Thomas Meacham. The Performance Tradition of the Medieval English University: The Works of Thomas Chaundler

2020 ◽  
Author(s):  
Mishtooni Bose
Keyword(s):  
Performance Tradition

Pre-Rehearsal Questions of Performance Tradition and Play-Selection

2018 ◽  
Author(s):  
Kathleen Jeffs
Keyword(s):  
Golden Age ◽  
Selection Process ◽  
The United States ◽  
Spanish Golden Age ◽  
Royal Shakespeare Company ◽  
The Public ◽  
Performance Tradition ◽  
Performance Traditions ◽  
Public Consciousness

This chapter asks the questions: ‘what is the Spanish Golden Age and why should we stage its plays now?’ The Royal Shakespeare Company (RSC) Spanish season of 2004–5 came at a particularly ripe time for Golden Age plays to enter the public consciousness. This chapter introduces the Golden Age period and authors whose works were chosen for the season, and the performance traditions from the corrales of Spain to festivals in the United States. The chapter then treats the decision taken by the RSC to initiate a Golden Age season, delves into the play-selection process, and discusses the role of the literal translator in this first step towards a season. Then the chapter looks at ‘the ones that got away’, the plays that almost made the cut for production, and other worthy scripts from this period that deserve consideration for future productions.

The Role of an Actual Brand Positioning: An Analysis of Digital Advertisements

2021 ◽  
pp. 1-10
Author(s):  
June Won ◽  
J. Lucy Lee
Keyword(s):  
Regression Analysis ◽  
Content Analysis ◽  
Brand Positioning ◽  
Focus Group Interviews ◽  
Mediating Role ◽  
Percentage Difference ◽  
Performance Tradition ◽  
Group Interviews ◽  
The Relationship

The purpose of this study was to: (a) investigate the actual positions in digital communications; (b) assess the relationship between position-congruity among intended positions (i.e., how a firm desires to be perceived by consumers), actual brand positions, and perceived brand positions (i.e., the perceptions that customers have in their minds); and (c) understand the role of actual positioning (AP) in the positioning process. Multiple methods (one-on-one and focus group interviews, content analysis) were applied to analyze positions. Brand managers, golf consumers, and digital advertisements in Golf Digest magazine were sampled. Content analysis, frequencies and percentages, percentage difference, and regression analysis were performed for all positions for each research brand. The results revealed that: (a) tangibility-based positions (88.5%: great quality, innovation) outnumbered intangibility-based ones (11.5%: tour performance, tradition) in digital AP, (b) there was no positive correlation between the degree of congruence between intended and AP and the degree of congruence between intended and perceived positioning, and (c) the AP mediated between intended and perceived positioning in the brand positioning model. The study provides empirical evidence for the mediating role of AP and suggests modifications to the previous positioning process.

A New Source for Schubert’s Hebrew Psalm 92 (D. 953)

2016 ◽  
Vol 13 (1) ◽  
pp. 71-81
Author(s):  
David Rees ◽  
Alon Schab
Keyword(s):  
Early Stage ◽  
Hebrew Text ◽  
Franz Schubert ◽  
Oral Performance ◽  
Starting Point ◽  
New Variant ◽  
Performance Tradition ◽  
Manuscript Dating

In the summer of 1828, Franz Schubert composed his one and only piece in Hebrew: an excerpt of Psalm 92, set for four-part choir and Solo Baritone. The main sources available until now for this composition, a manuscript in the Gesellschaft der Musikfreunde (A-Wgm Sammlung Witteczek-Spaun Bd. 31) and a printed version in Salomon Sulzer’s compendium of Viennese synagogal music, Schir Zion (Song of Zion), date to 1834/35 and 1839/40, respectively. A newly discovered manuscript, dating from 1832, represents an early stage in the compilation of Schir Zion and contains the earliest known source of Schubert’s piece. New variant readings with regard to pitch, ornamentation and text underlay suggest that Schubert’s lost autograph may not be the immediate parent of the best sources known until now. With its title in Hebrew calligraphy, moreover, this manuscript was clearly intended for Jewish use; it thus challenges the authority of Schir Zion with regard to the underlay of the Hebrew text. The manuscript demonstrates a starting point in the adaptation by later editors, including Salomon Sulzer’s son Joseph, of Schubert’s Hebrew composition from the living, essentially oral performance tradition of an expert cantor to the formal written requirements of publication for a far-flung audience.

The Elocutionists

2017 ◽  
Author(s):  
Marian Wilson Kimber
Keyword(s):  
Women Composers ◽  
Women's Colleges ◽  
Spoken Word ◽  
Women's Clubs ◽  
Late Nineteenth Century ◽  
Performance Practices ◽  
Performance Tradition ◽  
Oral Interpretation ◽  
Private And Public ◽  
History Of

Poetry recitation and music intersected in performances by American women between ca. 1850 and 1950. Through oral interpretation of literature, women aspired to a place in high culture, yet in taking to the platform, female elocutionists transgressed the previous boundaries between private and public domains. Nonetheless, programs, press reports, and archival materials from women’s clubs, elocution schools, women’s colleges, and the Chautauqua circuit demonstrate that musical and literary entertainments by professional and amateur female performers were widespread. Repertoire was selected to be socially acceptable for women and to distinguish elocutionists from morally-suspect actresses. Many of the performance practices typical of spoken word and accompaniment are unknown today because they fall outside our conception of the musical work. Although women’s increasing dominance of the field of elocution resulted in its subsequent denigration as a “feminine” profession, their spoken-word performance tradition influenced the history of music, and they became the primary composers of melodramatic compositions in twentieth-century America. The Elocutionists is thus a study of the intersection of gender and genre, demonstrating female elocutionists’ role in the creation of musically-accompanied recitation and women composers’ transformations of late nineteenth-century practices in creating works that would appeal specifically to women.

Grand Ole Opry at Carnegie Hall. Gaylord Entertainment Company DVD, 2006.

2007 ◽  
Vol 1 (2) ◽  
pp. 293-295
Author(s):  
Jocelyn R. Neal
Keyword(s):  
Performance Tradition ◽  
Carnegie Hall

Backstage at the Grand Ole Opry is one of my favorite places in Nashville. After checking in at the security desk, guests are free to wander the maze of hallways that connect the historic dressing rooms. Onstage, guests crowd into seats between the musicians and the red country-barn backdrop, watching the bustle of the show as the curtain rises and falls between segments. Announcers read famous slogans in advertising copy; legendary singers in sequins and rhinestones chat with up-and-coming performers in the wings; the Carol Lee Singers and house band keep the music humming along. Headliners take the stage and crack jokes with the audience, who, in turn, applaud their approval at the beginning of favorite songs. Square dancers kick up their heels while fans gather at the footlights to snap scrapbook pictures. The live broadcasts of the Grand Ole Opry on WSM, on the air continuously since 1925, represent a collision of country's past and present in a beloved, nostalgic, and slightly chaotic performance tradition.

Performing the Argument

2021 ◽  
pp. 257-278
Author(s):  
K. V. Akshara
Keyword(s):  
Oral Performance ◽  
Southern State ◽  
Traditional Form ◽  
Verbal Skills ◽  
Narrative Tradition ◽  
Performance Tradition ◽  
The Relationship

This chapter elaborates on a predominantly oral performance tradition called Talamaddale which is linked to the popular traditional form of Yakshagana performed in the southern state of Karnataka, India. Unlike the song, dance, and spectacle of Yakshagana, Talamaddale is known for the improvisatory verbal skills of actors who engage in intricate debates around specific characters and situations from the Ramayana narrative and other puranas. Highlighting the performative aspects of Talamaddale, the chapter interrelates three layers of texts which are illustrated with vivid examples: the written prasaṅga or narrative; the songs from the prasanga sung by the bhāgawata or lead singer; and dialogues that are improvised between the actors in each performance. Focusing on the relationship between Talamaddale and the Ramayana narrative tradition, the chapter shows how episodes from the source texts are selected, elaborated, interpreted, and textured into argumentative performances in which different episodes from diverse versions of the Ramayana narrative come alive through debating techniques and verbal repartee.

Historiography

2019 ◽  
pp. 53-95
Author(s):  
Brahma Prakash
Keyword(s):  
Cultural Practice ◽  
Cultural Policies ◽  
Gender Biases ◽  
Performance Tradition ◽  
Methodological Problems ◽  
The Subject ◽  
Folk Performance ◽  
Alternative Sources ◽  
And Gender ◽  
Theatre Historiography

The historiography of ‘folk performance’ discusses the existing studies on the subject from the colonial period to the present and points out the discrepancies leading to methodological problems. Scholars have discussed the politics of cultural practice in the context of the colonial and nationalist politics, neo-colonial state’s cultural policies, and in the context of bourgeois morality and sexual politics. These criticisms have exposed the inherent class and gender biases of the colonialists, the nationalist and the middle class that lead to the disavowal of such performances. Nevertheless, these criticisms have remained primarily confined to the level of theatre historiography and counter-discourses. The work is an attempt to go beyond theatre the historiography and counter-discourse modes. It aims to take account of the mode of articulation coming from the alternative sources. Broadly, it discusses the legacies of marginalization that have become part of this performance tradition.

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