22 research outputs found
My lover will come to me and I\u27ll know him instantly [first line of chorus]
No full textPerformers: Alice Faye, Adolphe Menjou, Gregory Ratoff, Ted Healy, Patsy Kelly, Michael Whalen, Ritz BrothersPiano, Voice and Chord
I\u27m sittin\u27 high on a hilltop, tossin\u27 all my troubles [first line of chorus]
No full textPerformers: Dick Powell, Fred Allen, Paul Whiteman, Ann Dvorak, Rubinoff, Patsy Kelly, Yacht Club BoysPiano, Voice and Chord
I\u27m sittin\u27 high on a hill top tossin\u27 all my troubles to the [first line of chorus]
No full textPerformers: Dick Powell, Ann Dvorak, Fred Allen, Patsy Kelly, Paul Whiteman and Band, Ramona Rubinoff, Raymond Walburn, Yacht Club BoysPiano, Voice and Chord
Thanks a million, a million thanks to you for ev\u27rything that [first line of chorus]
No full textPerformers: Dick Powell, Ann Dvorak, Fred Allen, Patsy Kelly, Paul Whiteman and Band, Ramona Rubinoff, Raymond Walburn, Yacht Club BoysPiano, Voice and Chord
I\u27m in the mood for love, simply because you\u27re near me [first line of chorus]
No full textPerformers: George Raft, Alice Faye, Frances Langford, Patsy Kelly, 3 Radio Rogues, Harry BarrisPiano, Voice and Chord
If you\u27ve never had to count a million sheep, [first line of chorus]
No full textPerformers: George Raft, Alice Faye, Frances Langford, Patsy KellyPiano, Voice and Chord
Looking at sound / listening to image
No full textThis thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel UniversityThis thesis discusses my new sound drawing practice and its development throughout the course of my practice-based PhD research at Brunel School of Arts. “Sound drawing” is a general term that I have chosen to use to describe a body of visual artworks that instigated the composition of soundscapes as well as the design of an audiovisual performance instrument.
I will start by giving a clear picture of the musical and visual arts background that led up to my current sound drawing practice. Then I will go through the individual works created between 2008 and 2012 that have contributed the most to the development of sound drawing. I will discuss how performance sketches... (2009) instigated the shift from composing graphic scores to sound drawing when I was confronted with drawing my graphic scores in real time. In 31 (sound) studies on paper (2010-2011), the sound drawing process began to mature through a closer examination of the visual imagery, drawing materials, physical gestures and the overall sound production. As I started to develop solo performance projects based on my sound drawing practice, I looked back to the compositions projection-reaction (2008-2009) and de (re)construction (2009) which suggested how I might return to using the medium of video. My most recent work, drawalineandlistentoit and R=15 (2012), seems to constitute a point where all the different strands in my works of the preceding four years come together to produce an intricate collaboration between sound, image and performer. Working with the sound drawings within a performance context, a registration of the sonic event occurs, a form of score is created – and at the same time sound is mixing and moving into the space through the audio software Plogue Bidule, while a visual projection is constructed in realtimev through the VPT software
A Complementary Economy? National Markets and International Product in Early Australian Theatre Managements
No full textThe international circulation of commercial theatre in the early twentieth century was driven not only from the centres of Great Britain and the USA, but by the specific enterprise and habitus of managers in ‘complementary’ production sites such as Australia, South Africa, and New Zealand. The activity of this period suggests a de-centred competitive trade in theatrical commodities – whether performers, scripts, or productions – wherein the perceived entertainment preferences and geographies of non-metropolitan centres were formative of international enterprise. The major producers were linked in complex bonds of partnerships, family, or common experience which crossed the globe. The fractures and commonalities displayed in the partnerships of James Cassius Williamson and George Musgrove, which came to dominate and shape the fortunes of the Australian industry for much of the century, indicate the contradictory commercial and artistic pressures bearing upon entrepreneurs seeking to provide high-quality entertainment and form advantageous combinations in competition with other local and international managements. Clarke, Meynell and Gunn mounted just such spirited competition from 1906 to 1911, and their story demonstrates both the opportunities and the centralizing logic bearing upon local managements shopping and dealing in a global market. The author, Veronica Kelly, works at the University of Queensland. She is presently undertaking a study of commercial stars and managements in late nineteenth- and early twentieth-century Australia, with a focus on the star performer as model of history, gender, and nation
Telling Life Stories Autobiographical performance in the Third Angel repertoire
No full textThis study explores the contribution of three solo performances created by
Alexander Kelly and Third Angel to the field of autobiographical
performance: Class of ’76, The Lad Lit Project and Cape Wrath. The three
Existing Published Works are preceded by a contextual, critical synopsis and
a Timeline of Submitted and Related Projects, positioning them in their
immediate context of Third Angel’s 22 years of practice. The study recognises
the political potential of autobiographical work to give voice to those whose
stories are often overlooked by the dominant media around us as the central
argument for the value of this work. Consequently it considers what the
ethical implications are of using autobiographical performance to tell other
people’s stories.
Chapter 1 introduces the study, and identifies the key literature that has
framed and informed the work: Heddon’s Autobiography and Performance,
Govan et al’s Making A Performance and Maguire’s Performing Story on the
Contemporary Stage. Chapter 2, Mapping The Territory, identifies the key
themes that have emerged in this theoretical consideration of
autobiographical performance in the late 20th and early 21st centuries, notably
the importance of authenticity, the construction of the self, the role of
persona, the relationship to place. It places the work in a lineage of devised
and autobiographical performance, notably the work of Spalding Gray,
Bobby Baker and Bryony Kimmings. Chapter 3, Telling Other People’s
Stories, identifies the importance and impact of the submitted projects.
Recognising the devising methodology of the work, the different roles of
Kelly (deviser, writer and performer) and his principal collaborator Rachael
Walton (director) are identified. Through exploration of a process of real world investigation, the study demonstrates a model of reportage
performance that tells both the stories uncovered and the story of their
discovery. Autobiographical narratives are utilised as a frame to explore
wider themes and to tell other people’s stories. Processes that solicit and value
contributions of auto/biographical stories from participants facilitate the
construction of ‘multi-author solo-performances’ that give voice to those not
positioned or inclined to make performances of their own. Re-telling these
stories, performers find their own resonances, and place their own emphases.
Therefore mechanisms need to be deployed that genuinely invite
contributions, and recognise the responsibility we have as researcher performance-makers to the stories and lives that we tell. Through producing
performances that ‘show their working’, these autobiographical works invite
audiences to imagine, and even make, their own versions, in recognition that
everyone has a story worth telling, and worth hearing.
The three projects are presented in their own volumes that detail their
intentions, their unique devising processes and the evolution of the
performance material. The full touring history of each show is included,
alongside a demonstration of its critical reception and impact. Finally, each is
represented with photographs and a full performance text or transcript
Creating Social Action through Facebook
No full textFacebook, as a popular representative of the social network site genre, has changed the way that social network site users manage their on- and offline social lives and communication, and creates a new rhetorical situation in which users create and perform their identity roles to an unknown audience. This new rhetorical situation requires connectivity, integration, and an understanding of both self as a performer of identity and as a member of a greater audience of other performers. Facebook creates Facebook-specific social action. This social action can be seen in how users manage their social information, communicate, and gather and share information. This thesis is framed by Lloyd F. Bitzer’s theory on elements of rhetorical situation (exigence, constraints, audience, and author) and is inspired by Carolyn Miller and Dawn Shepherd’s genre study of blogs, “Blogging as Social Action: A Genre Analysis of the Weblog.” Bitzer’s theory and Miller and Shepherd’s method assist in demonstrating that social network sites, and Facebook specifically, are functioning rhetorically and are a fitting rhetorical response to American social exigences
