welded to the pile and anti-heave anchors (nodes) welded along the pile flange. The main objective of this research program is to assess the suitability of these modifications for sound wall applications.A full-scale pile load testing program was performed on fourteen steel piles installed with vibratory driving and two drilled shafts. The testing program included monotonic and cyclic lateral load tests and uplift load tests. A numerical model was developed with the program LPILE which was validated using the experimental results and then used to perform a parametric study considering different plate dimensions and a range of practical soil conditions. A second numerical model was developed using GSNAP to extend the cyclic lateral load analysis to include higher loads and more load cycles.The results showed that plate modified piles had a 22% increase in lateral load capacity compared to unmodified H-piles. The corresponding parametric study demonstrated that widening the plate is typically more efficient for increasing the pile’s lateral capacity than increasing the plate length. The cyclic lateral load tests revealed that the lateral stiffness of the novel piles remains approximately constant within 100 cycles. The GSNAP model simulated that the pile will experience less than 10 mm of ground level deflection at 1000 cycles of the design lateral load. The axial tension load tests concluded that adding nodes decreased the uplift capacity of H-piles. A comparison of the load transfer mechanism between a pile with and without nodes showed that the portion of the pile where nodes exist had a significantly reduced shaft resistance due to disturbance of the clay occurring during installation. It was observed that the installation quality of the piles directly affected their uplift and lateral load capacity.
Dissertation
Chapter 1: Beginnings in Embodied Learning
According to Barba and Fowler, mastery of these principles makes the body interesting to watch and the voice interesting to listen to. [...]the text is not the primary conveyor of the performance's meaning and the actor no longer has the onus for the transmission of meaning to the spectator. During the same period Fowler held a month-long intensive performer's workshop with his colleagues Laura Astwood, Alessandra di Castri and Stephen Lawson and directed Astwood and di Castri in the creation of an Italian/English performance Una donna che conosco/ A Woman I Know. Since the conclusion of this project in 2002, Fowler has concentrated exclusively on his work as a professional translator and editor. Practically, Fowler's process can be summed up as follows: * That a performer undertake to create a structured and personal daily training for herself that is composed of physical and vocal elements, * That a performer in tandem with this technical training process create fragments of performance material, * That a performer, led by a director and working in a group with other performers use these fragments to create a full theatre performance, * That the group use its performance i.e. its collective identity, to enter into relationships with other communities, thus encouraging tolerance, social growth, and change.
Journal Article
Chapter 7: Martial Movement Training and Consciousness
The reduction of appetite was neither unidirectional nor incremental; sometimes the clarity of perception I experienced would make me intolerant of the imperfections I saw around me and sometimes the calm I felt during and after training would make me sluggish, like a cat lazing in the sun, passive and content with its situation. Typology of Consciousness Along the Martial/Play Continuum A four-quadrant mapping combining the poles of fighting and performance with Affective and Pseudo-Predatory combative behaviour permits a comprehensive account of the diverse relationships between various aspects of martial and performance behaviour: Using this model it becomes possible to generate four broad categories of expression: * Aroused Fighting: an agonistic or antagonistic expression of affective combative behaviour is a case of real aggression expressed in terms of the signs of demonstrative aggression that characterize affective combative behaviour. * Aroused Performance: ludic expression of affective combative behaviour is non-aggressive but is nevertheless expressed in terms of aggressive display. * Aware Fighting: an agonistic or antagonistic expression of pseudo-predatory combative behaviour is a case of real aggression expressed in controlled and restrained fashion. * Aware Performance: ludic expression of pseudopredatory combative behaviour lacks real aggression and is expressed in controlled and restrained fashion. An increasing number of scholarly and popular sources present evidence that expert- level functioning in any discipline is the result of 10,000 hours of incrementally more challenging, supervised practice (Levitin 197).
Journal Article
Chapter 6: Performance Pedagogy in Practice
Since I began to use Chinese martial arts in my theatrical performance work in the mid 1990s, I have noticed a pattern of ebb and flow in the stability of the approach I am calling the Dancing Word. [...]the tantui, the spring kick or snap kick is practiced first as a slow leg extension and then as a very rapid flicking motion. [...]in addition to moulding the body using leverage as described above, the students also learned to mould the body through the use of impellent force. [...]we spent much time working on open inflection, pitch-level change and vowel position in order that the point, counter-point and the Minotaur's eventual decision emerge in a pristine, measured and inevitable fashion.
Journal Article
Chapter 4: The Principles of Performance Composition
[...]the assembly of the group composition must go beyond the simple orchestration of a group 'dance' and establish a dominant point of view that leads the audience towards the area of meaning of ultimate interest to the director. [...]they should reward themselves with the use of language only after having examined all of the other levels of meaning. Because of its powerful normative functions, language can be a great source of unexamined stage action. If an actor's physical score is dynamic and forceful, it may be redundant to have her also deliver text in a forceful and dynamic way. [...]either the physical score must be altered to make it gentle or the vocal score must be created using complimentary qualities, i.e. it should be discreet and muted. [...]over time I have noticed that trained and experienced performers have the ability to drag the grid, meaning that they can subjectively create the impression that the center of the stage is wherever they are positioned.
Journal Article