Javascript must be enabled to continue!
Blackout: Theatre, Rugby and Samoan Masculine Identities
View through CrossRef
<p>This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in New Zealand and abroad to inform the development of an original script, Blackout. In 2014, as part of an Honours script-writing course, I wrote a first draft for my first full-length play. Inspired by the work of Samoan playwright Oscar Kightley, Blackout is a play that intersects the story of four young Pacific Island boys in their last year of College with the journey of a talented young Pacific Islander in his mid-20s trying to make his way in the Professional Rugby world. This thesis is part of a practice-based research project, comprising a 60% theory-based thesis (25,000 words) and 40% practical component, developing the script through three workshop productions. The two working questions the thesis and production process centre on are, firstly how the experiences of young second generation Samoan males can be explored through a contemporary theatre text, enabling the research to develop the story and characters of the play. The second,how the development of this script can enhance an understanding of what it is to be an emerging playwright, grounding the piece in personal experiences and contributing discoveries for young Pacific Playwrights. The practical elements of the project will be evaluated through the submission of two scripts,the first draft and the final working script, the reflection of this process in the thesis including facets of a workbook and in the presentation of the final performance itself, a copy of which will be made available to all markers. What drives the project is a desire to see how the experiences of young, male, Samoans might be represented theatrically and how this might be an effective way of connecting with community. This process has opened up two further questions, being: What is the role of the writer in the rehearsal room? What are the dramaturgical challenges of developing a script in-progress?</p>
Title: Blackout: Theatre, Rugby and Samoan Masculine Identities
Description:
<p>This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in New Zealand and abroad to inform the development of an original script, Blackout.
In 2014, as part of an Honours script-writing course, I wrote a first draft for my first full-length play.
Inspired by the work of Samoan playwright Oscar Kightley, Blackout is a play that intersects the story of four young Pacific Island boys in their last year of College with the journey of a talented young Pacific Islander in his mid-20s trying to make his way in the Professional Rugby world.
This thesis is part of a practice-based research project, comprising a 60% theory-based thesis (25,000 words) and 40% practical component, developing the script through three workshop productions.
The two working questions the thesis and production process centre on are, firstly how the experiences of young second generation Samoan males can be explored through a contemporary theatre text, enabling the research to develop the story and characters of the play.
The second,how the development of this script can enhance an understanding of what it is to be an emerging playwright, grounding the piece in personal experiences and contributing discoveries for young Pacific Playwrights.
The practical elements of the project will be evaluated through the submission of two scripts,the first draft and the final working script, the reflection of this process in the thesis including facets of a workbook and in the presentation of the final performance itself, a copy of which will be made available to all markers.
What drives the project is a desire to see how the experiences of young, male, Samoans might be represented theatrically and how this might be an effective way of connecting with community.
This process has opened up two further questions, being: What is the role of the writer in the rehearsal room? What are the dramaturgical challenges of developing a script in-progress?</p>.
Related Results
Blackout: Theatre, Rugby and Samoan Masculine Identities
Blackout: Theatre, Rugby and Samoan Masculine Identities
<p>This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in ...
Public Theatre, Community Theatre, and Collaboration: Two Case Studies
Public Theatre, Community Theatre, and Collaboration: Two Case Studies
In 1986 professional theatre practitioners working in two underprivileged neighbourhoods in greater Tel Aviv in Israel created in collaboration with the local residents two large-s...
Post-Political Theatre versus the Theatre of Political Struggle
Post-Political Theatre versus the Theatre of Political Struggle
In this article Bérénice Hamidi-Kim tests the hypothesis that two conflicting interpretations of the notion of ‘political theatre’ exist on the French stage today. She suggests tha...
Regiments of the Theatre: Reenactment in Theatre and Military Culture
Regiments of the Theatre: Reenactment in Theatre and Military Culture
La reconstitution militaire, discipline en émergence, révèle un champ d’exercice dans lequel le monde du théâtre et la culture militaire convergent. C’est à la fois la militarisati...
Theatre Practice, Theatre Studies, and ‘New Theatre Quarterly’
Theatre Practice, Theatre Studies, and ‘New Theatre Quarterly’
The original series of Theatre Quarterly ran for ten years and forty issues, from 1971 to 1981. The relaunched journal intends to continue the best traditions of the old, while ref...
Tell Me When It Hurts: the ‘Theatre of Cruelty’ Season, Thirty Years On
Tell Me When It Hurts: the ‘Theatre of Cruelty’ Season, Thirty Years On
The piece which follows was written in 1964 after seeing the Theatre of Cruelty season, directed by Peter Brook and Charles Marowitz at the then recently opened LAMDA Theatre in We...
Writing in the Dark: Fifty Years of British Theatre Criticism
Writing in the Dark: Fifty Years of British Theatre Criticism
In NTQ50 (May 1997) Irving Wardle offered his reflections on forty years of theatre reviewing, from the point of view of the seasoned practitioner. Here, Ian Herbert looks at the c...
Building an Unstable Pyramid: the Fragmentation of Alternative Theatre
Building an Unstable Pyramid: the Fragmentation of Alternative Theatre
In his earlier article, ‘Poaching in Thatcherland: a Case of Radical Community Theatre’, (NTQ34, May 1993), Baz Kershaw explored the work of the regional touring group EMMA during ...