Piano Performance Technical Analysis of The People United Will Never Be Defeated by Rzewski

Liang Deng

doi:10.2478/ejser-2018-0067

Piano Performance Technical Analysis of The People United Will Never Be Defeated by Rzewski

European Journal of Social Sciences Education and Research ◽

10.2478/ejser-2018-0067 ◽

2018 ◽

Vol 5 (3) ◽

pp. 161-171

Author(s):

Liang Deng

Keyword(s):

Technical Analysis ◽

Piano Performance ◽

The People ◽

Performance Techniques

Abstract The piano variations The People United will Never be Defeated by Rzewski contains many modern piano performance techniques and skills. The difficulties of these techniques and skills in these enormous variations are far beyond the boundaries of traditional piano performance techniques and skills. This analysis will give a specific classification for these modern piano performance techniques and skills in order to provide a more comprehensive guide for the piano performers.

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The Art of Making-Up: Ibsen, Ireland, and Metropolitan Performance

Modernist Cultures ◽

10.3366/mod.2010.0107 ◽

2010 ◽

Vol 5 (2) ◽

pp. 291-314

Author(s):

Michael Bogucki

Keyword(s):

New York ◽

Turn Of The Century ◽

Business Practices ◽

The People ◽

Performance Techniques ◽

And Performance ◽

Almost All ◽

The U.S

The economies of theatre and performance in Ireland in the 1890s depended on various intersections of cultural and nationalist politics, but they also depended on Ireland's position within the wider circulation of English, European, and U.S. touring companies. This essay traces Herbert Beerbohm Tree's production of Henrik Ibsen's An Enemy of the People from London to New York and Dublin. Tree's decision to stage the play is a key moment because it moves Ibsen's work out of small, independent theatres and into a major touring company's repertoire. At the same time, especially while on tour in Ireland and the U.S., Tree's performance techniques and business practices obscured almost all of the qualities in Ibsen's work that had made him so controversial and had inspired the independent theaters in the first place. Following Tree's production illuminates two important shaping conditions for theatrical writers and entrepreneurs at the turn of the century: the demands for “stage business” within a burgeoning London-based commercial touring circuit and the effects of the experience of empire on performances of “parochial” languages.

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