DOCSLIB.ORG

The Children of Molemo: an Analysis of Johnny Simons' Performance Genealogy and Iconography at the Hip Pocket Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Children of Molemo: an Analysis of Johnny Simons' Performance Genealogy and Iconography at the Hip Pocket Theatre Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2000 The hiC ldren of Molemo: an Analysis of Johnny Simons' Performance Genealogy and Iconography at the Hip Pocket Theatre. Tony Earnest Medlin Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Medlin, Tony Earnest, "The hiC ldren of Molemo: an Analysis of Johnny Simons' Performance Genealogy and Iconography at the Hip Pocket Theatre." (2000). LSU Historical Dissertations and Theses. 7281. https://digitalcommons.lsu.edu/gradschool_disstheses/7281 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE CHILDREN OF MOLEMO: AN ANALYSIS OF JOHNNY SIMONS’ PERFORMANCE GENEALOGY AND ICONOGRAPHY AT THE HIP POCKET THEATRE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Tony Earnest Medlin B.F.A., East Carolina University, 1975 M.F.A., Trinity University, 1982 Augiust 2000 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 9984349 UMI’ UMI Microform9984349 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DEDICATION I dedicate this work and my theatrical accomplishments during the last twenty years to Diane and Johnny Simons. Thanks are also due to my wife, Community Coffee, as well as state and federally funded educational programs. Their assistance meant that I am not unloading air conditioners from a box car today. I thank them all. Besides the Simons, I received guidance from other extraordinary mentors which include Paul Baker, Irene Corey, Les Wade, Bill Harbin, Gresdna Doty, Bill Sosa, Ricky Adams, Terry Rich, Don Biehn, Jim Thomas, and Don Lawler. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I would like to acknowledge the contributions of my advisor, Femi Euba, and the esteemed committee involved in the shaping of this document. 1 appreciate David Madden's assistance in structuring the form and Les Wade for his guidance and mentor-ship. Bill Harbin contributed continuous support and Lynn Keisker was a valued friend during the process. This is also an apology for robbing the Hip Pocket of its vitality and spirit by codifying it into unfeeling academic prose. These words are little more than bone fragments and an affront to the wild energies that haunt the dale where the Hip Pocket stands. This text must stand on its own since it can not recreate the magic of a Simons' performance and begin a new mythos, sung into being by a new mythmaker. Critical appreciation of the Simons is possible only by observing where the their imaginary universe intersects with the myths of contemporary criticism. Through this process, Johnny and Diane dealt gracefully with my errors and prying into their psyche. There are innumerable poseurs in the theatre and true genius is rare. Johnny Simons designs, builds, directs the production, writes music and lyrics, choreographs, and dares to take full responsibility. It is daunting to compare personal artistic successes with the Simons' achievements and surely as difficult for them to tolerate followers that seem incapable of finding their own means of creative expression. I hope they found the time we spent together as valuable as I do. More than any other artists, they profoundly affected my artistic identity. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS DEDICATION.......................................................................................... ii ACKNOWLEDGMENTS....................................................................... iii ABSTRACT...............................................................................................vi I. MOLEMO, KING OF THE SEWER RATS: JOHNNY SIMONS' AUTO-CHTHONIC REINCARNATION IN AN ALTERNATIVE UNIVERSE.....................................1 II. RECREATING THE LAKE WORTH MONSTER........22 III. THE BODY AS TEXT: THE CORPOREAL DIALECTICS OF THE LYRIC GROTESQUE IN JOHNNY SIMONS' PERFORMANCE DISPLAY....... 37 IV. THE TEXAS RENAISSANCE AND PAUL BAKER'S "INTEGRATION OF ABILITIES"...............................76 V. THE COMMEDIC ICONS IN SIMONS' SECONDARY THEATRICAL REALITY.................... 98 VI. "I SING THE BODY DIALECTIC:" INVERSION AND SATIRE IN SIMONS' MULTI-VOICED, PERFORMANCE DISPLAYS.......................................126 VII. CONCLUSION: THE CHILDREN OF MOLEMO........172 BIBLIOGRAPHY...................................................................................178 APPENDIX A: A SELECT PRODUCTION HISTORY OF THE HIP POCKET THEATRE.......................................................................................192 B: RESUME FOR JOHN TOWNES SIMONS, JR. (1995).............199 C: DERIVATION OF THE ARCHETYPAL FORM OF ARLECCHINO................................................................................. 205 D: DERIVATION OF THE ARCHETYPAL FORM OF PANTALONE.................................................................................. 206 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. E: DERIVATION OF THE ARCHETYPAL FORM OF CAPITANO....................................................................................... 207 F: DERIVATION OF THE ARCHETYPAL FORM OF DOTTORE........................................................................................ 208 VITA........................................................................................................209 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Johnny Simons is Commediaa Dell'Arte master who brought contemporary commedic movement theatre to the American Southwest and deserves academic attention. Simons and his collaborators, Diane Simons and Doug Balentine, founded the Hip Pocket Theatre to explore original theatre that reflected their chthonic identity. Simons is anauteur, serving as playwright, lyricist, director, choreographer, designer, and technical director for his productions. His works synthesize classical forms with the archetypal associations of his childhood. This study examines Simons' pedagogical approach to his "lyric grotesque" genre of movement theatre. A documented recreation of Simons' most definitive work, the folk/rock operatic-ballet, The Lake Worth Monster, provides access to a Hip Pocket Theatre experience. Paul Baker's "Integration of Abilities" philosophy serves as a model for the examination of Simons' creative vision. Baker analyzes theatrical tension through the vocabulary of space, silhouette, rhythm, texture, sound/silence, and line. This study provides comparisons between the genealogy of Simons native characters and the iconic models from the Comtnedia, the Arlecchino, the Pantalone, the Capitano, and the Dottore. It also discusses the contributions of Simons' mentors, David Preston, Walther Volbach, Jacques Lecoq, and Bill Garber, to his definitions of the Commedic character forms. The work briefly discusses theoretical and philosophical perspectives as applied to Simons'
Load more

Recommended publications
  • Children's Books & Illustrated Books
    CHILDREN’S BOOKS & ILLUSTRATED BOOKS ALEPH-BET BOOKS, INC. 85 OLD MILL RIVER RD. POUND RIDGE, NY 10576 (914) 764 - 7410 CATALOGUE 94 ALEPH - BET BOOKS - TERMS OF SALE Helen and Marc Younger 85 Old Mill River Rd. Pound Ridge, NY 10576 phone 914-764-7410 fax 914-764-1356 www.alephbet.com Email - [email protected] POSTAGE: UNITED STATES. 1st book $8.00, $2.00 for each additional book. OVERSEAS shipped by air at cost. PAYMENTS: Due with order. Libraries and those known to us will be billed. PHONE orders 9am to 10pm e.s.t. Phone Machine orders are secure. CREDIT CARDS: VISA, Mastercard, American Express. Please provide billing address. RETURNS - Returnable for any reason within 1 week of receipt for refund less shipping costs provided prior notice is received and items are shipped fastest method insured VISITS welcome by appointment. We are 1 hour north of New York City near New Canaan, CT. Our full stock of 8000 collectible and rare books is on view and available. Not all of our stock is on our web site COVER ILLUSTRATION - #307 - ORIGINAL ART BY MAUD HUMPHREY FOR GALLANT LITTLE PATRIOTS #357 - Meggendorfer Das Puppenhaus (The Doll House) #357 - Meggendorfer Das Puppenhaus #195 - Detmold Arabian Nights #526 - Dr. Seuss original art #326 - Dorothy Lathrop drawing - Kou Hsiung (Pekingese) #265 - The Magic Cube - 19th century (ca. 1840) educational game Helen & Marc Younger Pg 3 [email protected] THE ITEMS IN THIS CATALOGUE WILL NOT BE ON RARE TUCK RAG “BLACK” ABC 5. ABC. (BLACK) MY HONEY OUR WEB SITE FOR A FEW WEEKS.
    [Show full text]
  • Frank Zappa and His Conception of Civilization Phaze Iii
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Rodriguez, Luz
    Voices of Feminism Oral History Project Sophia Smith Collection, Smith College Northampton, MA LUZ RODRIGUEZ Interviewed by JOYCE FOLLET June 16 - 17, 2006 Northampton, Massachusetts This interview was made possible with generous support from the Ford Foundation. © Sophia Smith Collection 2006 Sophia Smith Collection Voices of Feminism Oral History Project Narrator Luz Marina Rodriquez was born in New York City on March 7, 1956, and grew up on the Lower East Side. She was the eldest of three children of Elsa Rodriguez Vazquez and Luis Rodriguez Nieto, Sr., who had both recently migrated from Puerto Rico as part of Operation Bootstrap. Her father held a variety of jobs, including electronics repair and night security work, while her mother worked as an Avon Lady. After graduating from Seward Park High School in 1974, Rodriguez spent two years immersed in social and cultural activities in her Puerto Rican neighborhood, which became known as Loisaida. She was deeply involved in The Real Great Society, a gang outreach and community empowerment organization created in 1964 to engage youth in addressing local needs, especially sweat equity projects to create affordable housing. She was also an active participant in CHARAS/El Bohio, a cultural center where she taught Puerto Rican folkloric dance. After studying dance at Pratt Institute, Rodriguez graduated from NYU as a dance therapy major in 1982. College research into the sterilization and birth control experimentation on Puerto Rican women planted the seed of later reproductive rights activism. Rodriguez defines herself as a servant-leader. She has continued to combine grassroots social justice work with administrative leadership in non-profit organizations, including Henry Street Settlement, Lower East Side Family Resource Center, Dominican Women’s Development Center, and Casa Atabex.
    [Show full text]
  • Ballet? Y First the Ballerina Glides Across the Stage, Her Arms M Making Lovely Lines in the Air
    My First alle B Album t What is Ballet? Firs The ballerina glides across the stage, her arms My t making lovely lines in the air. A beautiful tune comes from the strings of the large orchestra. She is the Sleeping Beauty: she was put into a allet deep magic sleep by the wicked witch. But she B lbum has now been woken by her handsome prince, A and he dances joyfully with her, athletic and strong. Another time, she is Princess Odette from Swan Lake, and around her the other dancers – swans in white chiffon – weave patterns in time to the music. And yet another time, she is the Sugar Plum Fairy celebrating the joy of Christmas in The Nutcracker. This is ballet, the classical dance that, once seen, is never forgotten. Even though today we have film and video games, ballet is still a powerful vision of beauty and excitement. The dancers use the strength of an athlete, the balance of a gymnast and the sensitivity of a violinist to tell stories through their dancing. Here is some of the best music which has propelled dancers for hundreds of years. 2 Tchaikovsky Swan Lake Stravinsky The Firebird 1 Scene 2:37 3 Scene I. The Firebird’s Dance 1:19 Keyword: Oboe Keyword: Fire Swan Lake is a ballet from Russia about a prince called Siegfried. In the forest he finds A firebird is a brightly coloured magical bird that comes a mysterious lake where swans are swimming, led by a beautiful but sad swan wearing out of the fire.
    [Show full text]
  • PLAYNOTES Season: 43 Issue: 04
    PLAYNOTES SEASON: 43 ISSUE: 04 PORTLANDSTAGE BACKGROUND INFORMATION The Theater of Maine INTERVIEWS & COMMENTARY www.portlandstage.org AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts.
    [Show full text]
  • From Femme Ideale to Femme Fatale: Contexts for the Exotic Archetype In
    From Femme Idéale to Femme Fatale: Contexts for the Exotic Archetype in Nineteenth-Century French Opera A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Jessica H. Grimmer BM, University of Cincinnati June 2011 Committee chair: Jonathan Kregor, PhD i ABSTRACT Chromatically meandering, even teasing, Carmen’s Seguidilla proves fatally seductive for Don José, luring him to an obsession that overrides his expected decorum. Equally alluring, Dalila contrives to strip Samson of his powers and the Israelites of their prized warrior. However, while exotic femmes fatales plotting ruination of gentrified patriarchal society populated the nineteenth-century French opera stages, they contrast sharply with an eighteenth-century model populated by merciful exotic male rulers overseeing wandering Western females and their estranged lovers. Disparities between these eighteenth and nineteenth-century archetypes, most notably in treatment and expectation of the exotic and the female, appear particularly striking given the chronological proximity within French operatic tradition. Indeed, current literature depicts these models as mutually exclusive. Yet when conceptualized as a single tradition, it is a socio-political—rather than aesthetic—revolution that provides the basis for this drastic shift from femme idéale to femme fatale. To achieve this end, this thesis contains detailed analyses of operatic librettos and music of operas representative of the eighteenth-century French exotic archetype: Arlequin Sultan Favorite (1721), Le Turc généreux, an entrée in Les Indes Galantes (1735), La Recontre imprévue/Die Pilgrime von Mekka (1764), and Die Entführung aus dem Serail (1782).
    [Show full text]
  • Download Teachers' Notes
    Teachers’ Notes Researched and Compiled by Michele Chigwidden Teacher’s Notes Adelaide Festival Centre has contributed to the development and publication of these teachers’ notes through its education program, CentrED. Brink Productions’ by Molière A new adaptation by Paul Galloway Directed by Chris Drummond INTRODUCTION Le Malade imaginaire or The Hypochondriac by French playwright Molière, was written in 1673. Today Molière is considered one of the greatest masters of comedy in Western literature and his work influences comedians and dramatists the world over1. This play is set in the home of Argan, a wealthy hypochondriac, who is as obsessed with his bowel movements as he is with his mounting medical bills. Argan arranges for Angélique, his daughter, to marry his doctor’s nephew to get free medical care. The problem is that Angélique has fallen in love with someone else. Meanwhile Argan’s wife Béline (Angélique’s step mother) is after Argan’s money, while their maid Toinette is playing havoc with everyone’s plans in an effort to make it all right. Molière’s timeless satirical comedy lampoons the foibles of people who will do anything to escape their fear of mortality; the hysterical leaps of faith and self-delusion that, ironically, make us so susceptible to the quackery that remains apparent today. Brink’s adaptation, by Paul Galloway, makes Molière’s comedy even more accessible, and together with Chris Drummond’s direction, the brilliant ensemble cast and design team, creates a playful immediacy for contemporary audiences. These teachers’ notes will provide information on Brink Productions along with background notes on the creative team, cast and a synopsis of The Hypochondriac.
    [Show full text]
  • Omega Auctions Ltd Catalogue 28 Apr 2020
    Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available.
    [Show full text]
  • Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
    UNITING COMMEDIA DELL’ARTE TRADITIONS WITH THE SPIELTENOR REPERTOIRE Corey Trahan, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Stephen Austin, Major Professor Paula Homer, Committee Member Lynn Eustis, Committee Member and Director of Graduate Studies in the College of Music James Scott, Dean of the School of Music James R. Meernik, Acting Dean of the Toulouse Graduate School Trahan, Corey, Uniting Commedia dell’Arte Traditions with the Spieltenor repertoire. Doctor of Musical Arts (Performance), May 2012, 85 pp., 6 tables, 35 illustrations, references, 84 titles. Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. The spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s spieltenor benefit from consulting the commedia dell’arte’s traditions? To answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. The spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. In addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five spieltenor roles.
    [Show full text]
  • The Eiron and the Alazon in Edward Albee's the Zoo Story (1958), Le Roi Jones's Dutchman (1964) and Adrienne Kennedy's
    Ministry of Higher Education and Scientific Research Mouloud Mammeri University of Tizi-Ouzou Faculty of Arts and Languages Department of English A Dissertation Submitted in Partial Fulfillment of the Requirements for a Master’s Degree in English Option: Drama Arts Subject: The Eiron and the Alazon in Edward Albee’s the Zoo Story (1958), Le Roi Jones’s Dutchman (1964) and Adrienne Kennedy’s Funnyhouse of a Negro (1969) Presented by: - OULAGHA Zakia - TOUIL Elyes Panel of Examiners: -Dr.Siber Mouloud ,M.C.A., UMMTO, Chairman. -Dr. Gariti Mohamed, M.C.A., UMMTO, Supervisor. -Abdeli Fatima,M.A.A., UMMTO, Examiner. Academic Year: 2016-2017 Abstract This research paper has studied the elements underlying the absurdity of communication between the characters in Edward Albee’s The Zoo Story, Le Roi Jones’s Dutchman and Adrienne Kennedy’s Funnyhouse of a Negro. This issue has been addressed through three major phases. First, the focus has been placed upon the socio-economic and racial injustices in the American society during the 1950s and 1960s. Second, as a direct consequence of the socio-economic disparity, the alienation experienced by the plays’ central characters has been analyzed in the light existentialism. Third, the very absurdity of the characters’ interaction has been interpreted in terms of the characters’ ironic pursuit for communication. Such ironic interaction has therefore been tackled from a mythical perspective calling forth Northrop Frye’s theory of archetypes, particularly the mythos of satire and irony. Hence, it has been concluded that the characters’ failed communication is brought about by their ironic attack of their interlocutors’ fake personas.
    [Show full text]
  • Celebrity and Authorial Integrity in the Films of Woody Men %Y
    CELEBRITY AND AUTHORIAL INTEGRITY IN THE FILMS OF WOODY ALLEN BY FAYE MCINTYRE A Thesis Submitted to the Facul@ of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Department of English University of Manitoba Winnipeg, Manitoba (c) January, 200 1 National Library BibIiothèque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON Ki A ON4 Ottawa ON KI A ON4 Canada Canada rour rïk vom rbw~ Our fi& Notre rtifBrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Lïbrary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seU reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantid extracts fÏom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES *f *f * COPYRIGHT PERMISSION PAGE Celebrity and Authorial Integrity in the Films of Woody Men %Y Faye McIntyre A Thesis/Practicum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulNlment of the requirements of the degree of Doctor of Philosophy FAYE MCINTYRE O 2001 Permission has been granted to the Library of The University of Manitoba to Iend or seU copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis/practicum and to lend or sell copies of the film, and to Dissertations Abstracts International to publish an abstract of this thesis/practicum.
    [Show full text]
  • Mother's Forgotten Garden
    MOTHER'S FORGOTTEN GARDEN by Cory Daniel Zimmerman A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Florida Atlantic University Boca Raton, Florida December 2008 Copyright by Cory Daniel Zimmerman 2008 ii Abstract Author: Cory Daniel Zimmerman Title: Mother’s Forgotten Garden Institution: Florida Atlantic University Thesis Advisor: Dr. Jason Schwartz Degree: Master of Fine Arts Year: 2008 The thesis proposed for my M.F.A. in creative writing is a collection of conceptual American short stories written in a variety of forms that properly suit their respective subjects. Like a handful of miscellaneous wild seeds scattered over a tilled garden, the goal of the project is to represent the wild asymmetry of Nature via a collection of unlikely companions. For this reason, the conceptual form of each story often takes root in scientific or symbolic representations of Nature (i.e. sine and cosine curves, the yin-yang, etc.). The plot of loose soil holding these collective experiments together is their earthy thematic focus—namely, the way in which Nature has been systematically backgrounded by western ideology. On occasion, a story’s conceptual focus may stray from these ecofeminist principles, but only for the purpose of leveling a more critical or satirical eye upon common American ideologies. iv Table of Contents The cosmis joke redux ......................................................................................................
    [Show full text]