Please use this identifier to cite or link to this item: http://buratest.brunel.ac.uk/handle/2438/9974
Title: Traumagical realism and the re-creation process: subversive commun(e)ication of the traumatic in theatre and performance
Authors: Macias-Gutierrez, Elizabeth
Advisors: Broadhurst, S
Birringer, J
Keywords: Estrangement;Poiesis;Total work of art;Socio-aesthrtic theatre;Sensorial and intimate communication
Issue Date: 2014
Abstract: This thesis approaches 'trauma' in theatre and performance from the perspective of communication studies. Since 'trauma' is an unspeakable and unrepresentable inner state, I thus conceptualize the term 'the traumatic/spectrum' to refer to layers of reality, meaning and experience that can be expressed, represented and/or spoken about in relation to a traumatizing encounter. Through practice-led research, I propose a multi-sensorial devising tool for theatre & performance makers primarily, and artists of all disciplines, to facilitate a performance process for individuals who have walked through a traumatic or post-traumatic journey ('journeyers'), and have a desire, need or purpose to communicate to an audience. Based on a syncretism in journalism, ethnography, psychology, and art therapy techniques, this methodology draws out the form and the content through which individuals desire to communicate about their experiences. Conceptualized here as the re-creation process, this methodology tackles different types of communication predicaments or 'distance' between audiences and 'journeyers' when addressing the traumatic, including: disbelief, voyeurism or sensationalism, and the tendency to habituate, fatigue, de-sensitize, avoid, avert and/or alienate from the traumatic and those who journey with this reality. In response, I endorse the interrelation of two aesthetic manifestations that can 'bridge' different types of psychological, emotional, sociocultural and physical 'distance': one is a realm of theatre & performance which renders semantic and somatic forms of expression indivisible, and the other is Magical Realism. These aesthetics are applied as channels and strategies to engage participants in a meaningful, empowering, and pleasurable 'shared' experience beyond the therapeutic. Finally, I propose the term traumagical realism to further identify and explore the parallels between Magical Realism and the traumatic. Traumagical Realism is a liminal territory that can offer a deeper understanding of the traumatic, and catalyze a social, aesthetic and affective force of engagement or 'commun(e)ication' between 'journeyers' and all participants involved in the devising process and culmination of a performance.
Description: This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University
URI: http://bura.brunel.ac.uk/handle/2438/9974
Appears in Collections:Theatre
Dept of Arts and Humanities Theses

Files in This Item:
File Description SizeFormat 
FulltextThesis.pdf3.03 MBAdobe PDFView/Open
1- Nahom’s Sketching Phase- video excerpts.MP423.35 MBUnknownView/Open
2 Conversing moment1.mp3372 kBMPEG AudioView/Open
2 Conversing moment2.mp3146 kBMPEG AudioView/Open
2 Conversing moment3.mp3538 kBMPEG AudioView/Open
2 Conversing moment4.mp3186 kBMPEG AudioView/Open
2 Conversing moment5.mp323.98 MBMPEG AudioView/Open
2 Song sketch.mp3842 kBMPEG AudioView/Open
3- Nahom's Composition Phase- video excerpts.MP420.98 MBUnknownView/Open
4 Clip 1- Intro Scene- Eye of Sand.m4v7.44 MBUnknownView/Open
4 Clip 2- Trafficked.m4v17.11 MBUnknownView/Open
4 Clip 3- Act 3 Scene 1- Cigarette Clock.m4v63.86 MBUnknownView/Open
4 Clip 4- Act 3 Scene 1- Sunrise.m4v13.86 MBUnknownView/Open
4 Clip 5- Final Scene- Eye Awakens.m4v14.67 MBUnknownView/Open
5 01 Track 1- Intro Scene & Act 1 Scene 1.m4a10.07 MBUnknownView/Open
5 02 Track 2- Act 1 Scene 2- The Artist.m4a1.25 MBUnknownView/Open
5 03 Track 3- Act 1 Scene 3- Soldier.m4a5.47 MBUnknownView/Open
5 04 Track 4- Act 1 Scene 4- Leaving.m4a1.76 MBUnknownView/Open
5 05 Track 5- Act 1 Scene 5- Try Until You Die.m4a5.15 MBUnknownView/Open
5 06 Track 6- Act 1 Scene 6- Exile Sculptures.m4a1.49 MBUnknownView/Open
5 07 Track 7- Act 2 Scene 2- SOS.m4a6.49 MBUnknownView/Open
5 08 Track 8- Act 2 Scene 4- Hewan in Prison (4 parts).m4a10.16 MBUnknownView/Open
5 09 Track 9- Act 3 Scene 3 & 4 Whispering Walls & Vessel Woman.m4a9.7 MBUnknownView/Open
6- (CSA) Compositions through journ(art)ist body- video documentation.MP414.53 MBUnknownView/Open
7 Cursed 'little' girl.VOB512.5 MBUnknownView/Open
7 Dinner Revelation.m4v2.28 MBUnknownView/Open
8 01 Track 1- Act 1 Scenes 1,2- A Hole in the Face.m4a11.81 MBUnknownView/Open
8 02 Track 2- Act 2 Scene 2- Lullaby.m4a3.49 MBUnknownView/Open
8 03 Track 3- Act 2 Scenes 3,4- Ritual & Circus Time.m4a8.19 MBUnknownView/Open
8 04 Track 4- Act 3 Scenes 1,2,3- Glimpses of Light.m4a33.19 MBUnknownView/Open
8 05 Track 5- Act 3 Scene 2- CounterShock.m4a6.04 MBUnknownView/Open
8 06 Track 6- Act 4 Scene 1- No Validation.m4a1.19 MBUnknownView/Open
8 07 Track 7- Act 4 Scene 1- No Validation.m4a873.62 kBUnknownView/Open
8 08 Track 8- Final Scene- Nothingness.m4a3.47 MBUnknownView/Open
9- (CSB) Compositions through journ(art)ist body- video documentation.MP411.31 MBUnknownView/Open
10- Nahom's Somantic Artwork- video documentation (work in progress).MP4115.02 MBUnknownView/Open
11- Dina's Somantic Artwork- video documentation (work in progress).m4v824.13 MBUnknownView/Open


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