Performing Arts
http://hdl.handle.net/10034/622954
2024-03-29T07:48:57ZLost, Found, Reimagined - Roberto Gerhard’s Viola/Cello Sonata(s)
http://hdl.handle.net/10034/628309
Lost, Found, Reimagined - Roberto Gerhard’s Viola/Cello Sonata(s)
Sproston, Darren
The Viola Sonata (1948) sits at a pivotal time in Gerhard’s output. Through the 1940s he had composed his Symphony: Homenaje a Pedrell (1940-41), Don Quixote (1940), Alegrías Suite (1942), Concerto for Violin and Orchestra (1942-43), Pandora Suite (1944-45) culminating in the tour de force which is The Duenna (1945-47). The Sonata marks the point at which Gerhard starts to seriously style his method of adopting serial technique leading to the exploration of its use beyond mere pitch manipulation.
The Viola Sonata had been lost for a number of years until deposited at the Cambridge University Library as part of the Roberto Gerhard archive in 2016. There are two manuscripts, the full score and the solo viola part. It consists of 33 pages on 12 stave landscape manuscript paper. The dedication is to the viola player Anatole Mines (1915-1993) who performed the premiere of the work in 1950 accompanied by Gerhard. Until 2016, the only available legacy of this work was its revision in the form of the Cello Sonata (1956). This paper investigates the differences between the Viola and the Cello Sonata to discover the extent to which the later work arranges or reimagines the former.
In touch and between: a tactile toolkit for creative practitioners to navigate touch within their creative practice
http://hdl.handle.net/10034/627898
In touch and between: a tactile toolkit for creative practitioners to navigate touch within their creative practice
Robinson, Dina
Touch in performance and movement practice is not a new concept, although it tends to inhabit movement therapy, partnering techniques, alignment studies, and ethics. However, this article addresses the importance of touch in creative practice with reference to holistic embodied movement, sense of self, one’s agency and situatedness. Employing a somatic methodology and phenomenological lens, this article presents tactile practice as research carried out from 2019 to 2022 with master’s students and professionals delivered in the space and online as a lecture-workshop at People Dancing UK’s Perspectives on Practice. This overarching framework highlights methods of touch prior to the pandemic demonstrating how one perceives and responds to contact from another body whilst retaining authenticity; shifts in tactile engagement during the pandemic and how it aids solo practice; and opens up conversations on reintroducing touch post pandemic with possible cross-disciplinary practice. The research investigates/investigated tactile stimulations within passive, active and intra-active touch as a listening tool in the solo body and between bodies. Through various case studies, these are examined in relation to creative inquiry and artistic identity. The article aims to challenge power relations and conventional connotations around touch and practice as well as offer new tactile engagements within solo creative practice. It also proposes touch as a collaborative mesh for cohesion and keep us in touch through a practical tactile toolkit. This will resonate with somatic movement practitioners in particular, however its inclusive nature means specific approaches may resonate with practitioners in other creative disciplines.
A New Conceptual Framework for Understanding and Doing Brand Placement: Applicable to Televised Drama on a Cross Cultural Approach
http://hdl.handle.net/10034/627807
A New Conceptual Framework for Understanding and Doing Brand Placement: Applicable to Televised Drama on a Cross Cultural Approach
Özbay, Burcu
Product placement, which can also be referred to as “brand integration” or “brand placement”, is perceived as an “alternative” method to traditional advertising among practitioners and scholars due to its significant advantages over traditional advertising e.g., the hidden nature of it. This multifaceted practice of product placement, which can be found in various platforms and forms, is an under-researched phenomenon outside the United States. Although it attracts considerable attention from academics, further research is needed, as the majority of studies in existence tend to focus on the United States and take an audience-centred approach to the practice. Furthermore, the research area of existing research tends to revolve around the practice within movies.
In contrast, this cross-cultural research analyses product placement practices from the perspective of form on the screen to gain a more in-depth understanding of brand placement in televised drama / soap operas. It employs a hybrid quantitative and qualitative content analysis and case studies to draw a comparison between contrasting national contexts, Turkish and British, to reveal the international differences in the forms of brand placement and map out all observed forms of product placement. Furthermore, this thesis assesses which forms of product placement are used in well-known successful examples of product placement from the USA. Based on the analysis of product placement practices in the UK, Turkey and the USA, this thesis proposes a conceptual framework that demonstrates successful forms of brand placement, and the differences in practices in the UK, Turkey and the USA. This framework also highlights the forms which are common across all three nations, and thus hypothesises the forms which should be used when developing a placement which can be effective internationally.
The data, collected during the content analysis, was from four soap operas: Coronation Street, Emmerdale, Cesur ve Güzel, and İçerde. Twenty-five episodes from each were examined. The findings reveal that there are distinct differences between the placement practices used in the United Kingdom and those used in Turkey. Notably, placements in the Turkish soap operas are much more prominent, appearing more frequently in the foreground of scenes and often feature high levels of plot connection and character interaction, whereas placements in the British soap operas tend to be featured in the background of scenes, typically featuring low levels of plot connection or character interaction.
Eight well-known successful examples of product placement within eight different television series from the USA were analysed. All featured high levels of character interaction, plot connection, and prominence. Most also featured verbal cues including characters expressing their opinions about a brand / product.
Whilst it could be argued that British culture is more akin to American culture, the practices observed in the Turkish soap operas are closer to those observed in the well-known successful examples, which are all from American television content.
Key Words: Advertising, Product Placement, Brand Placement, Turkish Television, British Television, Comparative Content Analysis, Case Studies, and Soap Operas.
2023-05-01T00:00:00ZGary Owen’s Iphigenia in Splott: The Anthropocene as Tragedy
http://hdl.handle.net/10034/627564
Gary Owen’s Iphigenia in Splott: The Anthropocene as Tragedy
Kerrigan, Stef
The fate of the tragic Greek figure Iphigenia is intrinsically connected to her environment in classical canonical source texts. Her death, depicted in Euripides’ Iphigenia at Aulis, is the result of human failings, and yet the natural world and the climate play an integral part. In 2015, Gary Owen transposed the narrative of this classical heroine to Cardiff, Wales, to consider the ruins of contemporary Britain in an increasingly hostile environment of austerity. Owen’s play is a scathing indictment of the overpopulated and under-resourced urban environment, but it is ultimately a catastrophic climate event that leads to the tragedy within this adaptation. Classical tragedy is a predominantly anthropocentric dramatic form. However, with reference to Owen’s Iphigenia in Splott and utilising emerging ecocriticism and discourse, I argue that there is potential for an ecologically sensitive, revisionist perspective in contemporary adaptations of classical tragedy. Building upon Carl Lavery’s and Clare Finburgh’s provocation that, “the Anthropocene is a term that invariably attests to humanity’s inability to impact upon and intervene in natural processes [and] it simultaneously highlights humanity’s failure to harness or control such interventions” (34), I consider what the real tragedy is within Owen’s play. Is the tragedy of his Iphigenia a tragedy of humanity’s failure to cohabit with the natural environment without causing harm or, perhaps more broadly, a tragedy that reflects the failure of a historic and dogmatic anthropocentric view in theatre and beyond?
Reprinted with permission from the author. Originally published in Critical Stages/ Scènes critiques (https://www.critical-stages.org
Kerrigan, S. Gary Owen’s Iphigenia in Splott: The Anthropocene as Tragedy, 26. 2022.
2022-12-01T00:00:00Z