249,491 research outputs found
'F- F- Felt it': Breathing Feminist, Queer and Clown Thinking into the Practice and Study of Sarah Kane’s Cleansed and Blasted
No full textThis thesis uses studio practice, scholarly research, close reading of text, performance observation and conversation with practitioners to establish diverse readings of Sarah Kane’s Cleansed. It includes original material from the 2012 productions of Cleansed in Japan (Kamome-za Fringe Theatre), and in Ireland (Bare Cheek Theatre). It notes practice on Cleansed in gallery spaces (Cast-Off Drama, UK). It offers a dramaturgical approach to workshopping the play from a feminist and queer position, informed by theories of gender and transgender, and the marginalised, loving and delinquent practice of clowning. The research discusses principles of breath, voice and sexuate difference drawing primarily on the philosophies of Luce Irigaray, on the voice practice of Cicely Berry and the clown teaching of Sue Morrison.
The work challenges the ‘in-yer-face’ theatre discourse on Kane arguing that it represents a McDonaldization of its subject matter, and an insidious trivialisation of her texts. It offers new thinking on the opening night of Blasted (1995), suggesting that the ‘furore’ was fuelled by collective male hysteria and superstition; its roots centred in mourning. Analysing Cleansed in relation to Edward Bond’s Saved and Lear, it explores tropes of ghosts, stitching and the silent scream, and argues that Kane militates for gynocentric time and becoming. It analyses the symbol of the perimeter fence as a feature of 1980s Britain, noting the strength of binary associations configured in it with reference to both English football hooliganism (male) and the Greenham Common Women’s Peace Camp (female). It argues that Kane sets up heteronormative binaries in Cleansed to debate and contest them.
A key conclusion of the thesis is that Cleansed politically addresses and dramatises issues of transgender experience presenting accounts of gender violence, mutability, transitioning, the sharp fractures and silences of gender dysphoria, but also, ultimately, queer desire, love and optimism
The unburiable: Representations of pain and violence in selected works of Sarah Kane and Caryl Churchill
Get PDFIn this thesis I intend to answer the question of how representations of pain and violence in the selected plays of Kane and Churchill assist the critical understanding of those works. The works I have selected are Sarah Kane’s Blasted and Caryl Churchill’s Seven Jewish Children: A play for Gaza. To assist the understanding of the spectator and to enable me to engage with the plays in closer detail I draw on a selection of theories from the philosophers Judith Butler and Arne Johan Vetlesen. In particular I discuss Butler’s theorisation of grief, vulnerability and responsibility to (and for) the Other. I also discuss Vetlesen’s responses to pain and torture, with emphasis on his notions of pain transference. From my reading and analysis of the plays, I find that both works provoke a complex set of responses to issues of communal responsibility and identity. The reference in the title to ‘the unburiable’ is a term coined by Butler to explain the efforts of some people to dehumanise the Other. Applying the theoretical ideas of Butler and Vetlesen to the plays provides a way to negotiate the fragile gap between those that matter and those who have become the unburiable
Anthropogenic pollution in deep-marine sedimentary systems—A geological perspective on the plastic problem
Get PDFOperculigera zeehanensis Kane 1969
No full text<i>Operculigera zeehanensis</i> Kane, 1969 <p>Fig. 2; Tables 2, 6, 7</p> <p> <i>Operculigera zeehanensis</i> Kane, 1969: 369.– Jankowski, 1986: 82; Clamp, 1991: 365.</p> <p> <b>Redescription</b>. Lorica hemispheroidal, suboval in dorsal view, slightly wider than long. Lorica asymmetrical in dorsal view; width of right half from midline to edge noticeably greater than width of left half from midline to edge. Rim of lorica not thickened. Dorsal surface of lorica without curved ridge. Posterior part of vallum reduced to slightly thickened ridge. Anterior and lateral parts of vallum moderately tall; posterior edges of lateral parts sloping moderately to posterior part of vallum, giving anterior and lateral parts symmetrically rounded profile as a whole. Free edge of vallum smooth, even, lacking projections of any sort. Long strip near base of inner wall of each anterolateral part of vallum moderately thickened and projecting inward to form prominent, protruding fold. Rim of lorica aperture moderately thickened. Operculum subcuneate in dorsal view. Anterior edge of operculum moderately thickened to form narrow, ventral shelf; ventral shelf smooth, lacking processes.</p> <p>Macronucleus elongate, cylindroid, usually folded to make compact mass. Macronucleus located in left half of body. Micronucleus ovoid, located almost always near centre of macronucleus rather than near either end.</p> <p> <b>Etymology</b>. The specific name refers to the locality from which the type host was collected.</p> <p> <b>Type material</b>. LECTOTYPE, AUSTRALIA, Tasmania, near Zeehan; W. Drummond; on <i>Phreatoicoides longicollis</i> Nicholls, 1943, pleopods. Lectotype slide with lectotype organism marked by inscribed circle (Erlich’s hematoxylin), AM P62813.</p>Published as part of <i>Clamp, John C. & Kane, John R., 2003, Redescription of Four Species of Lagenophryid Peritrichs (Ciliophora) from Australia and New Guinea, With Descriptions of Two New Species, pp. 153-168 in Records of the Australian Museum 55 (2)</i> on page 157, DOI: 10.3853/j.0067-1975.55.2003.1381, <a href="http://zenodo.org/record/4685505">http://zenodo.org/record/4685505</a>
Brief Commentary on the Development of Masks to Form a Single Text for Theatre
No full textAs part of the Collaborative Project on the Writing for Performance MA, 2007-2008, I made a set of five masks which constituted a single performance text or artefact both from and for collaboration. The collaborations all worked from Cor Fuhler's 2006 work Stengam. The leader for this module was Judith Adams
The mark of Kane
No full textThis essay constitutes a necessary introduction to the rest of the articles
in the volume, since it tackles the current state of society, providing an accurate and
controversial description of die present social and cultural dynamics, from a committed
social and political stance. In his analysis of dead playwright Sarah Kane, Bond
reflects on imagination; the nature and function of drama; the nature of humanness;
the concepts of the Tragic and me Comic; the idea of radical innocence; the description
of society as unjust; the human imperative dealing with me search for justice and
its historical and contemporary clash with society; among other matters. Such issues
are examined in relation to die function of drama in society, to conclude that me
parameters of me Comic and me Tragic have been inverted in consumer postmodern
society with the resulting incapability for creativity within the dominant culture.
Drama, thus, must recover the logic of humanness to transcend the logic of consumer
society, whose aim is to kill cainitely (Kane), as a form of self-preservation, those
creators it helps to promote.El ensayo del dramaturgo británico constituye una introducción indispensable para el resto de artículos de este volumen, ya que, en todos ellos, se explora alguna de las cuestiones enunciadas por el autor con respecto a los mecanismos de composición y funcionamiento cultural y social actuales. En su reflexión sobre la malograda dramaturga, Sarah Kane, Bond repasa el conjunto de las circunstancias del hecho dramático, lo humano y la imaginación, para dibujar un certero y a la vez controvertido panorama de la sociedad actual, desde la posición del compromiso socio-político. Se abordan, entre otras cuestiones: la naturaleza del ser; los conceptos de lo trágico y lo cómico; el concepto de la inocencia radical; la composición de la sociedad como inherentemente injusta; el imperativo humano de búsqueda de la justicia y su choque histórico y actual con la sociedad. Se examinan tales cuestiones en relación con la función del teatro en la sociedad, para concluir que los parámetros de lo cómico y lo trágico están invertidos en la actual condición posmoderna, con la consiguiente incapacidad para la creatividad dentro de la cultura dominante. El hecho dramático debe recuperar la lógica de lo humano para así trascender una sociedad consumista, cuya lógica consiste en matar de manera camita (a Sarah Kane), a modo de autodefensa, a los creadores que ella misma encumbra
Kane, Linda. Home recordings of Reid family, and clips of VOCM radio. Part of Clarence Reid Collection. Reel to reel was titled Web Cor A.
No full textAssorted clips of Clarence Reid's family life, the Reid's singing and performing, and news clips and music from VOCM. Part of collection of reel to reels which Linda Kane donated to be digitized. These recordings belonged to her father Clarence Reid who worked for Terra Nova Motors. See Linda’s interview on the Digital Archives for more information about Clarence Reid and Terra Nova Motors.Clarence Reid testing out recorder with his brothers Wilbur and Cyril and his father; Linda Kane and Marilyn Ford say goodnight; 1:19 - recording of the Reid family at home; discussing vacation, Halloween; 2:59 - Marilyn Ford and Linda Kane singing and reciting - Jesus Loves Me This I know, Jack and Jill, Mice are Nice, Humpty Dumpty, Miss Muffet, Mittens, Polly Put the Kettle on, Halloween, Little Tommy Tucker, In the Shoemaker's Shop; 11:56 - music on VOCM and bulletin about fire on Water Street; Linda's mother Anna Reid singing along with the radio; 23:01 - recitations and jokes; 24:15 - Clarence Reid pretending to be an operating Doctor at the Centreville General Hospital; 25:03 - rhymes, recitations, stories and songs at the "Junior Jamboree" - teeny tiny, Little Tommy Tucker
Adapting musicology's use of affect theories to contemporary theatre making: Directing Martin Crimp's attempts on her life
No full textCopyright @ Intellect 2011Adopting and adapting musicology's use of affect theories, specifically Jeremy Gilbert's idea of an 'affective analysis' and David Epstein's idea of 'shaping affect', this article looks at Martin Crimp's Attempts on Her Life from a practitioner's perspective. It investigates the challenges and benefits of adopting an 'affective approach' to directing recent theatre texts that stress the musicality and corporeality of language along with, and at times above, its signifying roles. Rather than locating Aristotelian dramatic climaxes based on narratological or characterological progression, an affective approach seeks to identify moments of affective intensity, which produce a different sort of impact by working on a 'body-first' methodology, rather than the directly cerebral. That this embodied impact is not ultimately meaningless is one of affect theory's most vital assertions. This approach has resonance in terms of how directors, performers and critics/theorists approach work of this type
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Traces of Beckett : gestures of emptiness and impotence in the theater of Koltès, Kane, de la Parra and Durang
Get PDFtextThis dissertation examines Samuel Beckett's powerful legacy and influence on contemporary theater (on plays written and produced since 1980), and it defines this influence in both text and performance as gestures of emptiness and impotence. The plays selected for analysis here have been categorized at times as belonging to a tradition and legacy of the so-called "Theater of the Absurd," but, finding this category to be at once too restrictive and too loose, their relationship to the absurd is defined by their explicit use of and inspiration taken from Beckett's theater. Beckett's intentional and innovative use of emptiness and impotence, both spatially and textually, is decisively paradoxical: while emphasizing blank spaces and powerlessness, his plays find meaning in emptiness and unexpected control in what he called the "exploitation of impotence." In each of the plays analyzed in this dissertation, (Dans la solitude des champs de coton, Koltès; La secreta obscenidad de cada día, de la Parra; Blasted, Kane; and Laughing Wild, Durang), the explicit use of both emptiness and powerlessness are examined, and at the same time, I define what it is about each of these gestures that renders them particularly Beckettian as they relate to these works. In all of the plays examined here, gestures of emptiness and impotence become their opposites: significance and power. Four of Samuel Beckett's plays (Fragment de théâtre I, En attendant Godot, Fin de partie, and Happy Days) are compared and contrasted with the work of Koltès, de la Parra, Kane and Durang respectively. The parallels revealed, made both intentionally and unintentionally by their playwrights, demonstrate not only the certainty of Beckett's continued influence, but also reflect his persistent, widespread impact. What is shown, with broader implications for future study, is that Beckett's use of emptiness and impotence as theatrical, literary and artistic gestures have led to a new kind of hopefulness, and a new kind of artistic inspiration that is unique to our time.Comparative Literatur
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