{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/12963"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/12963","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"Exploring the field of autotopography through live art practice : The frieze, The anatomy lecture theatre and The security hut","abstract":"This paper presents: The Frieze, The Anatomy Lecture Theatre and The Security Hut as outcomes of my practice-based research project into strategies of making autotopographical performance. Departing from Gonzalez’s theory of autotopography (1995), which focuses on objects belonging to individuals that are seen to signify their identity, and drawing on Heddon’s (2002; 2008), Bal’s (2002) and Arlander’s (2012) subsequent discussions around the term, I unpack the process of making live art performances in response to a site. During the process of making I examined the relationships between the material landscape, my processes of memory and my sense-of-self.","abstract_html":"This paper presents: The Frieze, The Anatomy Lecture Theatre and The Security Hut as outcomes of my practice-based research project into strategies of making autotopographical performance. Departing from Gonzalez’s theory of autotopography (1995), which focuses on objects belonging to individuals that are seen to signify their identity, and drawing on Heddon’s (2002; 2008), Bal’s (2002) and Arlander’s (2012) subsequent discussions around the term, I unpack the process of making live art performances in response to a site. During the process of making I examined the relationships between the material landscape, my processes of memory and my sense-of-self.","abstract_has_math":false,"creators":["Postlethwaite, Rosa"],"institution":"Department of Drama","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Pather, Jay"],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014","date_published":"2014","updated_at":"2026-07-22T22:23:33Z","subjects":[],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/12963","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Pather, Jay"]},{"key":"dc:creator","label":"Author","values":["Postlethwaite, Rosa"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2015-05-28T04:16:59Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2015-05-28T04:16:59Z"]},{"key":"dc:date.issued","label":"Date","values":["2014"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Department of Drama"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Cape Town"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["MA"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/12963"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Includes bibliographical references."]},{"key":"dc:description.abstract","label":"Abstract","values":["This paper presents: The Frieze, The Anatomy Lecture Theatre and The Security Hut as outcomes of my practice-based research project into strategies of making autotopographical performance. Departing from Gonzalez’s theory of autotopography (1995), which focuses on objects belonging to individuals that are seen to signify their identity, and drawing on Heddon’s (2002; 2008), Bal’s (2002) and Arlander’s (2012) subsequent discussions around the term, I unpack the process of making live art performances in response to a site. During the process of making I examined the relationships between the material landscape, my processes of memory and my sense-of-self."]},{"key":"dc:title","label":"Title","values":["Exploring the field of autotopography through live art practice : The frieze, The anatomy lecture theatre and The security hut"]}]}],"canonical_facts":{"dc:contributor.advisor":["Pather, Jay"],"dc:creator":["Postlethwaite, Rosa"],"dc:date.accessioned":["2015-05-28T04:16:59Z"],"dc:date.available":["2015-05-28T04:16:59Z"],"dc:date.issued":["2014"],"dc:description":["Includes bibliographical references."],"dc:description.abstract":["This paper presents: The Frieze, The Anatomy Lecture Theatre and The Security Hut as outcomes of my practice-based research project into strategies of making autotopographical performance. 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