Performing and Screen Arts Conference Papers

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    Pedro Ilgenfritz entrevista Michael Craven [= Pedro Ilgenfritz interviews Michael Craven]
    (2023-08-12) Ilgenfritz, Pedro; Craven, M.; Unitec, Te Pūkenga; Dust Palace (Circus company); Te Pūkenga
    [Transcript of interview in Portuguese]
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    Jacques Lecoq’s theatre pedagogy in institutional theatre schools in Brazil and New Zealand: A voyage of connection and disconnection
    (2023-05-31) Ilgenfritz, Pedro; Sachs, C.; Unitec, Te Pūkenga; Te Pūkenga
    This paper presentation is a reflection on the application of Jacques Lecoq's theatre methodology in the context of institutional theatre schools in Brazil and New Zealand by Claudia Sachs (the Federal University of Rio Grande do Sul in Porto Alegre, Brazil) and Pedro llgenfritz (UNITEC Te Pūkenga in Auckland, New Zealand). In this paper, we raise questions about the adaptability of Lecoq's pedagogy in the context of theatre training at the university level. What are the challenges, issues of consideration, and role of Lecoq's teaching in drama schools and university theatre courses? How does Lecoq's pedagogy co-exist with other theatre training traditions, such as the emphasis on text-based training, the need to serve the theatre industry, and the compartmentalized model of university curricula? We look at three different perspectives in which Lecoq-based teaching faces the issue of adaptability in theatre training in tertiary institutions: the first one, Lecoq's teaching mixes with the curricula. The second, it isolates from the rest of the teaching, and the third, it imposes its values and practice.
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    Máscaras teatrais e a cultura Māori: Experimentos sincréticos no Pacífico Sul [=Theatrical masks and Māori culture: Syncretic experiments in the South Pacific]
    (2022-08-31) Ilgenfritz, Pedro; cultural appropriation
    Esta apresentação é uma breve reflexão sobre alguns experimentos sincréticos entre máscaras teatrais e a cultura Indígena da Aotearoa Nova Zelândia A Máscara e mascaramento aparece na cultura Indígena da Aotearoa Nova Zelândia de duas formas: [1] A primeira está na maneira como a genealogia é expressada através de tatuagem, e em alguns casos devido a posição social, a genealogia dos indivíduos é impressa no rosto [2] Esta tatuagem facial e chamada de ‘Ta Moko’. Children of the Mist (1960) Leigh Brewer, Wellington Ballet Company Earth and Sky (1968) Jenny McLeod Green Are the Islands (1970) New Zealand Noh Theatre Company (1990s) John Davies [with Unitec matua Hare Williams as consultant] SolOTHELLO (2016) Regan Taylor, Te Rehia Theatre Company Leilani (2016) Pedro Ilgenfritz, Mahuika Theatre Company [This presentation is a brief reflection on some syncretic experiments between theatrical masks and culture Indigenous to Aotearoa New Zealand]
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    Landscape, isolation, and belonging in performance: The art of directing in Aotearoa/New Zealand
    (2021-06) Byrnes, Vanessa; Unitec Institute of Technology
    Key features of the domain; landscape and identity SETTINGS • Isolation • Social mobility and access; ‘one degree of separation’ • Co-operative effort • Belonging • Detail/ big picture dichotomy • Genuine exploration for newness • Risk • Proximity to audience ELEMENTS • Interpretive Confidence • Melding of techniques; ‘Magpie-ism’ • the nomadic tendency of artists • reterritorialization of the self • the unique ‘line of flight’ of the artist - Gilles Deleuze and Felix Guattari: A Thousand Plateaus • Non-theatrical material and its influence
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    ‘Here is my space; the nobleness of life is to do thus’: democratizing performance and emboding presence at the Pop-up Globe Theatre in Auckland
    (2020-06) Byrnes, Vanessa; Unitec Institute of Technology
    This paper considers elemental, performative, and spatial opportunities available to actors, directors, and audience in the construction of performance on the open-air stage. This stems from reflection and evidence gained while directing and producing a heavilyedited, contemporary reworking of Shakespeare’s Antony & Cleopatra at the Pop-up Globe Theatre’s inaugural season in Auckland (March-April 2016). This temporary spatial response to Shakespeare gave birth to something quite new in the South Pacific that has since been iterated many times, and proven to be a successful exercise in democratizing performance for many