{"id":1917,"date":"2013-11-03T16:03:37","date_gmt":"2013-11-03T15:03:37","guid":{"rendered":"http:\/\/sourcingwithin.org\/?page_id=1917"},"modified":"2026-06-24T18:56:31","modified_gmt":"2026-06-25T02:56:31","slug":"theses","status":"publish","type":"page","link":"https:\/\/sourcingwithin.org\/zh\/links\/theses\/","title":{"rendered":"\u5386\u5c4a\u53c2\u4e0e\u8005\u7684\u8bba\u6587"},"content":{"rendered":"<p class=\"wp-block-paragraph\"><em>Sourcing Within worksession in 2009, under Meeting With Remarkable Women Project, Grotowski Institute, Wroclaw, Poland. Photo credit:\u00a0 Maciej Zakrzewski<br><br><\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/othes.univie.ac.at\/9112\/\" target=\"_blank\" rel=\"noopener noreferrer\"><span style=\"text-decoration:underline;\"><span lang=\"EN-US\" style=\"font-size:12pt;font-family:'Comic Sans MS';\"><strong>Ang Gey Pin &#8211; Theater nach Grotowski und Richards?<\/strong><\/span><\/span><\/a><\/p>\n\n\n\n<pre class=\"wp-block-verse\"><strong><span class=\"personname\"><span lang=\"EN-US\" style=\"font-family:'Comic Sans MS';\">Adam, Cornelia<\/span><\/span><span lang=\"EN-US\" style=\"font-family:'Comic Sans MS';\"> (2010)<\/span>  <\/strong><br><span class=\"hps\"><span lang=\"EN\" style=\"font-family:'Comic Sans MS';\">Thesis<\/span><\/span><span lang=\"EN\" style=\"font-family:'Comic Sans MS';\">, <span class=\"hps\">University of<\/span> <span class=\"hps\">Vienna<\/span>. <span class=\"hps\">Faculty<\/span> <span class=\"hps\">of Philological and<\/span> <span class=\"hps\">Cultural Studies<\/span><\/span><\/pre>\n\n\n\n<pre class=\"wp-block-verse\"><span lang=\"EN-US\" style=\"font-family:'Comic Sans MS';\"><strong>Abstract in English<\/strong><\/span><\/pre>\n\n\n\n<ul class=\"wp-block-list\">\n<li><span style=\"font-size:12pt;font-family:'Comic Sans MS';\">The present scientific research concentrates on the creative work and development of the theatre artist Ang Gey Pin. Her work is often cited in the context of The Workcenter of Jerzy Grotowski and Thomas Richards, where she stayed altogether nine years. <\/span><\/li>\n\n\n\n<li><span style=\"font-size:12pt;font-family:'Comic Sans MS';\">As Ang Gey Pin works as an autonomous artist since 2006, the present research mainly focuses on her work after that period. One of the two main topics of the analysis deals with her current work. This means the analysis is focusing on the artistic activities that she created and worked on after her grotowskian experiences. In this correlation the second main topic analyses her artistic creations from various cultural and biographical perspectives in order to reveal the evident link to and the influences on her work by the Workcenter. In addition this analysis demonstrates to which degree her artistic work today is influenced by this tradition and if it is still justified and adequate to mention her in the \u201cgrotowskian\u201d context only. <\/span><\/li>\n\n\n\n<li><span style=\"font-size:12pt;font-family:'Comic Sans MS';\">For an accurate elaboration of the key questions the work is divided into three main chapters. <\/span><\/li>\n\n\n\n<li><span style=\"font-size:12pt;font-family:'Comic Sans MS';\">The first chapter introduces and explains the work of Grotowski and all the different phases of his theatrical research as well as his work seen in a historical context. This helps to understand Ang Gey Pin\u00b4s work and her theatrical background. It illustrates in which creative and temporal phases of Grotowski and the Workcenter the artist Ang Gey Pin was actually present. <\/span><\/li>\n\n\n\n<li><span style=\"font-size:12pt;font-family:'Comic Sans MS';\">Furthermore Ang Gey Pins acting work is studied in reference to \u201cgrotowskian\u201d elements and philosophical and cultural Far Eastern principles, as these two aspects serve as an important base for her creative activities. <\/span><\/li>\n\n\n\n<li><span style=\"font-size:12pt;font-family:'Comic Sans MS';\">The last chapter concentrates on Ang Gey Pin\u2019s background in the light of theatrical heritage. Her working period and her personal evolution during the time at the Workcenter are discussed and her individual creative career from the beginning until today is explicated. Another intrinsic element contemplated in this chapter is her artistic influences. Especially Taoist ideas \u2013 part of far eastern philosophical concepts \u2013 are an evident source in her work. These ideas play an important role in the work of this artist from Singapore, as they are a manifest element within her personal creative search. This inner \u201cneed\u201d to go back to her original traditions is an evident base in her creative research and performative work. This becomes apparent for example in her most recent performance Feast of You Shen, which is described in analytical detail in the last chapter. <\/span><\/li>\n\n\n\n<li><span style=\"font-size:12pt;font-family:'Comic Sans MS';\">Furthermore the present research intends to provide a global overview of the socio-political context of her work in different countries, cultures and environments in the context of so called \u201cintercultural theatre\u201d. The theatrical work of Ang Gey Pin is not only of interest because of her profound and significant creative input in the theatrical world but also because she can be seen as a representative figure for a generation \u201cafter Grotowski\u201d. This analysis ends with future prospects of the latest developments, changes and inspirations in today\u2019s theatrical backgrounds after Grotowski. These aspects are essential for the possibility of a creative research, for a critical theatrical discourse and for further academic reviews based on the innovations Grotowski already realized.<\/span><\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><span style=\"text-decoration:underline;\"><span style=\"font-size:12pt;font-family:'Comic Sans MS';\"><a href=\"https:\/\/digitalcollections.wesleyan.edu\/_flysystem\/fedora\/2023-03\/22732-Original%20File.pdf\" data-type=\"link\" data-id=\"https:\/\/digitalcollections.wesleyan.edu\/_flysystem\/fedora\/2023-03\/22732-Original%20File.pdf\" target=\"_blank\" rel=\"noopener\"><strong>Singing The Body, Singing the Other, and Ensemble Organum&#8217;s <em><span style=\"font-family:'Comic Sans MS';\">Messe de Notre Dome<\/span><\/em><\/strong><\/a><\/span><\/span><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><span lang=\"EN-US\" style=\"font-family:'Comic Sans MS';\">Asa Trimbre Horvitz (2010)<\/span><\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><span lang=\"EN-US\" style=\"font-family:'Comic Sans MS';\">Thesis in partial fulfillment of a Degree of Bachelor of Arts with Departmental Honors in Music, Wesleyan University, U.S.A.<\/span><\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00a0<\/p>","protected":false},"excerpt":{"rendered":"<p>Sourcing Within worksession in 2009, under Meeting With Remarkable Women Project, Grotowski Institute, Wroclaw, Poland. Photo credit:\u00a0 Maciej Zakrzewski \u00a0 Ang Gey Pin &#8211; Theater nach Grotowski und Richards? Adam, Cornelia (2010) Thesis, University of Vienna. Faculty of Philological and Cultural Studies Abstract in English \u00a0 Singing The Body, Singing the Other, and Ensemble Organum&#8217;s [&hellip;]<\/p>\n","protected":false},"author":25782987,"featured_media":518,"parent":2235,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","_wpcom_ai_launchpad_about_page":false,"_wpcom_ai_launchpad_gallery_page":false,"_wpcom_ai_launchpad_contact_page":false,"_wpcom_ai_launchpad_events_page":false,"_wpcom_ai_launchpad_video_page":false,"_wpcom_ai_launchpad_portfolio_piece":false,"footnotes":"","big_sky_generated":false},"class_list":["post-1917","page","type-page","status-publish","has-post-thumbnail","hentry"],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P1KQDo-uV","_links":{"self":[{"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/pages\/1917","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/users\/25782987"}],"replies":[{"embeddable":true,"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/comments?post=1917"}],"version-history":[{"count":28,"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/pages\/1917\/revisions"}],"predecessor-version":[{"id":8384,"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/pages\/1917\/revisions\/8384"}],"up":[{"embeddable":true,"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/pages\/2235"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/media\/518"}],"wp:attachment":[{"href":"https:\/\/sourcingwithin.org\/zh\/wp-json\/wp\/v2\/media?parent=1917"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}