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"Riley, Shannon Rose"
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Embodied Perceptual Practices: Towards an Embrained and Embodied Model of Mind for Use in Actor Training and Rehearsal
The body in this sense is a kind of deep container as it gives up what are often described as the memories of trauma, or more problematically as images from the \"collective unconscious\" (reflecting the Jungian bias of AM). Because AM was developed as a form of movement therapy, and is practiced as such today, much of the writing on the subject is from a clinical or psychoanalytical perspective and clearly reinscribes the kind of subjective presence that Zarrilli problematizes. [...]in Damasio's schema, the \"brain and the rest of the body constitute an indissociable organism\"; this organism \"interacts with the environment as an ensemble\"; what we call mind is the result of this process; and what we call environment is in part a result of the organism's activity as well as its matrix of activity (Descartes' Error xvi-xvii). In this sense, the witness/mover model of AM parallels the dialogical model of mind that we have outlined above. [...]the stage manager and voice coach were also trained in AM and we began a weekly practice together in an open-circle form-sitting in a circle as witnesses and taking spontaneous turns as mover, with up to two people moving at once. [...]our process of using embodied perceptual practices to explore a text in rehearsal consisted of two phases of sourcing: image discovery and image development, which were followed by the addition of limitations and constraints.
Journal Article
Mistaken Identities, Miscegenation, & Missing Origins: The Curious Case of Haiti1
[...]southerner DuBois' original script focused on the evils of miscegenation, but New York director Maurice Clark was able to rewrite enough of it to bring forth the underlying dramatic story of the struggle for racial identity and self-determination for black Haiti. According to Renda, the Billy Rose Theatre Collection (BRTC) houses the \"Production Files,\" and a \"Complete Working Script\" (CWS), which I hoped was the original-or would reveal some anti-miscegenist rhetoric.44 Unfortunately for this story, a close reading of the CWS revealed it was one of the already collaborative performance texts.45 I hoped to have better luck with the \"Production Files,\" but they were missing. 7 The few scholars that have worked on William DuBois's Haiti are (chronologically): Loften Mitchell, Black Drama: The Story of the American Negro in Theatre (New York: Hawthorn Books, Inc., 1967); John O'Connor and Lorraine Brown, Free, Adult, Uncensored: The Living History of the Federal Theatre Project (Washington D.C: New Republic Books, 1978); Glenda Eloise Gill, White Grease Paint on Black Performers: A Study of the Federal Theatre, 1935-39 (New York: Peter Lang, 1988); VèVè A. Clark, \"Haiti's Tragic Overture: (Misrepresentations of the Haitian Revolution in World Drama (1796-1975),\" in Representing the French Revolution: Literature, Historiography and Art, ed. 46 Renda cites two items in the BRTC: the \"Complete Working Script of 'Haiti'\"-which I was able to locate in the card catalog (Call #s 9-NCOF; NCOF+), and \"Production Files,\" however nothing could be found under the latter name in the larger Theatre collection. (Besides the CWS, I also found many clippings, etc. in 2 folders called \"Programme\" and several photographs in files \"A\", \"B\" and \"C\".)
Journal Article
Mapping Landscapes for Performance as Research: Scholarly Acts and Creative Cartographies
(ProQuest: ... denotes non-US-ASCII text omitted.) As its title emphasizes, this book is constructed in terms of the fashionable metaphor of 'mapping', its three parts offering the 'Lay of the Landscape', 'Cartographies' and 'Mapping PAR in the United States'. Shannon Jackson addresses the question 'When is Art Research?' to open Part III, but recounts a seminar series which talks around the question, marking challenges and opportunities rather than addressing it directly in the current institutional context. In a second contribution to Part III, she affirms PAR as art which 'searches and constitutes things through the process of articulating the research' (p. 230), and this approach certainly resonates with a key finding from the UK debate: the challenge is to bring out the research imperative (in the practice itself and/or in related documentation).
Journal Article
Imagi-Nations in black and white: Cuba, Haiti, and the performance of difference in United States national projects, 1898--1940
This project argues that Cuba and Haiti, both as site and as image, were crucial to the imaginative restructuring of race and national identity in the U.S. at the turn of the twentieth century. By exploring the ways that national imaginaries---or imagi-Nations---were racialized between 1898 and 1940 through images of Cuba and Haiti, I am able to detail how such images compensated for white national hysteria while justifying U.S. economic imperialism, yet mediated a national black community in the U.S. Between 1898 and 1940, the U.S. occupied Cuba and Haiti for extended periods, creating an intercultural contact zone that facilitated a large body of cultural material by both black and white Americans, including plays, films, literature, and various forms of cultural performance. This body of material allows an examination of white U.S. imperialism and its popular culture in terms of its images of, and relations with, Cuba and Haiti. It also permits a study of the ways that black U.S. Americans re-imagined themselves as \"Americans\" through imagining, and traveling, to the two island republics. For example, the Harlem Renaissance, occurring during the occupation of Haiti, produced at least nine different plays on the theme of the Haitian Revolution. Through a focus on performance---from theatrical productions and cultural performance to thinking the nation as performance---I develop a theory of multiple racialized national imaginaries in order to increase our understanding of U.S. national identity and culture in the early twentieth century. Finally, given the odd repetition in the current occupation of Haiti by U.N. forces today, and the U.S. government's increased efforts to bring liberal democracy to Cuba, there is some urgency to this project. In order to analyze both replication and change in national culture over time---from the persistence of the white imperial toolkit to the use of ironic citation as a kind of resistance within U.S. popular culture---I outline a theory of cultural palimpsest that addresses the circulation, citation, reinscription, and erasure of cultural forms and modes of production over time.
Dissertation