Showing papers by "Royal Central School of Speech and Drama published in 2013"
TL;DR: Martinez, Cote, Notaro, and Lee as mentioned in this paper proposed that the heteronormatively sexy female comic body can derive or enhance its comic proposal via the incongruity of its designated unfunniness.
Abstract: This article proposes that the heteronormatively sexy female comic body can derive or enhance its comic proposal via the incongruity of its designated unfunniness. Performances by practitioners Ursula Martinez, Olivia Cote, Tig Notaro, and Olivia Lee are analysed in order to illuminate and confound potentially heteronormative conceptions of humour and the comic body. The potentiality of a ‘sexy scatology’ is revealed.
11 citations
TL;DR: In this article, the Mantle of the Expert (MoE) project resulted in Year 5 children creating performances and engaging with heightened versions of gendered femininity in their primary school.
Abstract: In this paper I offer a queer analysis of several key moments during a Mantle of the Expert (MoE) project that resulted in Year 5 children creating performances and engaging with heightened versions of gendered femininity in their primary school. I will refer to theoretical notions of transvestism as a means of challenging the notions of binarism, and the categories of female and male and thus ask if MoE can indeed disrupt the notion of universal meanings often found within its form.
5 citations
TL;DR: The Asperger's Are Us troupe as discussed by the authors is a comedy troupe based in Massachusetts comprised of four individuals with Aspergers, three of which have developed a sense of humour that differs from that of a neurotypical person.
Abstract: In this interview I talk with Noah Britton, Jack Hanke and Ethan Finlan, three members of Asperger's Are Us, a comedy troupe based in Massachusetts comprised of four individuals with Asperger's. The fourth member, ‘New’ Michael Ingemi, joined the interview just as we were wrapping up. Since its first description by Hans Asperger, many clinicians have suggested that Asperger's is characterized by deficits in humour comprehension.1 This view has been challenged by V. Lyons and M. Fitzgerald but there is still surprisingly little empirical literature on the topic, and this myth seems to persist despite much anecdotal evidence to the contrary. I would suggest that the very existence of Asperger's Are Us undermines that persistent myth. In our discussion the group talk about their sense of humour, how it might differ from that of a neurotypical person and what they think about popular representations of the condition. Furthermore, I would suggest that their views, and their work more generally, are bes...
4 citations
TL;DR: This article explores enhancing sincerity, honesty, or truthfulness in computer-generated synthetic speech by accompanying it with music by considering one response to this notion in an especially composed melodrama (music accompanying a (synthetic) spoken voice) designed to convey sincerity.
Abstract: This article explores enhancing sincerity, honesty, or truthfulness in computer-generated synthetic speech by accompanying it with music. Sincerity is important if we are to respond positively to any voice, whether human or artifi cial. What is sincerity in the artifi cial disembodied voice? Studies in musical expression and performance may illuminate aspects of the ‘ musically spoken ’ or sung voice in rendering deeper levels of expression that may include sincerity. We consider one response to this notion in an especially composed melodrama (music accompanying a (synthetic) spoken voice) designed to convey sincerity.
4 citations
23 Sep 2013
TL;DR: In this article, the authors discuss how qualities of therapeutic presence can be contextualised as performative in nature, with specific reference to Eugenio Barba and the cultivation of presence in training both the actor and the therapist.
Abstract: The phenomenon of therapeutic presence is notoriously difficult to articulate and may benefit from dialogue with the discipline of performance studies. This paper discusses how qualities of therapeutic presence can be contextualised as performative in nature. Qualities of presence in both the therapist and the performer are discussed, with specific reference to Eugenio Barba and the cultivation of presence in training both the actor and the therapist. The author then reflects on the piece ‘The Artist is Present’ by Marina Abramovic for its capacity to explore presence and intimacy within a performance piece.
3 citations