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A Brush with Georgia O'keeffe

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A Brush with Georgia O'keeffe On Creating A BRUSH WITH GEORGIA O’KEEFFE by Natalie Mosco Doctor of Creative Arts Candidate University of Western Sydney 2008 © Natalie Mosco 2008 Dedication To all those with whom I’ve worked, played, studied, and loved For my Mother, Sister and Nephew Acknowledgements In gratitude to my University of Western Sydney advisors: Jean Callaghan, Jane Goodall, Graham Marchant, and Glen McGillivray Special thanks to Robert Aberdeen, Rae Allen, Bayo, Michael Blakemore, Robert Kalfin, Thomas Hauser, Jeffrey Hogrefe, Lisa Parkins, Virginia Roncetti, William Rowley, Andrea Shapiro and Joel Silver Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. ___________________________________________________ Statement on Presentation This submission comprises: Exegesis; two-part DVD of the first full-scale production of the play in December, 2004; program and postcard for the December, 2004 production; scripts of the 2004 production and most recent version of the play. The Time Line for this DCA was governed by production opportunities. The dates for each of the productions along with their personnel are specified in Appendix G. Because the subject of this study was American born and the majority of reference material was published in the U.S.A. American spelling has been adopted in order to maintain the integrity of direct quotations. The paper on which this document has been printed is standard American- size “Letter” paper because the equivalent "International Standard A4” paper is not readily available in the United States. Table of Contents Introduction and Brief Overview of the Subject 1 Introduction.1 Towards the Creation of a Biographical Drama 3 Introduction.2 Themes of a Life: “The Relentless Pursuit of Self” 6 Introduction.3 A Special “Kind of Nerve” 9 I. Biographical Resources and Other Dramatic Works about Georgia O’Keeffe 17 1.1 Information and Misinformation About O’Keeffe and Resources Available for Research 17 1.1a Laurie Lisle’s Portrait of An Artist 17 1.1b Omissions by Early O’Keeffe Biographers and Embargoes by O’Keeffe 19 1.1c Anita Pollitzer’s A Woman on Paper 21 1.1d Roxana Robinson’s Georgia O’Keeffe 23 1.1e Benita Eisler’s O’Keeffe and Stieglitz, An American Romance 23 1.1f Jeffrey Hogrefe’s O’Keeffe, The Life of an American Legend 24 1.1g O’Keeffe on Herself: Introduction to Alfred Stieglitz’s Georgia O’Keeffe: A Portrait 25 1.1h Perry Miller Adato’s Georgia O’Keeffe 25 1.1i O’Keeffe, the Artist and Legend in Popular Culture 25 1.2 An Exploration of the Nature of Biographical Drama 26 1.2a Modigliani by Denis McIntyre 27 1.2b Virginia by Edna O’Brien 32 1.2c Zelda by Kaye McDonough 38 1.2d Biographical One-Person plays by William Luce 41 1.3 Some Conclusions About the Nature of Biographical Drama 58 1.4 Methodology for the Creation of Biographical Drama 60 1.5 An Assessment of Other Dramatic Works About O’Keeffe 62 i 1.5a Constance Congdon’s A Conversation With Georgia O’Keeffe 62 1.5b Terre Ouwehand’s The Studio 68 1.5c Lucinda McDermott’s O’Keeffe! 71 1.5d Julian Barry’s A Marriage: Georgia O’Keeffe and Alfred Stieglitz 77 1.5e John Murrell’s The Faraway Nearby 82 1.5f Jill Shearer’s Georgia 90 1.5g Doris Lynch’s Shooting In Texas With Georgia O’Keeffe 98 1.6 Some Conclusions on the Nature of Biographical Drama 99 II. On Writing A Brush With Georgia O’Keeffe 110 2.1 Introduction to Part 2 110 2.2 That “Dream Thing I Do” 111 2.3 An Overview of Methodology 118 2.4 Evolution of Monologues 120 2.5 Answering Hogrefe’s Questions 136 2.6 Uncovering the Themes and Sub-themes 139 2.7 Shifting Shape of the Play 142 2.7a Initial Ten Monologues 143 2.7b More Monologues 145 2.7c More Shifting Shape of the Play 145 2.8 Lessons Learned from Public Exposure 149 2.9 Selecting A Title 154 2.10 A Consideration of A Brush With Georgia O’Keeffe Within the Genre of Biographical Drama 154 2.10a Conclusions Regarding the Nature of Biographical Drama 155 2.10b A Brush With Georgia O’Keeffe as Biographical Drama 156 2.10c A Brush With Georgia O’Keeffe Within the Realm of Other Dramatizations About Georgia O’Keeffe 157 2.11 Some Conclusions Concerning the Writing of Biographical Drama 158 2.12 In Praise of Dreaming 158 2.13 O’Keeffe and Freud 159 ii 2.14 O’Keeffe and twentieth-Century Art Movements 161 2.15 Some Conclusions 163 III. Performing A Brush With Georgia O’Keeffe 168 3.1 Creating the Character “Georgia O’Keeffe” 168 3.2 The Catskill Arts Society Reading 174 3.3 Sit-down Reading at the WorkShop 180 3.4 Full Production of A Brush With Georgia O’Keeffe 183 3.5 Conclusion 189 IV. Epilogue 195 IV. Works Cited 196 V. Further Reading 200 VI. Appendices Cover Page 205 iii List of Tables 1.Appendix A: Dramatic Topics and Script Order 158 A.1 First List of Events for Dramatic Consideration (April, 1997) 158 A.2 Updated List of Life Events for Dramatic Events (August, 1997) 158 A.3 Script Sequence, partially-completed script (2000) 158 A.4 Script Sequences, first full script (October, 2001) 159 A.5 Script Sequences, script read by Blakemore (December, 2001) 159 A.6 Revised Script (2002) 160 A.7 Revised Script, first three-actor version (December, 2003) 160 A.8 Revised Script, Sit-down reading, WorkShop (August 2004) 160 A.9 Revised Script, first full production (December, 2004) 161 A.10 Revised Script (November, 2005) 161 A.11 Revised Script (May, 2006) 162 A. 12 Revised Script (August, 2006) 162 A.13 Current Script (August, 2007) 162 2.Appendix B: Character Analysis for December, 2004 production 164 3.Appendix C: Abbreviated Pre-show Character Preparation, December 2004 173 3.Appendix D: Presidents of the United States During O’Keeffe’s Lifetime [1887-1986] 174 4. Appendix E: Rae Allen, Curriculum Vitae 175 5. Appendix F: Table of Production Dates, Venues and Key Collaborators 177 iv List of Illustrations Appendix G: Illustrations for Abbreviated Pre-show Character Preparation – December, 2004 178 1. “The Red Poppy” 2. “Sky Above Clouds IV” 3. Original watercolor by the author 4. Photo of young O’Keeffe taken from Adato documentary 5. Photo of “dramatic” O’Keeffe taken from Adato documentary 6. Postcard of O’Keeffe and Stieglitz, 1942, Arnold Newman, photographer 7. Postcard of O’Keeffe, 1967, Philippe Halsman, photographer 8. Photograph of a Taos sky v Abstract In 1988, my interest in the Twentieth Century American painter and feminist icon, Georgia O’Keeffe, was sparked by two seemingly disparate events: The Art Institute of Chicago’s first posthumous retrospective show of the painter’s works and the twentieth anniversary reunion of the original Broadway cast of Hair (of which I had been a member) that was celebrated at the United Nations in New York. Somewhere within me at that time O’Keeffe and Hair became entwined. In studying O’Keeffe’s life I sensed that her sincerity of aspiration coupled with her dogged resolve were life-lessons that might inform all artists. As a performing artist, a logical vehicle by which I could explore O’Keeffe was through the creation and performance of a play about her life. In embarking in this direction, I hoped to discover some key to creativity whereby all artists could be informed. O’Keeffe was a historical figure so my work included historical research that included autobiographical and biographical sources, videocassettes, correspondence, newspaper and magazine commentary. In addition to studying historical resources, O’Keeffe’s art was a primary resource; in particular what inspired it, how O’Keeffe painted and her philosophy of art. My research prompted the question: “At what point does the tenacious biographer leave off and the artful dramatist begin?” This question expresses the key creative and ethical problem of such a project: how much creative license can be taken with a subject who was an actual human being with a verifiable history? O’Keeffe was a creature of contradiction so rather than attempting to reconcile the contradiction between historical accuracy and creativity, I would begin by immersing myself in the known facts about my subject which I would then use as an impetus for my imaginative engagement with her life. The frisson generated by this cohabitation of contradictions could result in a release that could then be shared with audiences and, vi hopefully, enhance their understanding of the subject and the nature of creativity. To “dance”, so to speak, with her contradictions became my goal and methodology for writing A Brush With Georgia O’Keeffe. A part of my study also considers my experience playing the character, Georgia O’Keeffe. I had not anticipated that O’Keeffe’s emotional contrarieties would affect me personally. I had expected her mood swings to manifest within the character of O’Keeffe; in fact, they also became a part of the actor portraying her. In addition, because O’Keeffe worked and reworked her subjects, I permitted myself that luxury as a writer; however, I neglected to allow myself as the actor time to engage in a similar exploration in order to integrate the rhythm of the role into my body.
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