Academic journal article Theatre Research in Canada

An Introduction to Artistic Fraud of Newfoundland

Academic journal article Theatre Research in Canada

An Introduction to Artistic Fraud of Newfoundland

Article excerpt

An extract from a presentation given by Jillian Keiley and Robert Chafe on 26 March 2004 as part of the Shifting Tides: Atlantic Canadian Theatre Yesterday, Today, and Tomorrow Conference held at the Graduate Centre for Study of Drama, University of Toronto.

J: Since our inception, Artistic Fraud of Newfoundland has been developing a mathematically based choreography and directing system in order to produce very specific movement and sound instances on stage, like symphonic music but created with an actor's speaking voice, natural movement, technical elements and blocking. We call this device Kaleidography.

R: If for no other reason than to avoid continuously repeating the preceding long-winded sentence.

J: Kaleidography involves the pre-rehearsal charting of instances of staging.

R: This charting can be accomplished in many forms including music notation.

[ILLUSTRATIONS OMITTED]

J: Flow charts.

R: Grid diagrams.

[ILLUSTRATION OMITTED]

J: And stuff that we simply cook up to suit our own needs.

[ILLUSTRATION OMITTED]

R: That is what an Artistic Fraud "script" might look like.

J: And while one of our Kaleidographic scripts will probably never get published.

[ILLUSTRATION OMITTED]

R: And we'll probably never be famous enough to be chased by the paparazzi.

[ILLUSTRATION OMITTED]

R: There have been a few actors who have given us the benefit of the doubt.

J: Over the years we have cultivated a highly skilled group of performers who have become adept at interpreting these charts that look like the devil's own hieroglyphics to the untrained eye.

[ILLUSTRATIONS OMITTED]

R: [...] I banged into Jillian Keiley at a Christmas party. Then but a mere acquaintance, Jill was ranting about some fantastic idea of dropping sixty square feet of polyester over a twenty person chorus. On top of the sheet, a woman in the throws of unrequited love. By the end of the night we had come up with the basic premise of Under Wraps: A spoke opera. Though I, of course, quickly twisted it to be a gay man in the throws of unrequited love.

[ILLUSTRATION OMITTED]

J: The idea was to compose a ninety minute a cappella opera with naturally spoken text. …

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