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The Making of Disgrace Kelly: Dragging the Diva Through Cabarets, Pubs and Into the Recital Hall

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The Making of Disgrace Kelly: Dragging the Diva Through Cabarets, Pubs and Into the Recital Hall Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2013 The making of Disgrace Kelly: Dragging the diva through cabarets, pubs and Into the recital hall Caitlin Cassidy Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation Cassidy, C. (2013). The making of Disgrace Kelly: Dragging the diva through cabarets, pubs and Into the recital hall. https://ro.ecu.edu.au/theses/545 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/545 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. The Making of Disgrace Kelly: Dragging the Diva through Cabarets, Pubs and Into the Recital Hall By Caitlin Cassidy, Bachelor of Music, Graduate Diploma of Opera Performance This exegesis is presented in partial fulfilment of the requirements for the degree of Master of Creative Arts Edith Cowan University Education and the Arts/WAAPA March 2013 Abstract This research project investigates the synthesis of cabaret and recital performance as a way to re-invigorate the recital as a performance platform. As a curious classical singer with a passion for cabaret, I have explored cabaret in my own creative practice as a classically trained opera singer through the employment of practice-led research methodologies. This project includes research manifested in rehearsals, performance and exegetical writing, including a unique self-reflexive voice in the writing style, to encompass a practice-led research methodology. The culmination of these approaches was a final performance program entitled Diva Bites the Dust. A study of the diva and her role within different musical forms has played a key role in the research and creation of Diva Bites the Dust. I developed a diva character named Disgrace Kelly, an aggregate of a multitude of divas studied and performed throughout the research. This study informed the structure of Diva Bites the Dust programme and is explored contextually within the exegesis. Diva Bites the Dust was the culmination of experimentation with performance hybridity. The diva icon was a unifying agent within which disparate musical styles, genres and dramatic themes could co-exist and illustrate narrative arch. ii Table of Contents ABSTRACT.....................................................................................................................II DECLARATION ............................................................................................................. V ACKNOWLEDGEMENTS............................................................................................. VI BACKGROUND AND AIMS OF THE RESEARCH........................................................7 CHAPTER 1: RECITAL, CABARET & EVERYTHING IN BETWEEN .........................14 THE CLASSICAL (OR WESTERN ART MUSIC) RECITAL ...................................................14 CABARET ....................................................................................................................19 WHERE RECITAL AND CABARET MEET .........................................................................24 CHAPTER 2: METHODS OF A DIVA WITH A DEATH WISH.....................................28 PRACTICE AS RESEARCH ............................................................................................28 SMALL ART, BIG UNDERTAKING ...................................................................................31 THE EMBODIMENT OF DISGRACE .................................................................................32 CHARACTERISATION ....................................................................................................35 RECORDING AND REFLECTION .....................................................................................36 COLLABORATION .........................................................................................................36 INTERVIEWS & PRACTICE REVIEW................................................................................38 CHAPTER 3: A DIVERSE PRACTICE .........................................................................39 FRISKY AND MANNISH .................................................................................................40 THE KRANSKY SISTERS ...............................................................................................42 WINTERREISE .............................................................................................................44 WUNDERSCHÖN ..........................................................................................................46 CHAPTER 4: HOFFMANNʼS WOMEN: A STUDY IN THE DIVA ................................49 ACT I OLYMPIA (THE DOLL) .........................................................................................50 ACT II: GIULIETTA (THE BITCH) ....................................................................................52 ACT III ANTONIA (THE CORPSE)...................................................................................54 EPILOGUE: LA STELLA (THE PRIMA DONNA) .................................................................56 NICKLAUSSE (THE MUSE OR FAG-HAG)........................................................................57 ORIGINS OF DISGRACE ................................................................................................60 LUNCHTIME WITH DISGRACE KELLY..............................................................................65 TALKING DIRTY ...........................................................................................................67 iii PARODIES LOST, PARODIES GAINED............................................................................ 70 LADYBONER: AN EXPLORATION OF THE MODERN DIVA ................................................. 74 “OUT DAMNED SPOT!”: A QUEEN IN DISGRACE ............................................................. 76 CHAPTER 6: DIVA BITES THE DUST: COMPOSITION TO DECOMPOSITION....... 80 CONCLUSION.............................................................................................................. 95 POSSIBILITIES FOR FURTHER RESEARCH ...................................................................... 96 BIBLIOGRAPHY ........................................................................................................ 104 APPENDICES............................................................................................................. 106 APPENDIX 1: TALKING DIRTY & PARODIES LOST PROGRAMMES.................................. 106 APPENDIX 2: PREAMBLE TO OUT DAMNED SPOT!....................................................... 107 APPENDIX 3: DIVA BITES THE DUST (SCRIPT) ............................................................ 109 APPENDIX 4: SAM KNEE ON BYRON BARD ................................................................. 139 APPENDIX 5: NICK MACLAINE: AN INTERVIEW WITH THE PRINCE OF PARODIES ........... 149 APPENDIX 6: PARODIES LOST REVIEW....................................................................... 156 APPENDIX 7: DIVA BITES THE DUST DVD RECORDING................................................ 158 iv Declaration I certify that this thesis does not, to the best of my knowledge and belief: i. incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher education; ii. contain any material previously published or written by another person except where due reference is made in the text of this thesis; or iii. contain any defamatory material Signed:________________________ Date:___15/3/13______ v Acknowledgements I would like to thank my supervisors Cat Hope and Lyndall Adams for being ridiculously supportive, clever, hilarious and patient throughout the course of my masters: taming the diva to the desk is not an easy feat! Many thanks also go to: My collaborator Sam Knee, who contributed Byron Bardʼs voice both written and spoken to Diva Bites the Dust. David Wickham for his incredible piano playing. Patricia Price for helping me unleash The Diva. Nick Maclaine for contributing a wonderful interview and allowing me to be part of Parodies Lost. Clare Norelli for being the other half of the silliest and most wonderful band in the world, Ladyboner. My family and my boyfriend, Robbie for their unwavering support. vi Background and Aims of the Research This
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