The Star path
The Actor as Architect
This chapter examines how actors co-create the narrative, actively shaping the text through their performance. It contrasts traditional theatre’s hierarchical structure with ergodic theatre, where meaning emerges through interaction, embodiment, and improvisation.
PATHS.
Which way will you go?
The Sea /
The Mother
Graph Theory & Storytelling
A poetry collection questioning our place in life. Questioning who we've become when so much is behind us, and so much is still ahead.
Float
The Stars /
The Grandmother
Performing the Fragmented Self
A short film on the freedom of youth and the consequences of that raw energy. Where do your feet lead you, and are you in control of them?
Dance
Footnotes & References
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Core Theoretical Foundations:
- Brecht, B. (1949). Theatre for Learning (on actors as interpreters rather than conveyors).
- Lehmann, H. (2006). Postdramatic Theatre (denying traditional construction as necessary).
- Meyerhold, V. (1922). Biomechanics (on physicality constructing narrative).
- Brecht, B. (1949). Theatre for Learning (on actors as interpreters rather than conveyors).
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Critical Debates and Counterarguments:
- Stanislavski, C. (1936). An Actor Prepares (on structured construction of meaning).
- Blau, H. (1990). The Audience (on audience over actor as meaning-maker).
- Auslander, P. (1999). Liveness (digital performance challenges actor-driven construction).
- Stanislavski, C. (1936). An Actor Prepares (on structured construction of meaning).
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Empirical Studies & Case Studies:
- The Wooster Group’s fragmented narratives.
- Forced Entertainment’s live improvisations.
- Kentucky Route Zero (video game using theatrical construction techniques).
- The Wooster Group’s fragmented narratives.
