Toward a Female Clown Practice: Transgression, Archetype and Myth
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Are We There Yet?
ARE WE THERE YET? Study Room Guide on Live Art and Feminism Live Art Development Agency INDEX 1. Introduction 2. Lois interviews Lois 3. Why Bodies? 4. How We Did It 5. Mapping Feminism 6. Resources 7. Acknowledgements INTRODUCTION Welcome to this Study Guide on Live Art and Feminism curated by Lois Weaver in collaboration with PhD candidate Eleanor Roberts and the Live Art Development Agency. Existing both in printed form and as an online resource, this multi-layered, multi-voiced Guide is a key component of LADA’s Restock Rethink Reflect project on Live Art and Feminism. Restock, Rethink, Reflect is an ongoing series of initiatives for, and about, artists who working with issues of identity politics and cultural difference in radical ways, and which aims to map and mark the impact of art to these issues, whilst supporting future generations of artists through specialized professional development, resources, events and publications. Following the first two Restock, Rethink, Reflect projects on Race (2006-08) and Disability (2009- 12), Restock, Rethink, Reflect Three (2013-15) is on Feminism – on the role of performance in feminist histories and the contribution of artists to discourses around contemporary gender politics. Restock, Rethink, Reflect Three has involved collaborations with UK and European partners on programming, publishing and archival projects, including a LADA curated programme, Just Like a Woman, for City of Women Festival, Slovenia in 2013, the co-publication of re.act.feminism – a performing archive in 2014, and the Fem Fresh platform for emerging feminist practices with Queen Mary University of London. Central to Restock, Rethink, Reflect Three has been a research, dialogue and mapping project led by Lois Weaver and supported by a CreativeWorks grant. -
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. -
Desajustamento: a Hermenêutica Do Fracasso E a Poética Do
PERFORMANCE PHILOSOPHY E-ISSN 2237-2660 Misfitness: the hermeneutics of failure and the poetics of the clown – Heidegger and clowns Marcelo BeréI IUniversity of London – London, United Kingdom ABSTRACT – Misfitness: the hermeneutics of failure and the poetics of the clown – Heidegger and clowns – The article presents some Heideggerian ideas applied to the art of clowning. Four principles of practice of the clown’s art are analysed in the light of misfitness – a concept based on the clown’s ability not to fit into theatrical, cinematic and social conventions, thus creating a language of his own. In an ontological approach, this article seeks to examine what it means to be a clown-in-the-world. Following a Heideggerian principle, the clown is analysed here taking into account his artistic praxis; a clown is what a clown does: this is the basic principle of clown poetics. The conclusion proposes a look at the clown’s way of thinking – which is here called misfit logic – and shows the hermeneutics of failure, where the logic of success becomes questionable. Keywords: Heidegger. Clown. Phenomenology. Philosophy. Theatre. RÉSUMÉ – Misfitness (Inadaptation): l’herméneutique de l’échec et la poétique du clown – Heidegger et les clowns – L’article présente quelques idées heideggeriennes appliquées à l’art du clown. Quatre principes de pratique de l’art du clown sont analysés à la lumière de l’inadéquation – un concept basé sur la capacité du clown à ne pas s’inscrire dans les conventions théâtrales, cinématiques et sociales, créant ainsi son propre langage. Dans une approche ontologique, cet article cherche à examiner ce que signifie être un clown dans le monde. -
Papéis Normativos E Práticas Sociais
Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs. -
FRENCH INFLUENCES on ENGLISH RESTORATION THEATRE a Thesis
FRENCH INFLUENCES ON ENGLISH RESTORATION THEATRE A thesis submitted to the faculty of San Francisco State University In partial fulfillment of A the requirements for the Degree 2oK A A Master of Arts * In Drama by Anne Melissa Potter San Francisco, California Spring 2016 Copyright by Anne Melissa Potter 2016 CERTIFICATION OF APPROVAL I certify that I have read French Influences on English Restoration Theatre by Anne Melissa Potter, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts: Drama at San Francisco State University. Bruce Avery, Ph.D. < —•— Professor of Drama "'"-J FRENCH INFLUENCES ON RESTORATION THEATRE Anne Melissa Potter San Francisco, California 2016 This project will examine a small group of Restoration plays based on French sources. It will examine how and why the English plays differ from their French sources. This project will pay special attention to the role that women played in the development of the Restoration theatre both as playwrights and actresses. It will also examine to what extent French influences were instrumental in how women develop English drama. I certify that the abstract rrect representation of the content of this thesis PREFACE In this thesis all of the translations are my own and are located in the footnote preceding the reference. I have cited plays in the way that is most helpful as regards each play. In plays for which I have act, scene and line numbers I have cited them, using that information. For example: I.ii.241-244. -
PDF Portfolio
2 Clunbury Str, London N1 6TT waterside [email protected] contemporary waterside-contemporary.com tel +44 2034170159 Oreet Ashery waterside contemporary Reactivating The Clean and The Unclean, the protagonists of Vladimir Mayakovsky’s revolutionary 1921 play Mystery-Bouffe, Ashery collaboratively produced a collection of ponchos and headgear. These humble forms of dress made from ubiquitous cleaning materials - dish cloths, wipes, dusters – are the uniforms of speculative purists and partisans, exploited labourers and heroes. Adorned with this couture collection, the cast expose themselves to the inevitable risk of becoming objectified fashion icons. Oreet Ashery The Un/Clean (mermaid) 2014 sculpture textile, paper, tape, metal, plaster installation view at waterside contemporary photo: Jack Woodhouse ASH106 waterside contemporary Reactivating The Clean and The Unclean, the protagonists of Vladimir Mayakovsky’s revolutionary 1921 play Mystery-Bouffe, Ashery collaboratively produced a collection of ponchos and headgear. These humble forms of dress made from ubiquitous cleaning materials - dish cloths, wipes, dusters – are the uniforms of speculative purists and partisans, exploited labourers and heroes. Adorned with this couture collection, the cast expose themselves to the inevitable risk of becoming objectified fashion icons. Oreet Ashery The Un/Clean (the world doesn't have to be as you want it to be/ pizza head) 2014 sculpture textile, paper, tape, metal, plaster installation view at waterside contemporary photo: Jack Woodhouse ASH099 waterside contemporary Reactivating The Clean and The Unclean, the protagonists of Vladimir Mayakovsky’s revolutionary 1921 play Mystery-Bouffe, Ashery collaboratively produced a collection of ponchos and headgear. These humble forms of dress made from ubiquitous cleaning materials - dish cloths, wipes, dusters – are the uniforms of speculative purists and partisans, exploited labourers and heroes. -
Howard Barker with Mikhail Karikis and Dzifa Benson
8th July 2010 at South Bank Centre Stories, Plays, Poems, Creative NonFiction Text in Context: A Cross-Genre Symposium and BRAND Shorts: Howard Barker with Mikhail Karikis and Dzifa Benson 06 Spring/Summer 2010 Text in Context: A Cross-Genre Symposium July 8th, Function Room, Level 5, Royal Festival Hall, 11am-5pm Programme Events are compered by Cherry Smyth Session 1 11am-12noon Sounding Stories: Anjan Saha, Jay Bernard & William Fontaine Chaired by: Anthony Joseph In the Frame and tablapoetry by Anjan Saha 01 Anjan Saha’s work In the Frame looks at diaspora identities and his tablapoetry brings ancient Indian rhythmic philosophy into present day focus. Poetry & comics by Jay Bernard 02 Jay Bernard will be reading three short poems, about pregnancy, childhood and pre-sexual desire, from two different books: - Your Sign is Cuckoo, Girl (“Kites” & “Eight”) - City State (“A Milken Bud”); accompanied by projections of comic strips. Diary of the Out: spoken word, sound work and 03 music by William Fontaine William Fontaine has crafted Diary of the Out, specially for this symposium, using his knowledge and synthesis of word, music, architecture and the esoteric. It is a short text (which will be expanded as a larger body of work) and soundwork, combining magical realism, non & science fi ction. Session 2 12-1pm Texted Image: Margareta Kern, Uriel Orlow, Oreet Ashery Chaired by: Cherry Smyth On being a guest by Margareta Kern 01 Kern will be discussing her current project ‘Guests’, based on the mass labour migration from the socialist Yugoslavia to West Germany in the late 1960’s. -
Harvey Study Guide
STUDY GUIDE SHOW SYNOPSIS HARVEY, the classic Pulitzer Prize-winning Broadway and Hollywood comedy, pulls laughter out of the hat at every turn. Elwood P. Dowd is charming and kind with one character flaw: an unwa- vering friendship with a 6-foot-tall, invisible white rabbit named Harvey. When Elwood starts to introduce his friend to guests at a society party, his sister Veta can't take it anymore. In order to save the family's social reputation, Elwood's sister takes him to the local sanatorium. But when the doctor mistakenly commits his anxiety-ridden sister, Elwood and Harvey slip out of the hospital unbothered, setting off a hilarious whirlwind of confusion and chaos as everyone in town tries to catch a man and his invisible rabbit. DISCUSSION QUESTIONS BEFORE THE SHOW AFTER THE SHOW Has anyone ever been to a live play before? How was Did you enjoy this performance? What was your it different from television or a movie? favorite part? What is the difference between a play and a musical? Who was your favorite character? Why? Why do you think some of the characters, Have you ever seen the movie Harvey? particularly Elwood, can see Harvey and others Did you have an imaginary friend as a young kid? can’t? What do you remember about them? Do you think Veta made the right decision in not allowing her brother to receive the medicine? Why Could you imagine still having an imaginary friend or why not? as an adult? How do you think others would respond Do you think Harvey is imaginary? Why or why to you in this situation? not? THEATRE 101 Ever wondered how to put on a play? ACTORS The actors are the people that perform the show There are many different elements that go into putting a show onstage. -
Mitchell Brothers – Vaudeville and Western
Vaudeville and the Last Encore By Marlene Mitchell February, 1992 William Mitchell, his wife Pearl Mitchell, and John Mitchell 1 Vaudeville and the Last Encore By Marlene Mitchell February, 1992 Vaudeville was a favorite pastime for individuals seeking clean entertainment during the early part of the 20th century. The era of vaudeville was relatively short because of the creation of new technology. Vaudeville began around 1881 and began to fade in the early 1930s.1 The term vaudeville originated in France.2 It is thought that the term vaudeville was from “Old French vaudevire, short for chanson du Vaux de Vire, which meant popular satirical songs that were composed and presented during the 15th century in the valleys or vaux near the French town of Vire in the province of Normandy.”3 How did vaudeville begin? What was vaude- ville’s purpose and what caused its eventual collapse? This paper addresses the phenomenon of vaudeville — its rise, its stable but short lifetime, and its demise. Vaudeville was an outgrowth of the Industrial Revolution, which provided jobs for peo- ple and put money in their pockets.4 Because of increased incomes, individuals began to desire and seek clean, family entertainment.5 This desire was first satisfied by Tony Pastor, who is known as the “father of vaudeville.”6 In 1881 Pastor opened “Tony Pastor’s New Fourteenth Street Theatre” and began offering what he called variety entertainment.7 Later B. F. Keith, who is called the “founder of vaudeville,” opened a theater in Boston and expanded on Pastor’s original variety concept.8 Keith was the first to use the term “vaudeville” when he opened his theater in Boston in 1894.9 Keith later joined with E. -
Desmontando Shakespeare Dos
INDICE SINOPSIS MEMORIA DISEÑO DE VESTUARIO FICHA ARTISTICA EL DIRECTOR MR.KUBIK PRODUCCIONES CONTACTO SINOPSIS Los cuatro actores de La Compañía han decidido continuar sus estudios de interpretación en una prestigiosa academia en Viena, la aclamada Academia Mmmáscara (máscara con tres emes). Una vez presentado su trabajo fin del primer curso - una inesperada versión de Otelo, el moro de Venecia, de William Shakespeare-, son inmediatamente expulsados de la Academia; por no cejar en su vocación rinden un nuevo homenaje al Bardo Inmortal con un realmente particular visión de Romeo y Julieta, esta vez en la calle ya que no tienen el respaldo de la academia. Pero los eruditos deciden darles una nueva oportunidad y ellos se atreven con Hamlet, príncipe de Dinamarca... y ahora son finalmente deportados. MEMORIA Los cuatro actores se las arreglan para interpretar todos los personajes de las abreviadas adaptaciones de Otelo, Romeo y Julieta y Hamlet, de William Shakespeare. Lo que no es poco. Más bien es muchísimo:. porque a cada uno le toca encarnar en escenas sucesivas y a veces sin solución de continuidad, papeles masculinos y femeninos como en el antiguo teatro isabelino; porque la propuesta exige un dinamismo interpretativo, pues el humor se cuela constantemente por los pliegues más imprevisibles de las secuencias trágicas o dramáticas; porque el dinamismo alcanza también el despliegue físico que incluye saltos, caídas, desplazamientos acrobáticos o escenas de esgrima, todo resuelto con un inobjetable rigor técnico; porque el tratamiento escénico saca el mejor partido de un espacio aparentemente desangelado y que termina pareciendo ideal; y porque los actores muestran a lo largo del espectáculo que la irreverencia se justifica plenamente en la seriedad técnica y conceptual con que se aborda esta aireada y desmitificadora puesta de tres monumentos shakesperianos. -
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. -
Comedic Devices Exercise.Pdf
Name ________________________________________________________ Teacher’s Name ______________________________________________ English ____ – Period _____ __________________________________________ Date Month Year Devices of Comedy Part I. DEVICES OF COMEDY. Consider each of the devices of comedy listed below, and then try to come up with examples that you know from television, film, or literature that illustrate these terms. We will go over each term and then try to generate modern examples as a class. ANACHRONISM - Something is anachronistic if it is out of sync with a time period. For instance, if there were a television in the set of an otherwise entirely historical production of a Shakespearean play, that television would serve as an anachronism. In a “Moonlighting Atomic Shakespeare” adaptation of the Taming of the Shrew, Petruchio arrives on his horse with a BMW symbol painted on the rear of his horse just as flying ninjas come bounding through the air (utterly out of place) into the midst of swordplay. ELEVATED LANGUAGE – Language that is overblown, flowery, or lofty (particularly juxtaposed to a more base version of the same language) is said to be “elevated.” Students might think of someone like the brother Nigel on the sitcom “Frasier” who had difficulty speaking to everyday people; in Twelfth Night, the actor playing Malvolio very likely enunciates his words as if he is just a bit more high-brow than his station actually allows. In The Taming of the Shrew, Sly, a drunkard can hardly understand the noblemen who find it hysterical to pretend that Sly is one of them when he so obviously is not—not in station, not in vocabulary, not in diction.