Establishing media as scene partner to the producing interdisciplinary artist
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This thesis asks how practice-as-research methodologies can inform producing interdisciplinary artists in the context of contemporary performance production. Recognizing a growing trend of self-producing artists, I demonstrate how creative artists can balance aesthetic goals with organizational concerns. Taking a case study approach, I draw on the growing trend of artists relying upon themselves to perform most, if not all functions of a small production company in addition to mastering their primary craft. I look at modern examples of performers who rely heavily on projection design and test several roles in the devising, designing, promotion, and execution of an original media-driven story. Sources indicate the avenues where artists may find themselves most successful are those in which they must serve in several capacities to the production, including the wearing of many hats. It becomes therefore important for the interdisciplinary artist to maintain flexibility in order to assume other roles in addition to those specific to their craft. Through the lens of a producing artistic director, I consider the following main questions: How may theatre technicians navigate the threshold of technological competence and artistic integrity? Where and when (if at all) does the artist (performer) become the technician and vice versa? What common languages (i.e. Viewpoints, Semiotics, musicianship) can be formed to aid in the cohesion of collaborators from different disciplines (i.e. music, design, movement)?