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PERFORMING BIOGRAPHY: CREATING, EMBODYING and SHIFTING HISTORY PART I a Thesis Submitted by Bernadette Anne Meenach MA (QUT), Gr

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PERFORMING BIOGRAPHY: CREATING, EMBODYING and SHIFTING HISTORY PART I a Thesis Submitted by Bernadette Anne Meenach MA (QUT), Gr PERFORMING BIOGRAPHY: CREATING, EMBODYING AND SHIFTING HISTORY PART I A Thesis submitted by Bernadette Anne Meenach MA (QUT), Grad Dip (NIDA), Dip Teach (BCAE) For the award of Doctor of Philosophy 2018 ABSTRACT Performing Biography: creating, embodying and shifting history is a practice-led research project that builds upon and challenges Canton’s (2011) research into biographical theatre. Canton suggests that biographical theatre cannot shift audience perception of an historical figure if it counters their previous “life world knowledge”, regardless of the modernist or postmodernist theatrical devices employed. Through three cycles of observation, reflection, planning and, action two original biographical theatre works are created, embodied and performed. They are designed to test whether biographical theatre can shift audience perception of an historical figure if three emergent biographical theatre-making principles are considered. The modernist Ms. Garland at Twilight and the postmodernist Judy Strikes Back prove that biographical theatre could shift audience perception. In extant biographical theatre works featuring the actress Judy Garland, her life is constructed through the tragedy plotting pattern. According to White (1978), Davis (1992), Heddon (2008) and Dortins (2009) such a pattern, or dominant narrative, has the power to limit, distort or police control over the life story of an historical figure. By successfully disrupting the tragedy narrative associated with Garland, this study proposes that ‘khorobiognosis’ can occur. That is, audience perception can be shifted if the biographer and biographical performers commit to their super-objective, include other people’s thinking, and embrace liveness. This study provides a narrative of my biographical theatre-making practice to ensure that new narratives of historical figures can be revealed and forgotten narratives can be uncovered. i KEYWORDS biography, biographical theatre, performance, theatre-making, practice-led research, grounded theory, embodiment, disruption, shifting, perception, tragedy, accomplishment, narrative, self, modernism, postmodernism, liveness, Stanislavski, meta-biographical devices, fluid, ‘khorobiognosis’, Judy Garland. ii CERTIFICATION OF THESIS This Thesis is entirely the work of Bernadette Anne Meenach except where otherwise acknowledged. The work is original and has not previously been submitted for any other award, except where acknowledged. Signed: …………………………………………….. 29/10/2018 Date: ……………………………………………….. Principal Supervisor: Dr. Rebecca Scollen Associate Supervisor: Professor Laurie Johnson iii ACKNOWLEDGEMENTS This thesis would not have been possible without the guidance, creativity and inspiration of many individuals. Thank you to my Supervisor Dr. Rebecca Scollen and my Associate Supervisor Professor Laurie Johnson for their support and patience. Thank you to Professor Patrick Danaher, Dr. Alison Richards, Associate Professor Janet McDonald, Dr. Sarah Peters, Dr. Darryl Chalk, Dr. Emma Dortins, Professor Rhod McNeill, Dr. Catherine Dewhirst, Dr. Georgia Seffrin and Dr. Dallas Baker for their words of wisdom at turning points in the project. Vale Dr. Don Batchelor. This project was also made possible through assistance from the Toowoomba Regional Council Community Access Fund, the Judith Wright Centre of Contemporary Arts / Arts Queensland Fresh Ground Program and an Australian Government Research Training Program Scholarship. The productions Ms. Garland at Twilight and Judy Strikes Back have been the result of collaborations with incredibly generous practitioners and arts administrators in South East Queensland. Thank you to the staff of USQ Artsworx, the Empire Theatres Pty Ltd, and the Judith Wright Centre of Contemporary Arts. A special shout out goes to Ruth Atkinson, Jeannette Wedmaier and Michelle Fox for their belief in my ideas. A big thank you goes to: Creative Team: Lewis Jones (Director) Morgan Chalmers (Musical Director / Composer / Accompanist) Alison Vallette (Choreographer) Patrick Dwyer (Performer) Trish Miller (Production Manager) Debra Nairn, Tonia Pawlyszyn, Carmel Pryde (Costumes) Kelli MacAlpine (Makeup) iv Ms. Garland at Twilight: Mark Millet (USQ Artsworx Production Manager) Bob Horstman (Senior Technician) Teri Steer (Stage Manager) Brandon Duncan (Lighting Operator) Alex Cossu (Sound Operator) Ethan Clifton (Props ASM) Cindy Laine (Images) Paul Holt (AV Operator / Editor) Bernie (Audio Operator / Editor) Cameron Davie (Audio Editor) Judy Strikes Back: Ben Hunt (Lighting Designer / Operator) Shane Howarth-Crewdson (Sound Operator) Kelli MacAlpine, Sarah Peters, Teri Steer (Dressers) Dylan Evans (Images) David Halliday (AV Operator / Editor) Cameron Davie (AV Editor) I would like to express my gratitude to Christine Gilmore for her humour, kindness and technical expertise. Mum, Dad, Leonard and Judy, thank you for following the yellow brick road with me. v TABLE OF CONTENTS ABSTRACT ................................................................................................................. i KEYWORDS .............................................................................................................. ii CERTIFICATION OF THESIS .............................................................................. iii ACKNOWLEDGEMENTS ...................................................................................... iv TABLE OF CONTENTS .......................................................................................... vi CHAPTER ONE: Introduction ............................................................................... 1 The Background of the Study ................................................................................. 1 The Significance of the Study ................................................................................. 4 Biographical Theatre ............................................................................................. 5 Shifting Perception ................................................................................................. 5 Creating, Embodying and Performing ................................................................... 6 Tragedy .................................................................................................................. 6 An Overview of the Study ....................................................................................... 8 Conclusion ............................................................................................................. 9 CHAPTER TWO: Plotting biographical tragedy or biographical accomplishment? ...................................................................................................... 11 Introduction .......................................................................................................... 11 Biography ............................................................................................................. 12 Biography in the Theatre ..................................................................................... 17 Dominant Narratives ............................................................................................ 34 The Tragedy Known as Judy Garland ................................................................. 41 Conclusion ........................................................................................................... 57 CHAPTER THREE: Allowing the practice to lead the enquiry ........................ 59 Introduction .......................................................................................................... 59 Practice-Led Research ......................................................................................... 59 Action Research ................................................................................................... 60 Grounded Theory ................................................................................................. 66 The Research Tools .............................................................................................. 68 Conclusion ........................................................................................................... 77 CHAPTER FOUR: Ms. Garland at Twilight: biographical performance in the authorial voice .......................................................................................................... 78 Introduction .......................................................................................................... 78 Part One: Creating and embodying modernist biographical theatre .................. 79 Part Two: Performing modernist biographical theatre and shifting perception . 97 Conclusion ......................................................................................................... 103 CHAPTER FIVE: Judy Strikes Back: biographical performance in an authentic voice ........................................................................................................ 104 Introduction ........................................................................................................ 104 Part One: Creating and embodying postmodernist biographical theatre ......... 105 Part Two: Performing postmodernist biographical theatre and shifting perception ............................................................................................................................ 145 Conclusion ........................................................................................................
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