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Leeds Thesis Template The librettist's adaptation of source in collaboration with the composer Why might the adaptive librettist of operas that address contemporary experiences of the extreme appropriate narrative sources, form and aesthetics from Japanese sources? Adam John Strickson Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds, School of Performance and Cultural Industries and School of Music July 2014 Intellectual Property and Publication Statements The candidate confirms that the work submitted is his own, except where work which has formed part of jointly-authored compositions has been included. The contribution of the candidate and the other authors to this work has been explicitly indicated below. The candidate confirms that appropriate credit has been given within the thesis where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Some material in this thesis has previously been included in a published, solely authored article. Excerpts are braided into the text of Chapter 6. The article from which they are drawn is included in the bibliography as: Strickson, A.J. 2011. His bloody materials: Reasons for adapting Yasuzo Masumura's Red Angel into a tragic opera set in 1990s Sudan, Journal of Korean and Japanese Cinema, 3 (1), pp. 55–64, Intellect Books. doi: 10.1386/jjkc.3.1.55_1 The right of Adam John Strickson to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. ©2014 The University of Leeds and Adam John Strickson i Table of Contents Table of Contents ......................................................................................... i List of photographic illustrations .............................................................. ii Acknowledgements .................................................................................... iii Introductory quotation ............................................................................... iv Abstract ........................................................................................................ v Methodology ............................................................................................... vi A model of practice .................................................................................. xiv Chapter 1 ...................................................................................................... 1 The art of writing a libretto as an écriture of the extreme. ..................... 1 Chapter 2 .................................................................................................... 10 Opera and the extreme, and Britten as an operatic model. ................. 10 Chapter 3 .................................................................................................... 24 Drawing on Japanese aesthetics and sources. ................................... 24 Chapter 4 .................................................................................................... 43 Curlew River, a transcultural collaborative exemplum. ........................ 43 Chapter 5 .................................................................................................... 69 Green Angel ........................................................................................ 69 Chapter 6 .................................................................................................... 95 Red Angel ........................................................................................... 95 Chapter 7 .................................................................................................. 126 I am the ferryman Towards a poetics of libretto for shaping the extreme ....................... 130 Conclusion................................................................................................ 166 Other documentation included: CD-Rom, DVDs, scores & programme...... .......................................................................................... 170 Bibliography.............................................................................................. 171 Appendix....................................................................................................188 I am the ferryman: script and notes for the film-maker ii List of photographic illustrations Figure 1: Mariko Mori, 2004, 'Mask' Photo: Mori Koda ©Tokyo University. .......................................................................................... 13 Figure 2: Opera North, 2013, Peter Grimes. Grimes and his apprentice. Photo ©Malcolm Johnson. ........................................... 20 Figure 3: Opera North, 2013, Peter Grimes. Grimes and the dead apprentice. .Photo ©Malcolm Johnson. .......................................... 22 Figure 4: Jewish Museum interior detail, a section of the Void. Photo ©Carlos Neto, depositphotos File ID: 15467219 .................. 34 Figure 5: Jewish Museum interior, Shalachet (Fallen leaves) in a section of the Void. Photo ©Carlos Neto, depositphotos File ID: 15467219 ...................................................................................... 35 Figure 6: Sand Garden – Ryoan-Ji, Kyoto. Photo ©imagex depositphotos File ID: 12462872 ...................................................... 37 Figure 7: Mariko Mori, 'Primal Memory', 2004. Photo ©Richard Learoyd. ............................................................................................. 41 Figure 8: 13 September 2001, 'A New York City fire fighter looks up at what remains of the World Trade Center after its collapse during the September 11 terrorist attack.' ....................... 73 Figure 9: 27 August 2013, 'Waterfall 9/11 memorial plaza'. Photo ©cjpfigueiredo depositphotos File ID: 26672757............................ 74 Figure 10: 'Twisted pine tree in Japanese Zen garden, Kyoto.' Photo ©smithmore depositphotos File ID: 13374920 ..................... 80 Figure 11: Ash (ensemble singer) holds up the branch. Photo ©Malcolm Johnson ........................................................................... 81 Figure 12: The ensemble singer ('Green') at the conclusion of the opera. Photo ©Malcolm Johnson .................................................... 90 Figure 13: 'Trapped' Photo ©Dave Cowan .............................................. 97 Figure 14: 'Dili Diey shows his bullet wounds.' Still from film: ©Mandeep Samra .............................................................................. 97 Figure 15: 'Sakura Nishi in the concluding scene of Red Angel.' ©2006 Yume Pictures Ltd. .............................................................. 104 Figure 16: 'Sakura Nishi and Doctor Okabe.' ©2006 Yume Pictures Ltd. ................................................................................................... 105 Figure 17: Workshop rehearsal of Red Angel scenes for recording, 9 July 2009. Photo ©Ben Schrecke. ............................ 122 iii Acknowledgements I would like to thank the AHRC for the support I received in the form of a Collaborative Doctoral Award, which together with additional funding from Opera North, Arts Council England and the University of Leeds, has made this PhD possible. Thanks to my friend Dili Diey, man of Huddersfield and the Sudan, whose story inspired this research. Heartfelt gratitude is due to my principal supervisor Dr Kara McKechnie in the School of Performance and Cultural Industries at the University of Leeds. I would also like to thank my other excellent supervisors: Professor Rachel Cowgill at Cardiff University (especially for her close reading of the final drafts of this commentary) and Dominic Gray, Director of Special Projects at Opera North. Jane Bonner, Company Manager for Opera North, kindly arranged access to rehearsals and productions. For encouragement throughout the project, I would like to thank Lesley Patrick at DARE. For access to primary sources, I am grateful to Dr Nicholas Clark and Louise Piffero at the Red House, Aldeburgh (Britten-Pears Foundation) and to Mike Harkness, Palace Green Library at Durham University (Plomer Collection). Profound gratitude to my composer collaborators during the duration of the PhD: Emma Nenadic, Ayanna Witter-Johnson, Dr Lauren Redhead, Dr Edward Caine, Dr Cheryl Frances-Hoad and Dr Stephen Kilpatrick, and to the Japanese composer, Ryoko Akama, for our exchange of ideas. Thanks to all the musicians, singers, technicians, designers and advisors who have taken part in the workshops and performances, especially Aniko Tóth, the soprano lead for both Red Angel and Green Angel. Thanks to my collaborators on I am the ferryman, the film-maker Lucy Bergman and jazz duo 'Our Liberated Winter' (Robin Bowles and Simon Prince). Thanks to my family for their support, especially my wife Kim Strickson and my father John Strickson.This research has been carried out in collaboration with the named composers and collaborators. My own contribution, fully and explicitly indicated in the thesis, is as the instigator, librettist and director of the works completed. iv Introductory quotation At the age of seventeen, I wrote a quotation from Bertolt Brecht in the front of my Arden Shakespeare edition of Shakespeare's Pericles. Many years later, these words are still the ground from which this research has emerged: Stylization means a general elaboration of what is natural,
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