TY  - CONF
  - Kulezic-Wilson, D.
  - Theatre Noise - an international conference
  - 'Play' and 're:play': Musical Echoes of Beckett's Stage Poetry
  - The Central School of Speech and Drama, University of London
  - Oral Presentation
  - 2009
  - ()
  - 22-APR-09
  - 24-APR-09
  - A number of composers, such as Heinz Holliger, György Kurtág and Morton Feldman, have written pieces inspired by the rhythm, moods and soundscapes of Samuel Beckett¿s prose. The late British writer and director Anthony Minghella did not try to set Beckett's words to music - he instead made sure they were performed and perceived as such. Minghella'"Play" and "Re:play"s film version of Play (2000) not only brought to the fore musical aspects of this Beckett text (the musical density and sonority of the words and the silences between them, their rich rhythms delivered parlando at breakneck tempo, to mention only some) but also, by overcoming the limitations of live theatrical performance with film technology, allowed Beckett's vision of performative audio-visual counterpoint to achieve its fully controlled, perfected stage. It was this particular performance of Beckett's Play that inspired another piece of music - Ian Wilson's re:play (2007) for improvising saxophonist, string quartet, piano and double bass, which uses the melodically and rhythmically transcribed opening lines of each of Play's three characters as the motivic nuclei for the piece. An exploration of the musical attributes and influences of Beckett's Play and the tracing of the complex web of its manifestations, from original literary and theatrical ones to more recent film and musical ones, ultimately leads to the question: how is musicality defined and perceived in a 'non-musical' context? 
DA  - 2009/NaN
ER  - 

@unpublished{V60789595,
   = {Kulezic-Wilson,  D. },
   = {Theatre Noise - an international conference},
   = {{'Play' and 're:play': Musical Echoes of Beckett's Stage Poetry}},
   = {The Central School of Speech and Drama, University of London},
   = {Oral Presentation},
   = {2009},
   = {()},
  month = {Apr},
   = {24-APR-09},
   = {{A number of composers, such as Heinz Holliger, György Kurtág and Morton Feldman, have written pieces inspired by the rhythm, moods and soundscapes of Samuel Beckett¿s prose. The late British writer and director Anthony Minghella did not try to set Beckett's words to music - he instead made sure they were performed and perceived as such. Minghella'"Play" and "Re:play"s film version of Play (2000) not only brought to the fore musical aspects of this Beckett text (the musical density and sonority of the words and the silences between them, their rich rhythms delivered parlando at breakneck tempo, to mention only some) but also, by overcoming the limitations of live theatrical performance with film technology, allowed Beckett's vision of performative audio-visual counterpoint to achieve its fully controlled, perfected stage. It was this particular performance of Beckett's Play that inspired another piece of music - Ian Wilson's re:play (2007) for improvising saxophonist, string quartet, piano and double bass, which uses the melodically and rhythmically transcribed opening lines of each of Play's three characters as the motivic nuclei for the piece. An exploration of the musical attributes and influences of Beckett's Play and the tracing of the complex web of its manifestations, from original literary and theatrical ones to more recent film and musical ones, ultimately leads to the question: how is musicality defined and perceived in a 'non-musical' context? }},
  source = {IRIS}
}