Alienation Theory in Multi-Media Performance

Josette Feral; Ron Bermingham

doi:10.2307/3208248

What the World Needs Now is Love, Sweet Love (Punks)

Cultural Studies Review ◽

10.5130/csr.v21i1.4434 ◽

2015 ◽

Vol 21 (1) ◽

Author(s):

Debra Myers ◽

Dave Palmer

Keyword(s):

Cultural Heritage ◽

Cross Cultural ◽

Aboriginal Community ◽

New Methods ◽

The World ◽

Multi Media ◽

Media Performance ◽

Regional Languages ◽

Music Recordings

This article explores the development and creative outcomes of the Yijala Yala Project. This project was created in the Pilbara region as a long-term, inter-generational, multi-platform arts project that set out to highlight cultural heritage as living, continually evolving and in the ‘here and now’ rather than something static. The project name Yijala Yala means ‘now’ in the two main regional languages of Yindjibarndi and Ngarluma. Yijala Yala works with members of the local Aboriginal community to create content that reflects cultural heritage in new ways, and is also created using new methods of teaching and skill-building.Yijala Yala has created content in the following media: films, music, recordings, photographs, books, animation and apps. A major artistic outcome of the project is the beautiful operatic, cross-cultural, multi-media performance work Hipbone Sticking Out, which has played in the Centenary of Canberra Festival and the Melbourne Festival, as well as in Roebourne and Perth.

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Music Trouble: Desire, Discourse, Education

Canadian University Music Review ◽

10.7202/1014822ar ◽

2013 ◽

Vol 18 (1) ◽

pp. 84-98 ◽

Cited By ~ 3

Author(s):

Roberta Lamb

Keyword(s):

Music Education ◽

Identity Construction ◽

Border Crossings ◽

Musical Scores ◽

Multi Media ◽

Media Performance

"Music Trouble" is an experimental paper, a linear re-presentation of the multi-media performance (which included costume, poetry, photographs, and musical scores, in addition to the paper) designed for the Ottawa Border Crossings Conference. "Music Trouble" explores identity construction through music and music education, specifically in relation to issues of sexuality. Judith Butler's idea of "gender is drag" and Sue-Ellen Case's "butch-femme aesthetic" are employed in conjunction with feminist auto/biography to critique current theories and practices supporting music education.

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Ghosts of Love

Samuel Beckett Today / Aujourd hui ◽

10.1163/18757405-03002010 ◽

2018 ◽

Vol 30 (2) ◽

pp. 167-178

Author(s):

Stanley E. Gontarski

Keyword(s):

Repetitive Movement ◽

Research Project ◽

Laboratory Performance ◽

Waiting For Godot ◽

Multi Media ◽

Media Performance ◽

The 1950S

Abstract This essay focuses on two laboratory performances. First was my staging of Ohio Impromptu, a bi-lingual, imagistic, multi-media performance that I directed in Sopot, Poland in May of 2016 with Polish filmmaker Elvin Flamingo as a laboratory performance. Part of the attraction to such a research exercise was the opportunity to work again with English actor Jon McKenna, and with legendary Polish actor Ryszard Ronchewski, who played Lucky in a Polish production of Waiting for Godot in the 1950s. The following year I returned to what I saw as an incomplete research project, as I was afforded a similar opportunity to explore another work for a laboratory performance, “… but the clouds …,” a treatment of love lost, through abandonment or death, perhaps, as a set of haunting images or images of hauntings. These were attempts to excavate possibilities of the work in intense, two-day laboratory rehearsals and performances. In the case of “… but the clouds …,” I worked with Polish filmmakers Szymon and Martyna Eliasz and their team, with whom we decided to film and record all of the teleplay except the comings and goings, and the patterns of repetitive movement.

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