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TPM-MFA student Lindsey Greer Sikes, which are carried out on the counterpuls, SF (2016). Image of: Deirdre Visser.
Development project two (Graduate seminar TPM 7325)
Visibility Faculty: Ryan Tacata
California Institute for Integral Studies (SF) / University of Chichester (UK)
MFA Theater and Performance Finding
This is the highlight of the exercise "dissertation". Students use their practice-as-research performance in the development project 1 and extensive critical reading as a starting point to realize a formal 10,000 dissertation that reflects the critical agenda of their practice. The students are supported by their process with read and write support classes as well as regular monitoring.
Development project, as a whole, identified in academic contexts, what the Studentist artist does, and identifies practical exploration in the studio and the strict academic font, as they do. While the production module offers a significant and immediate reference to the ideas of the student, the development project enables space for longer-term thinking and reflects that the business plan is expected as part of the professional portfolio module.
In Development Project 2, the students work over a longer period of time to develop their reading, in relation to critical ideas that appear from the development project 2, with the intention of an extended academic paper, which practice in an academic forms, Defined, defined and analyzed context. This is an important exercise that reflects the likelihood of students to recognize the value of an academic career in parallel to a creative artist career.
At the end of the intensive period of development project 1, each individual candidate is assigned a monitored tutor in San Francisco and / or Chichester. Regular correspondence and meeting enable the student to develop and read ideas and to offer a research proposal and a literary exam, which serves as a starting point for writing a dissertation. Parts of these insights and the differences in the production of compounds are an integral part of the learning process, and as such, seminars are regularly continued throughout the process.
Drive through a rainstorm at the I-80, while my partner is the leaning, with connected eyes, associated, connected and listening, that I suffered a playlist that I had last night before, is enough, takes my hand And cries softly. This performative gift to my partner showed an opening; a connection to its past and a deepening of the intimacy between us. This moment was a surprise. In third-wave feminist investigations to love and generosity rooted, my research represents performative gift photographs in the context of tumeric performance for a lover. Feminist scholar bell hooks argue that the conversion into relationships without a collaborative exchange between EQUALS (hook 2000) is not possible. This paper argues that he creates a feminist, one-to-one performance as a romantic gift, creates a space of collaborative exchange that facilitates moments of unforeseen intimacy in an entry-level theater. Drawing on artist's collective of Odyssey Works' methodology of "falling in love" with its audience members (Burickson and Leroux) asks this project: What happens when we use the audience-centered dipping theater, and a methodology of love for our intimate relationships? Can we fall in love with the people we are closest to exchanging performative gifts? And how do we take care of ourselves and our audience equally in the pruneful filling? Ultimately, I define the performative gift that gives as love in action.
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