Document Type

Honors Project

Abstract

The transformative power of live performances lies in their reenchantment of the world: how they allow us to see special qualities of everyday objects and phenomena. Autobiographical theatre, rather than trying to find new ways of seeing, aims to transform the audience to “[make] the stranger less strange”. How do these qualities co-exist in autobiographical performance, and how does such a style of performance navigate them? By centralizing a comparative analysis of stagecraft in Aya Ogawa’s The Nosebleed and my honors project, Anti-Cartesian Variety Show, I demonstrate how constructions of space and the self help collapse the boundary between reenchantment of the world and intimate communion of the self.

Creative Commons License

Creative Commons Attribution-NonCommercial 4.0 International License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License

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