The Performance Projection Paradigm: An Exploration of a Dialogue Between the Moving Body and Projected Image, Through Improvisation

Stott, Natasha

Abstract

The key contribution of my research lies in the development of a practical methodology for transdisciplinary and intermedial dance practice, which I have termed the Performance Projection Paradigm (PPP). This methodology is designed to enable a real-time interactive feed between the moving body and projected images, which is rooted in improvisation and is therefore bidirectional, with influence from both parties. Rooted in technologies of Extended Realities, this “cyborgian” (Haraway, 1985:65) perspective, is in accordance with Donna Haraway's (1985) theory that the technological and the human are inextricably imbricated. I have developed a methodology that focuses on the live interplay between dance and electronic image projection as a co-creative practice through mutual influence.

In developing a bidirectional model of intermediality, the PPP investigates a lacuna in intermedial dance. I argue that existing practices in the field reduce the initiating agency to the performer or technology alone, proposing a one-way interaction. In contrast, my methodology facilitates continuous co-creation and mutual evolution of the body and projection in performance, which I also analyse in relation to Deleuze & Guattari’s notions of becoming and “deterritorialization” ((Deleuze and Guattari, 1980:9),) and Haraway’s theory of sympoiesis. Drawing on these concepts, I argue that my methodology allows for a dynamic, ‘dialogic’ exchange between the Performer-participant and the Visualist in a continual feedback loop.

My thesis, therefore, follows a “PaR” (Nelson, 2013:4) approach, originally informed by Robin Nelsons’ (2013) triangulation model, which connects practical insights, theoretical framing and critical reflection to create embodied knowledge. Ben Spatz (2015, 2018) expands this to included embodied technique which itself constitutes research. Spatz puts forward that technique is a site of inquiry, where knowledge is produced through practice. This then means that the performer’s body is a reflective tool and a living archive. The practical component of my thesis was structured through three phases, or Waves, of exploration and experimentation. Through the Waves participants contributed through feedback but also through practice, therefore actively co-creating embodied knowledge through interactivity. This highlights Spatz practice-led theory of technique as a site of embodied inquiry, as my research also acknowledges that knowledge and meaning reside in the practice itself.

The PPP is composed of three connective techniques: the Suggestive Spectrum, concerning colour associations, Shifting Shape System, which uses abstract shapes; and the Choice Method, which leads decision-making during improvisation. These techniques were developed through each stage of the Waves and prepared participants for, what I term the Performance-play, the interactive, improvisational phase where feedback loops of (re)action and (inter)action between body and projection occur. Ultimately, the PPP establishes a novel bidirectional model within intermedial practice, providing an original toolkit consisting of ideal environmental needs, technical set-up, immersive specifics, performer requirements and a bespoke ECP warm-up, that other practitioners can adopt to explore and create intermedial performance through kinesthetic play, which advances the field of intermedial dance practice.

I have included a glossary of terms to define terminology I developed through the practice which explain their purpose and use.

• Thesis Type: Thesis by Publication
• Online Publication Date: Jun 19, 2025
• Deposit Date: Jun 10, 2025
• Publicly Available Date: Jul 20, 2025
• Award Date: Jun 19, 2025