1,720,978 research outputs found
Ukulele Mekulele : balancing sole authorship and devised approaches to performance making
No full textThe creation of the performance work UKULELE MEKULELE is used as a site to uncover the interactions between the work of the sole author and group-devised processes. The increasing acceptance of the 'openness' in contemporary theatre practice has strong implications for the role of the sole author, who traditionally has been the provider of the 'closed' - known quantities that are subsequently 'realised' by a production. How can the sole author best write for the seemingly contradictory environment of the group-devised production? Critical incidents from the performance are selected for study. These 'moments that work' and their provenance are utilized as examples of the interaction of the various forces at play in the performance making process. The researcher's intimate contact with the artwork entails a unique vantage point from which to observe these forces at work. Their evocation and analysis will have relevance for the creators of live art in collaborative contexts
Together alone : balancing sole authorship and collaborative approaches to performance making
No full textThe creation of the performance work UKULELE MEKULELE is used as a site to uncover the interactions between the work of the sole author and group-devised processes.\ud
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The increasing acceptance of ‘openness’ in contemporary theatre practice has strong implications for the role of the sole author, who traditionally has been the provider of the ‘closed’ - known quantities that are subsequently ‘realised’ by a production. How can the sole author best write for the seemingly contradictory environment of the group-devised production? \ud
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Critical incidents from the performance are selected for study. These ‘moments that work’ and their provenance are utilized as examples of the interaction of the various forces at play in the performance making process.\ud
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The researcher’s intimate contact with the artwork entails a unique vantage point from which to observe these forces at work. Their evocation and analysis will have relevance for the creators of live art in collaborative contexts.\u
Cello day
No full textThis one-act two hander was intended as an experiment in incorporating JS Bach’s cello suites into a dramatic context. It also played with the dramatic possibilities and constraints of one character being verbal, and the other non-verbal.\ud
This first draft was shortlisted in the 2005 Queensland Theatre Company’s Queensland Premier’s Drama Award.\u
Gentlemen Songsters
No full textThis project was initially envisaged as a compare and contrast proposition between two performances in music venues, a year apart, at the Melbourne Ukulele Festivals 2013 and 2014. The covert intermedial incorporation of scripted, theatrical elements into an ostensibly musical performance was the initial focus. However, the opportunity arose to continue the creative practice towards a performance outcome at the Queensland Cabaret Festival at the Brisbane Powerhouse in June of 2014. This expanded project was titled ‘Gentlemen Songsters’ and enabled a refinement and honing of the event beyond what was initially planned. In addition to the composition, recording and curation of original songs, this process involved two cycles of performance, videography, transcription, re-writing and re-performance.\ud
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Led by this creative practice, the research investigated the potential for sonata and song cycle as influences on performance structure, in the creation and performance of Composed Theatre. This manifested as a theatricalisation of compositional processes. Performed by ‘Tyrone and Lesley’, performance personae of David Megarrity (lyricist/composer/performer/ukulele) and Samuel Vincent (composer, musician, performer), Gentlemen Songsters played at the Brisbane Powerhouse as part of its inaugural Queensland Cabaret Festival on June 13 201
Backseat Drivers
No full textScript for non verbal performance work for young audiences.\ud
Three productions by the Queensland Theatre Company 2000-2002.\ud
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(QTC/QPAC) Out of the Box Festival of Early Childhood 2000.\ud
Queensland Arts Council Tours 2000, 2001, 2002. Seoul Arts Centre 2000\ud
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Selected by ASSITEJ as a representative script for Australia\ud
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Set entirely in the backseat of a car, with the road behind appearing on a rear-projection screen, Backseat Driver is the story of two very different children battling the fingerdrumming, motor-humming boredom of a long car trip. \ud
Using non-verbal performance, video projection and the music of Cliff Richard, Elvis Presley and the Shadows, Backseat Drivers is a comedy for anyone who has ever asked the question ”are we there yet?”. Exploring the power of creative play, Backseat Driver has enjoyed three productions, including a season for Korean audiences at the Seoul Arts Centre in 2001.\u
Fallen Awake
No full textPhoto from process: David Megarrity, albury 2007 - example of convergence of writing/design/perfomance/video\ud
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RESEARCH COMPONENT\ud
Fallen Awake was a practice-led research process that opened the development process to the influence of collaborative authorship across artforms. \ud
The project focused on of how multiple artforms and artists converge their vision into a singular text, in the context of collaborative authorship. The work also uncovered new questions relating to the dream-life of children.\ud
The stimulus for the work was a selection of verbal statements by three-year-olds, raising complex ethical questions as the project progressed about the child’s voice, mediated by the adult artist, for the eventual presentation to a child audience. \ud
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With the text emergent and open to influence, this project raised other questions related to the lived experience of children, dreaming, creative play and the development of consciousness. It pushed the creative process to experiment with associative, rather then causal narratives, and to negotiate the challenges this raises for traditional story structures and the development processes that usually shape them. It led to the consideration of each artforms and artist as equal contributors in the development of story: traditionally the province of the sole author.\ud
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The outcomes appeared in various artforms, none of which was live-performance based. An ‘artist’s book’ by the designer, a ‘video treatment’ - a DVD capturing the approach to the performance and a script for an innovative large-scale performance. \ud
Fallen Awake was developed with the assistance of Strut & Fret Production House, Arts Queensland, and HotHouse Theatre, Albury Wodonga, through their ‘Month in the Country’ initiative.\u
Unlucky for Some : 13 poems by Roger McGough
No full textInspired by and featuring the poetry of Roger McGough (by permission of the author), Unlucky for Some is a spare, minimalistic work about homelessness, mental illness and class division performed entirely in slow motion.\ud
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This multimedia work also utilised prerecorded and live feed video and music, and experimented with synchronous and asynchonous live and mediatised performance
Gate 38
No full textAirports are a place of transition, empty halls of fleeting comings, goings and waitings. 'Gate 38' follows the experience of four groups of young people trapped at this point of departure. As contact with the outside world is cut off, the focus is placed squarely on what they’re doing, and where they’re going.\ud
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A non-traditional musical set at the end of the world. Commissioned by MacGregor State High School's Centre of Artistic Development, script development included workshops with the CAD class of 2007. No musical score required
Darkening the lines
No full textA collaborative process reviewed from the inside: David megarrity and Clare carmody examine what it's like to make a 'real play' with 8-12 year olds
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