MA Proposal

Blurred Crossings: Towards a Praxis of Queer Aesthetics in Theatre
A Proposal for Master of Arts in Theatre Studies
University of Otago
Neal Barber

Building on my directed project - "Towards and Understanding of How to Provokingly Portray Gay Relationships on the Stage Using the Texts of Shakespeare as a Vehicle" - "Blurred Crossings" will aim to interweave the personal and queer theory to find a way of producing theatre which is distinctly queer. This research will be practically focussed and, as such, will have as part of its process directing a queer play.
Background
During my Directed Project, I found that traditional ways of creating theatre were not affective for creating queer theatre. To begin with, the process needed to be more personal in nature; it needed to take more account of how the people involved related to the issues the production tried to stage. One of the reasons that this failed in my Directed Project is that we were too focussed on mounting a show; we needed to trust in the rehearsal process and ourselves. That is, we let the fact we had to put on a show take over from experimenting with the process we could use to create that show. We had a further problem in that the process we used was a "traditional" one - we got onto the stage with our scripts and hoped something would happen. Whilst this can be effective, and something generally does happen, we need to create a structure for this to happen. My MA project will aim to devise a structure in which "something might happen." This objective focusses on the process rather than the results since we have only the general destination production.

I will be contextualising my praxis with what how other performance groups have handled the rehearsal process and staging queer theatre in particular. To this end, I will be researching the history of gay/queer theatre generally. I will look at these specific groups in the context of contemporary theatre praxis in America, England, Australia, and New Zealand.
This practical exploration will be grounded in theoretical research. This research will not only provide a form of road map to help navigate me - and my actors when I come to the practical component - but it will also provide the theoretical framework on which I can structure the project; theoretical research will provide both the structure and context for performance.

Theorists
Post-Structuralism/Semiotics
Baudrillard, Derrida, Foucault,
Queer Theory
Butler, Halperin, Kosofsky Sedgwick,
Performance Theory
Carlson, Pavis, Schechner
Practice Theory
Bogart, Stafford-Clark(Joint Stock), Taymor
Queer Performance
Dolan, Román, Savran

Structure
This project will break neatly into three stages. The first stage "Background Reading" encompasses the background research for the project. This stage will propose a methodology - informed by theory - that will then be tested in the second stage: "Case Study." My case study will involve using actors to test out the methodology that I propose in the first stage and adapting it as necessary. This project necessarily requires some form of "workshop" but it is still unclear whether this workshop will lead to a performance although I would like this to be the case. The case study will generate data I will then analyse in the "Analysis." This process is summarised in a table below.

Case Study
This will, obviously, be the hardest part of the my project. However, I have been thinking of one of the ways that I will work around this possible problem area. Firstly, I am eager not to rush into this case study without proper planning. As I suggested before, this planning will come out of the "Background Reading" phase of my project; this phase will generate the framework which we will use to investigate creating theatre. I will, however, be requiring a group of actors who are eager to undertake a workshop type exercise. In this workshop, the group will explore the concepts we find relevant to performing queer aesthetics as well as creating a praxis for that performance.

Simply finding actors willing to participate may be a challenge. There may be a problem finding people who are willing to provide their time to such a project and I will need to find people who are actually committed to the aims of our workshop. To this end, I have brainstormed with my supervisor and Stuart Young - Head of Theatre Studies Programme - and we have some names of more mature actors around town we could shoulder-tap. These people have the advantage that they will bring a more professional attitude to the workshop and - if I use students - they will set the tone for students to follow.

Using participants may mean I will need ethical approval. Since I have not yet discovered the process of this workshop, I am not sure whether I will need to apply for approval or to what level that approval is required. I have, however, had a brief conversation about this with my supervisor and we will be looking at this further as the project progresses. This is also something of which I shall be aware if I am to use extracts of participants' journals in my thesis.

Stage	1) Background Reading	2) Case Study	3) Analysis
Key Outputs	Literature Review Methodology Personal Statement	Performance Reflective Journal	Thesis
Research Paradigm	Traditional "Research"	Reflective Practice -Reflection in Action	Reflective Practice -Reflection on Action
Motivating Question/s	Is there such a thing as a queer aesthetic? If so what does it look like? What methodological approach best suits this project? How have other practitioners attempted to create personally motivated theatre?	How do we create a production that accounts for this research? How do we create queer theatre that is personally motivated? How do we merge live and digitised performance
Research Areas	Queer Theory Performance Theory Practitioner Theory	The process of directing/rehearsing	Analysing data gathered in the Case Study Synthesising these data with the theoretical framework established in Stage 1

Preliminary Bibliography

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