Centering Intersectional Empathy in Theatre Creation: Directing as a Dramaturgy of Process

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dc.contributor.advisorBrubaker, Christine
dc.contributor.authorCant, Heather
dc.contributor.committeememberBarton, Bruce
dc.contributor.committeememberBrubaker, Christine
dc.contributor.committeememberVoyageur, Cora
dc.date2021-11
dc.date.accessioned2021-07-05T13:32:40Z
dc.date.available2021-07-05T13:32:40Z
dc.date.issued2021-06-28
dc.description.abstractCanadian theatre was founded on imperial and Eurocentric values that contribute to the presence of harm, exclusion, and inequity in its creation practices. This thesis reflects the journey of a settler theatre artist dispelling the nature of their cultural conditioning to embrace an anti-imperial worldview that centers intersectional empathy. I present the theory and research behind the development of the Process-As-Relation paradigm, which reflects the practices of intersectionality, anti-oppression, and heterarchical power distribution and ethically considers alternate ways of knowing through the ethnographic research of Indigenous peoples’ cultural perspectives and artistic practice in the theatrical medium. I then chart the application of the Process-As-Relation paradigm to the creative process for a production of Crave by Sarah Kane, presenting insight into practical usage and empirical data on efficacy. While Process-As-Relation was generated to shift my own artistic ontology – how I embody my worldview in artistic practice – it is a system of thought that can aid other theatre artists in addressing their own relationship to imperial thinking in their artistic praxis. This research demonstrates that by incorporating the Process-As-Relation paradigm in curating the artistic process as well as anchoring individual artistic practice, theatre makers can embrace relational thinking that prioritizes wholism and the nourishment of both the individual and the collective.en_US
dc.identifier.citationCant. H. (2021). Centering Intersectional Empathy in Theatre Creation: Directing as a Dramaturgy of Process (Master's thesis, University of Calgary, Calgary, Canada). Retrieved from https://prism.ucalgary.ca.en_US
dc.identifier.doihttp://dx.doi.org/10.11575/PRISM/38979
dc.identifier.urihttp://hdl.handle.net/1880/113589
dc.language.isoengen_US
dc.publisher.facultyArtsen_US
dc.publisher.institutionUniversity of Calgaryen
dc.rightsUniversity of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission.en_US
dc.subjectintersectionalityen_US
dc.subjectempathyen_US
dc.subjectdirectingen_US
dc.subjecttheatreen_US
dc.subjectcogntive imperialismen_US
dc.subjectcreative processen_US
dc.subjectCanadian theatreen_US
dc.subjectProcess-As-Relationen_US
dc.subjectIndigenous creation practicesen_US
dc.subjectSarah Kaneen_US
dc.subject.classificationTheateren_US
dc.titleCentering Intersectional Empathy in Theatre Creation: Directing as a Dramaturgy of Processen_US
dc.typemaster thesisen_US
thesis.degree.disciplineDramaen_US
thesis.degree.grantorUniversity of Calgaryen_US
thesis.degree.nameMaster of Fine Arts (MFA)en_US
ucalgary.item.requestcopytrueen_US
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