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Theatres of Music’: Recent Composition-Led Works by Andrée Greenwell Andrée Greenwell University of Wollongong

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Theatres of Music’: Recent Composition-Led Works by Andrée Greenwell Andrée Greenwell University of Wollongong University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2012 ‘Theatres of Music’: recent composition-led works by Andrée Greenwell Andrée Greenwell University of Wollongong Recommended Citation Greenwell, Andrée, ‘Theatres of Music’: recent composition-led works by Andrée Greenwell, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 2012. http://ro.uow.edu.au/theses/3795 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] ‘Theatres of Music’: recent composition-led works by Andrée Greenwell A thesis submitted in partial fulfillment of the requirements for the award of the degree Doctor of Creative Arts from the University of Wollongong by Andrée Greenwell B.A. Music, P.G. Diploma in Music (VCA) Faculty of Creative Arts May, 2012 Abstract This exegesis provides an exposition of the theoretical basis for my two most recent music-theatre compositions The Hanging of Jean Lee and The Villainelles, both developed from poetic collections of Dr Jordie Albiston. This written documentation primarily concerns the creative adaptation of extant literary works to composition-led interdisciplinary performance. As a companion to the documented folio works that form the greater part of this DCA, this exegesis is intended to illuminate the artistic inception, rationale and creative methodologies of these two major works created in the period of 2003- 2008, and for which I undertook a variety of creative roles including composer, artistic director, image researcher, image director and performer. Together, these works assist the identification of my artistic practice as particular within the broader context of Australian and international music-theatre. Additionally, this exegesis reflects upon artistic investigations recurrent throughout my catalogue dating back to 1986 that have led to a particular area of inquiry in these two works. Structured in three sections, this exegesis opens by taking Vivian Glance’s idea of ‘transcreation’ to formulate a rationale for the artistic inception of these two creative works. Here, and more broadly within the context of music theatre practice, I demonstrate my understanding of Richard Vella’s idea of a ‘theatre of music’ as critically operative within these transcreations (Chapter One). The influence upon my work through working with other performing and screen artists, as well as the impact of my earlier catalogue upon my current approach to extant text is acknowledged (Chapter Two) and is followed by my identification of qualities in the writing of Dr Jordie Albiston as ideal for transcreation to music theatre (Chapter Three). Chapters Four to Six discuss the three critical transcreative stages of 2 libretto, score and projected imagery concerning The Hanging of Jean Lee, that combine to reveal a methodology for creative production beyond traditional and defined codes of artistic practice, that is to say, a composer working beyond the score. Chapter Seven discusses the creative rationale to lead the composition of The Villainelles with my own voice, and demonstrates a methodology that activates poetic subjects through original music composition. Both creative works required elements of improvisation and detailed interpretation thus the full realisations are best represented in the digital formats of DVD and CD which are each accompanied by a list of chapters or tracks. To further evidence the creative techniques employed, this exegesis also refers to additional support material in the form of music scores. Additionally, the image projection script for The Hanging of Jean Lee is provided. These items should be regarded as critical maps for creative realisation, understanding that further and minor alterations were made beyond score and script during the respective rehearsal processes. 3 Acknowledgements I wish to acknowledge my supervisors, Associate Professor Stephen Ingham and Professor Sarah Miller for their critical insight and positive guidance to this research. Additionally, I would like to thank staff of the Faculty of Creative Arts especially Ms Olena Cullen, Dr Houston Dunleavy, Brooke Green, Teresa Bourke and Aaron Hull, who have given additional administrative, technical assistance and advice during this study. I would also like to thank the library and research staff of the University of Wollongong, particularly Lucia Tome and Vicki Dodd. Additionally I thank Alison Croggon and Rodney Fisher for contributing research advice and interview respectively. I acknowledge and thank the many artists, organisations and funding bodies whose creative contributions, financial and in kind support brought to fruition the works documented in this DCA research. Their many names and roles are credited in the accompanying programs. Finally, I would like to thank my family for their generous and ongoing support: my parents and their spouses, Helen and Peter Norman and John and Jenny Greenwell, and most of all my dear husband James Manché and son Gabriel for constant patience and encouragement. 4 Table of Contents Abstract …………………………………………………………………………………. 2 Acknowledgements ……………………………………………………………………. 4 Table of Contents …..………………………………………………………………….. 5 List of Figures …..…..………………………………………………………………… 10 List of Tables …..…..…………………………………………………………………...11 Appendix …..…..………………………………………………………………………..12 Chapter One. Transcreation: My approach to achieving a ‘theatre of music’ Introduction .………………….……………………...……………….…………. 13 1.0 Transcreation: definitions ………………….……………………...............15 1.1 Working toward a ‘theatre of music’ ………………………………………17 1.2 An historic and recent music theatre context …………………………… 20 1.3 Problems of terms …………………………………………………………. 26 1.4 Usage of terms in this exegesis …………….…...……………...……….. 29 Chapter Two. Assessing literary texts for composition-led transcreations Introduction ………………….……………………...………………….……..... 31 2.0 My scores with/as text, in prior contexts ………………………………… 31 2.0.1 An early example of a musical translation of poetry by a contemporary Australian writer ……………………………………….. 33 2.0.2 The influence upon my artistic practice through working with The Sydney Front …………………………………………………….... 34 5 2.0.3 Composing for other theatre contexts ………………………… 36 2.0.4 Exploring the musical translation of non-literary text ………... 37 2.1 What a composer can make of a (literary) text ……...…………………. 38 2.2 Identifying a literary text as appropriate for a composition-led transcreation ……………………………………………….………………. 40 2.2.1 An imaginary space for music and other elements ……..…… 40 2.2.2 The singability of the text …………………………...……………43 2.3 A rationale for transcreation ……………………………………………… 44 Chapter Three. The writings of Jordie Albiston that have inspired my transcreations to music theatre Introduction………….……………………...………………….…………….…. 46 3.0 An inherent musicality in the writings of Jordie Albiston ………….…… 46 3.1 My previous transcreation of Albiston’s poetry to music theatre ……... 48 3.2 A concern for a personal expression of (feminine) history in the writing of Jordie Albiston ………………………………………………….………….. 50 3.3 Considering The Hanging of Jean Lee for transcreation to music theatre ………………………………………………………….… 51 3.4 Making live poetic expression…………………………………………….. 56 3.5 Establishing a production vision for The Hanging of Jean Lee ………. 57 Chapter Four. The Hanging of Jean Lee – the Libretto Introduction………….……………………...……………………………….….. 60 4.0 Identifying a role for a dramatist in this transcreation ……………...….. 60 4.1 Objectives of the adaptation ………………………………………..……. 62 4.2 Synopsis ……………………………………………………………………. 63 6 4.3 Formulation of the dramatic structure …………………………………….64 4.4 Culling and reshaping ……………………………………………..……… 66 4.5 Titles, chronology of events and use of narrations ….…………..…….. 68 4.6 Development of the biographical, and further characters .................... 69 Chapter Five. The Hanging of Jean Lee – The Score Introduction ………………………………………………………………...…… 75 5.0 A politic of music style ………………………………………………..…... 75 5.1 Voicing and cast ……………………………………………………….……77 5.2 An ensemble of diverse instrumentation …………………………...…… 81 5.3 Examples of ‘theatres of music’ in the score ……………………...……. 85 5.4 A dramaturgy of score: ‘tracking’ vocal casting and instrumentation … 91 Chapter Six. The Hanging of Jean Lee – The Visual Projection Introduction ……………………………………………………………………... 92 6.0 The function of a screen projection component in The Hanging of Jean Lee ………………………………………………………………………….. 93 6.1 Expanding the biographic within this visual element …………………... 94 6.2 Improving upon past work: research and image production planning and aesthetic …………………………………………………………………..... 96 6.3 The development and dramaturgy of the image content ….................. 98 6.3.1 Archival research – unexpected findings ……………………..100 6.3.2 Archival research – other problems encountered .……….….103 6.3.3 Broader image research ………………………………………..105 7 6.4 Some stylistic considerations …………………………………………….107 6.5 Titles and links ………………………………………………………….….108 6.6 Images in context ………………………………………………………… 108 Chapter Seven. The Villainelles: A voice- and composition-led transcreation 7.0 The ‘undetachable seal of melody’ ……………………………………...112 7.1 A simpler production methodology toward a theatre of music ………. 113 7.1.1 A return to my own voice ……………………………………… 114 7.1.2 The incorporation of vocal ‘otherness’ .................................
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