The Loss of Small White Clouds: Dementia in Contemporary Performance

Total Page:16

File Type:pdf, Size:1020Kb

The Loss of Small White Clouds: Dementia in Contemporary Performance The Loss of Small White Clouds: Dementia in Contemporary Performance Morgan Batch Bachelor of Fine Arts (Drama) (QUT) First Class Honours (Drama) (QUT) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Creative Practice Faculty of Creative Industries Queensland University of Technology 2019 Abstract Statistics consistently report that dementia is on the rise. Cultural studies scholarship finds that despite growing research, there remains a lack of understanding of the condition and of people with dementia. The Western cultural construction of dementia renders those with the condition as vulnerable, burdensome, and even brain dead. Journalistic and fictional accounts of people with dementia echo these perceptions. Although a significant academic literature exists on the representation of dementia in poetry, novels, and photography, there is, a dearth of research that addresses the staging of dementia in theatre. Research at the intersection of dementia and drama is currently preoccupied with applied practices. This thesis investigates contemporary theatre about dementia. It examines a number of performances for emergent themes, trends, tendencies, and resonances of the prevailing Western view of dementia, and asks how these develop in the particular medium of live performance. The core findings of this thesis are related to clinical markers, demarcation, the generational discourse, performance forms, constructions of diegesis, erasure, and selfhood. Keywords Contemporary theatre, Dementia, Alzheimer’s disease, Gerontology, Western culture, Representation, Positioning, Narrativisation Batch The loss of small white clouds Page | i Table of Contents Abstract ....................................................................................................................................... i Keywords .................................................................................................................................................... i Table of Contents ....................................................................................................................... ii List of Figures ............................................................................................................................ v Abbreviations ........................................................................................................................... vii Statement of Original Authorship .......................................................................................... viii Acknowledgements ................................................................................................................... ix 1. Introduction to the Research ............................................................................................... 1 1.1 Significance of the Research .......................................................................................................... 1 1.2 Research Problem ........................................................................................................................... 2 Key Research Questions ......................................................................................................................... 2 Sub-questions .......................................................................................................................................... 2 1.3 Framing .......................................................................................................................................... 2 1.4 The Layout of this Document......................................................................................................... 3 2. Methodology ....................................................................................................................... 7 2.1 Lenses and Framing ....................................................................................................................... 7 2.2 Methods .......................................................................................................................................... 8 2.2.1 Textual Analysis ........................................................................................................................ 8 2.2.2 Interviews ................................................................................................................................. 10 2.3 Available Materials ...................................................................................................................... 11 2.4 Limitations ................................................................................................................................... 12 3. Literature Review: Dementia in Medicine and Culture .................................................... 13 3.1 An Introduction to Dementia........................................................................................................ 13 3.2 Dementia in Medicine .................................................................................................................. 15 3.2.1 Dementia and Cognition .......................................................................................................... 16 3.2.2 Clinical Presentations of Dementia .......................................................................................... 17 3.2.3 Clinical presentations: Memory ............................................................................................... 17 3.2.4 Clinical presentations: Communication ................................................................................... 18 3.2.5 Clinical presentations: Behaviour ............................................................................................ 20 3.3 The Medicalisation of Dementia .................................................................................................. 21 3.4 Stigma .......................................................................................................................................... 23 3.5 Dementia in Western Culture ....................................................................................................... 24 3.5.1 Notions of Burden .................................................................................................................... 28 3.5.2 Dementia and Euthanasia ......................................................................................................... 29 3.5.3 Selfhood ................................................................................................................................... 30 Batch The loss of small white clouds Page | ii 4. Literature Review: Representations of Dementia in Media .............................................. 34 4.1 Journalistic Media ........................................................................................................................ 34 4.2 Images and Illustrations ............................................................................................................... 37 4.3 Photography and Portraiture......................................................................................................... 40 4.4 Novels and Memoir ...................................................................................................................... 41 4.5 Screen ........................................................................................................................................... 43 4.6 Applied Arts and Dementia .......................................................................................................... 47 4.6.1 Music Therapy ......................................................................................................................... 48 4.6.2 Dance Movement Therapy ....................................................................................................... 49 4.6.3 Reminiscence Therapy ............................................................................................................. 49 4.6.4 Dramatherapy ........................................................................................................................... 50 4.6.5 Intersections of Applied Drama and Performance ................................................................... 50 4.7 Conclusion and the Current Gap in the Knowledge ..................................................................... 52 5. Contextual Review: The Existing and Emerging Landscape of Dementia in Theatre ..... 54 King Lear – a historic case study .......................................................................................................... 58 5.1 Performance Styles – a guide to terminology .............................................................................. 60 Dramaturgy ........................................................................................................................................... 60 Structure and Diegesis .......................................................................................................................... 61 Language ............................................................................................................................................... 62 Postdramatic Performance .................................................................................................................... 62 5.2 Contemporary Performance ........................................................................................................
Recommended publications
  • English 252: Theatre in England 2006-2007 * [Optional Events
    English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E.
    [Show full text]
  • Melbourne Suburb of Northcote
    ON STAGE The Autumn 2012 journal of Vol.13 No.2 ‘By Gosh, it’s pleasant entertainment’ Frank Van Straten, Ian Smith and the CATHS Research Group relive good times at the Plaza Theatre, Northcote. ‘ y Gosh, it’s pleasant entertainment’, equipment. It’s a building that does not give along the way, its management was probably wrote Frank Doherty in The Argus up its secrets easily. more often living a nightmare on Elm Street. Bin January 1952. It was an apt Nevertheless it stands as a reminder The Plaza was the dream of Mr Ludbrook summation of the variety fare offered for 10 of one man’s determination to run an Owen Menck, who owned it to the end. One years at the Plaza Theatre in the northern independent cinema in the face of powerful of his partners in the variety venture later Melbourne suburb of Northcote. opposition, and then boldly break with the described him as ‘a little elderly gentleman The shell of the old theatre still stands on past and turn to live variety shows. It was about to expand his horse breeding interests the west side of bustling High Street, on the a unique and quixotic venture for 1950s and invest in show business’. Mr Menck was corner of Elm Street. It’s a time-worn façade, Melbourne, but it survived for as long as consistent about his twin interests. Twenty but distinctive; the Art Deco tower now a many theatres with better pedigrees and years earlier, when he opened the Plaza as a convenient perch for telecommunication richer backers.
    [Show full text]
  • |||FREE||| Di and Viv and Rose
    DI AND VIV AND ROSE FREE DOWNLOAD Amelia Bullmore | 96 pages | 05 Dec 2013 | Bloomsbury Publishing PLC | 9781472508577 | English | London, United Kingdom Di and Viv and Rose – review Posted on 3 November One thing that does affect them is music — and the most unforgettable scene in Anna Mackmin 's vivid production shows the three women miming and dancing to Prince's Let's Go Crazy with hilariously boozy fervour. It compasses illness, loss, loneliness and loyalty. Username Invalid Username. Error rating book. The Distance. It is about friendship, sexuality, and sex, growing up and changing tack, intimacy and comradeship, corsetry and careers, success, disaster and dissatisfaction. Robin Hall rated it really liked it Jun 26, It is about friendship, sexuality, and sex, growing up and changing tack, intimacy and comradeship, corsetry and careers, success, disaster and dissatisfaction. Paperback91 pages. Please visit our Home page or try using the Search, Explore or Browse links above to find what you are looking for. Amanda Finch rated it really liked it Jul 28, Bullmore makes you like, and believe in, her three characters. Welcome back. Rebecca rated it it was ok Apr Di and Viv and Rose, Read our cookie policy Di and Viv and Rose or accept to continue. More filters. What will strike you is the warmth and wit of the writing, which is further boosted by the vibrancy of the performances by Tamzin Outhwaite, Gina McKee and in particular an effervescent Anna Maxwell Martin. Claude rated it really liked it Sep 14, Veronica Montalbetti rated it liked it Aug 27, Girls and Dolls.
    [Show full text]
  • Theatre Archive Project: Interview with Grahame Morris
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Grahame Morris – interview transcript Interviewer: Laura White 26 November 2003 Ex-chairman of Sheffield Theatres on the rationale for their programming. Laura White: I'd like to start by asking you about the Caryl Churchill season, programmed for June next year. It's going to be made up of three of Churchill's plays, am I right? Far Away, Fen and Cloud Nine. Grahame Morris: That's right. LW: My questions are, why Churchill? Why these particular plays? Both in individual terms and in terms of how you envisage them working together as a season, and why now? GM: I don't think there are any definitive answers to any of those questions. Caryl Churchill is a major playwright and she's a rarity in this country in that she's a major female playwright. There aren't many, there are not enough. And she's a writer much admired by the creative people with whom we work here regularly, Michael Grandage, Anna Mackmin, and so on. We, as you may recall, last year, undertook a festival of the work of Peter Gill, who is another very distinguished theatre writer, perhaps less well known than Caryl Churchill. And whilst this year has been slightly different, that experience of building a festival of performances and supporting activity around the work of a major figure, a major contemporary figure, we felt was very valuable. And if you get it right those kind of festivals become greater than the sum of their parts, in terms of the impact they make, in terms of the breadth of the experiences they are able to offer.
    [Show full text]
  • 4 Day Annie the Musical Jan 2012
    4 day annie the musical tuesday 06 march 2012 TO Friday 09 march 2012 HIGHLIGHTS: A reserve seats (stalls) to Annie the musical Dinner cruise with entertainment on Sydney harbour Sydney sightseeing Bygone beautys Scenic railway, scenic flyway & scenic skyway QUALITY STAYPUT ACCOMMODATION $1,450.00 PER PERSON TWIN SHARE (includes return adl—syd Flights subject to change) $300.00 SINGLE SUPPLEMENT Information and Reservations: 08 8362 1400 Fax: 08 8362 6210 Company: Mirror Image Touring Company Address: 168 Payneham Road Suburb: Evandale SA Postcode: 5069 ABN: 43 373 474 046 Travel Agency Licence No.: T/A 247 Day 01: (D): ADELAIDE TO SYDNEY – Tuesday 06 March, 2012 Welcome to our 4 day tour to Sydney and the Blue Mountains – and featuring Annie the Musical . After our home pick up service is complete we depart Adelaide Airport to connect with our flight to Sydney. Upon our arrival in Sydney, we are transferred to our city accommodation. After checking into our hotel, the rest of the afternoon is free. Tonight will be a night to remember as we enjoy dinner cruising on the wonderful Sydney Harbour . Sydney’s most elegant way to dine afloat on the “MV Sydney 2000” , synonymous with luxurious a la carte dining and first class service. We will enjoy the entertainment and dancing, and sip a drink under the stars from the spacious upper deck. Our coach will be waiting at the end of the evening to transfer us back to the hotel. (Lunch own expense, Dinner cruise) Sebel Surry Hills, Sydney – 02 9213 3802 Day 02: (BD): SYDNEY AND “ANNIE” – Wednesday 07 March, 2012 Today, we take in some of the sights of this great city.
    [Show full text]
  • The Royal National Theatre Annual Report and Financial Statements 2007 – 2008 Board
    The Royal National Theatre Annual Report and Financial Statements 2007 – 2008 board The Royal National Theatre Chairman Sir Hayden Phillips GCB DL Upper Ground, South Bank, London SE1 9PX Susan Chinn + 44 (0)20 7452 3333 Lloyd Dorfman CBE www.nationaltheatre.org.uk Ros Haigh Kwame Kwei-Armah Company registration number 749504 Rachel Lomax Registered charity number 224223 Neil MacGregor Registered in England John Makinson Caragh Merrick Caro Newling André Ptaszynski Philip Pullman Farah Ramzan Goland The Royal National Theatre is a company limited by guarantee and a registered charity. It was established Rt Hon Lord Smith of Finsbury in 1963 for the advancement of education and, in particular, to procure and increase the appreciation and Edward Walker-Arnott understanding of the dramatic art in all its forms as a memorial to William Shakespeare. These objects are Nicholas Wright set out in the governing document, which is its Memorandum and Articles of Association, and have been Company Secretary Kay Hunter Johnston developed into a set of aims and objectives as described on page 4. Executive Artistic Director Nicholas Hytner Executive Director Nick Starr Finance Director Lisa Burger Associate Directors Sebastian Born Howard Davies Marianne Elliott Tom Morris Bankers Coutts & Co 440 Strand, London WC2R 0QS Auditors PricewaterhouseCoopers LLP 1 Embankment Place, London WC2N 6RH This Annual Report and Financial Statements is available to download at www.nationaltheatre.org.uk If you would like to receive it in large print, or you are visually impaired and would like a member of staff to talk through the publication with you, please contact the Company Secretary at the National Theatre.
    [Show full text]
  • FOX SEARCHLIGHT PICTURES BORD SCANNÁN NA Héireann / the IRISH FILM BOARD and BFI Present
    FOX SEARCHLIGHT PICTURES BORD SCANNÁN NA hÉIREANN / THE IRISH FILM BOARD and BFI Present In Association with LIPSYNC PRODUCTIONS LLP A REPRISAL FILMS and OCTAGON FILMS Production BRENDAN GLEESON CHRIS O’DOWD KELLY REILLY AIDAN GILLEN DYLAN MORAN ISAACH DE BANKOLÉ M. EMMET WALSH MARIE-JOSÉE CROZE DOMHNALL GLEESON DAVID WILMOT PAT SHORTT GARY LYDON KILLIAN SCOTT ORLA O’ROURKE OWEN SHARPE DAVID McSAVAGE MÍCHEÁL ÓG LANE MARK O’HALLORAN DECLAN CONLON ANABEL SWEENEY WRITTEN AND DIRECTED BY.................................. JOHN MICHAEL McDONAGH PRODUCED BY ............................................................ CHRIS CLARK ........................................................................................ FLORA FERNANDEZ MARENGO ........................................................................................ JAMES FLYNN EXECUTIVE PRODUCERS ......................................... ROBERT WALAK ........................................................................................ RONAN FLYNN CO-PRODUCERS .......................................................... ELIZABETH EVES ........................................................................................ AARON FARRELL DIRECTOR OF PHOTOGRAPHY ................................ LARRY SMITH BSC CASTING ....................................................................... JINA JAY PRODUCTION DESIGNER .......................................... MARK GERAGHTY EDITOR.......................................................................... CHRIS GILL COSTUME DESIGNER................................................
    [Show full text]
  • Lo Hobbit-La Desolazione Di Smaug PB-ITA
    New Line Cinema e Metro-Goldwyn-Mayer Pictures Presentano Una Produzione Wingnuts Film Ian McKellen Martin Freeman Richard Armitage Benedict Cumberbatch Evangeline Lilly Lee Pace Luke Evans Ken Stott James Nesbitt e Orlando Bloom nel ruolo di ‘Legolas’ Musiche Howard Shore Co-prodotto da Philippa Boyens Eileen Moran Armi, Creature e Trucco Effetti Speciali Weta Workshop Ltd. Effetti visivi e animazioni Weta Digital Ltd. Supervisone Effetti Visivi Joe Lettieri Montaggio Jabez Olssen Scenografie Dan Hennah Direttore della fotografia Andrew Lesine Acs,Asc Produttori esecutivi Alan Horn Toby Emmerich Ken Kamis Carolyn Blackwood Prodotto da Carolynne Cunningham Zane Weiner Fran Walsh Peter Jackson Basato su un romanzo di J.R.R. Tolkien Sceneggiatura Fran Walsh Philippa Boyens Peter Jackson Guillermo Del Toro Diretto da Peter Jackson Durata: 2 ore e 41 minuti Sito: www.HobbitIlFilm.it FB: https://www.facebook.com/LoHobbitIlfilm Twitter: https://twitter.com/lohobbitfilm YouTube: http://www.youtube.com/warnerbrostrailers I materiali sono a disposizione sul sito “Warner Bros. Media Pass”, al seguente indirizzo: https://mediapass.warnerbros.com Dal 12 Dicembre al Cinema Distribuzione: WARNER BROS. ENTERTAINMENT ITALIA Ufficio Stampa Warner Bros. Entertainment Italia Riccardo Tinnirello: [email protected] Emanuela Semeraro: [email protected] Cinzia Fabiani: [email protected] Antonio Viespoli: [email protected] Dal regista premio Oscar® Peter Jackson arriva, “Lo Hobbit: La Desolazione di Smaug” il secondo film della trilogia dall’adattamento del popolare capolavoro senza tempo, The Hobbit, di J.R.R. Tolkien. I tre film narrano la storia ambientata nella Terra di Mezzo, 60 anni prima di “Il Signore degli Anelli” portato in scena sul grande schermo da Jackson e dal suo team, una trilogia campione d’incassi culminata con la vittoria dell’Oscar® di “Il Signore degli Anelli: Il Ritorno del Re”.
    [Show full text]
  • Lloyd Hutchinson
    Lloyd Hutchinson Theatre Title Role Director Producer Plough and the Stars Uncle Peatre Flynn Howard Davies National Theatre Husbands and Sons Walter Lambert Marianne Elliot National Theatre A View from The Bridge Eddie Carbone Charlotte Gwinner Liverpool Playhouse The Beaux' Stratagem Boniface Simon Godwin Royal National Theatre Little Revolution Steve Lord & Father Rob Joe Hill-Gibbins Almeida Theatre The Joke Irishman Joe Hill-Gibbins Fuel Theatre Particle of Dread Uncle Del Nancy Meckler The Playhouse Derry / Signature Theatre, New York Boris Godunov Boris Michael Boyd RSC Collaborators Vladimir Nick Hytner National Theatre The Orphan of Zhao Han jue Gregory Doran RSC A Flea in her Ear Augustin Feraillon Richard Eyre The Old Vic Measure for Measure Lucio Michael Attenborough Almeida Theatre Life is a Dream Clarion Jonathan Munby Donmar Warehouse The Observer Declan Richard Eyre Royal National Theatre The Birthday Party McCann David Farr Lyric Hammersmith Twelfth Night Antonio Michael Grandage Wyndhams Theatre, Part of Donmar In the WE season A Respectable Wedding Father Joe Hill-Gibbins Young Vic Theatre Rhinoceros Botard Dominic Cooke Royal Court Theatre The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456 The Lightning Play Eddie Anna Mackmin The Almeida Once in a Lifetime Jerry Ed Hall RNT, Olivier Theatre Talking to Terrorists Terry Waite / Patrick McGee Max Stafford-Clarke Out of Joint & Royal Court Theatre The Night Season Gary Malone Lucy Bailey Royal National Theatre The Permanent Way Max Stafford-Clarke
    [Show full text]
  • Chapel Off Chapel : April 21- May 2 the SOUND YOU HEAR IS NOT a TECHNICAL PROBLEM
    chapel off chapel : april 21- may 2 THE SOUND YOU HEAR IS NOT A TECHNICAL PROBLEM. PURSUED BY BEAR ITS A MUSICAL CUE. In 1990, while facing his milestone thirtieth birthday, Jonathon Larson wrote and starred in a one-man autobiographical musical, or “rock monologue”, called Bo- hemia, in which he adeptly and poignantly depicts a struggling creative artist who wonders how much longer he can sanely balance his passion and goals with the stumbling blocks of life - relationship, job, money, doubts, fears. Thankfully Larson persevered. His next creation was the nineties rock musical RENT. Unfairly and now infamously, Larson died in 1996 at the age of thirty-five, the night before RENT opened off-Broadway and began its wildly successful global run that showcased Larson’s award-winning brand of art-imitating-life-im- itating-art talent. In 2001, Larson’s one-man show was reconfigured into a three-actor chamber musical by Pulitzer prize-winning playwright David Auburn and renamed tick, tick... BOOM! tick, tick… BOOM! is a piece that is very close to our collective heart, it’s a story we’ve been aching to tell since the foundation of Pursued By Bear and we are KYLE SMITH NATASHA MILTON-TAYLOR SARAH TULLOCH overjoyed to be able to bring this rendition of it to you. producer producer creative director & production designer Whilst this story is literally that of our protagonist Jon, or Jonathon Larson if you take a half-step backwards, it’s a tale that belongs to everyone in the Arts. Kyle Smith is the resident Producer With a background in stage and With a Bachelor of Interior There are obviously themes here that are universal, yet tick, tick…BOOM is so and Technical Director for Pursued production management, Natasha Architecture (Hons.) under her belt entrenched in the musical theatre world that it touches on facets of life unique by Bear (PBB) and is no stranger to has worked across a range of Sarah moved into the colourful to artists.
    [Show full text]
  • 25517 Annual Report
    [Show full text]
  • 'NINE' - the "'Ultimate" Musical for Melbourne
    JUNE.JULY,1987, Vol12 No 3 ISSN 0314 -3058 A publication of the Australian Elizabethan Theatre Trust 'NINE' - The "'Ultimate" Musical for Melbourne 'NINE' by Arthur Kopit Music and lyrics by Maury Yeston Directed by fohn Diedrich Musical Director Conrad Helfrich Choreography and Staging by fo·anne Robinson and Tony Bartuccio Cast includes fohn Diedrich, Nancy Hayes, Peta Toppano, Maria Mercedes Comedy Theatre "NINE is a true original ... a marvellous musical ... theatrically and visually NINE is a stunner ... combining outrageous pizzazz with chic and good taste. It is magic ... you must see NINE" Clive Barnes, New York Post he winner of five Tony Awards on T Broadway, including Best Musical of 1~82, the Australian premiere of 'NINE' i~ coming to Melbourne. Billed as "the Ultimate Musical', 'NINE' is the culmination of a dream for John Deid­ rich who has assembled an amllzing array of Australian talent for this most highly praised musical. 'NINE' is based on Fellini's classIc flim "81f2" which tells the story of an Italian film director, Guido Contini and his search for happiness, honesty and love amongst the twenty-one women in his life. As well as directing the production John Diedrich plays the leading role of Contini, his first musical appearance since playing Curly in 'OKLAHOMA!'. Joining him on stage are twenty-one of Australia's most beautiful and talented actresses including Nancye Hayes, Maria Mercedes, Peta Toppano and Caroline Gillmer. This Australian pro­ BOOKING INFORMATION duction will have a new set designed by Commences Saturday July 11 Shaun Gurton and costumes by Roger Mon to Sat 8.00pm Wed and Sat matinees at 2.00pm Kirk with original choreography and AETI Mon , Tues $30 staging by Jo-anne Robinson (of Wed, Thurs $33 'CATS') and Tony Bartuccio.
    [Show full text]