Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea

This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.

Live from the Sydney Opera House: Remote musical interactions for teacher professional development

A significant challenge for the implementation of the Australian Curriculum: The Arts is the professional development of primary school teachers in all parts of the country. During 2012, the Sydney Symphony Orchestra (SSO) conducted a remote music professional development workshop as part of the Sydney Opera House’s Digital Education Program for teachers in New South Wales using the Department of Education’s Connected Classroom system which allows live synchronous interaction between facilitators and participants in multiple sites. In this article, we analyse observational and videotape data collected during this live professional development event to consider the opportunities and challenges presented by this type of professional learning experience in the arts. In particular, consideration is given to the impact of a remote musical interaction on embodied learning and aesthetic experience. We draw on actor-network theory to consider the ways in which a remote professional development experience differs to one in which all participants are present in the same space. Finally, we conclude that although there are significant differences in the type of learning that occurs in a remote music interaction, the online space provides a legitimate and potentially transforming experience for primary school teachers.

Bibliotheca zoologica Fenniae opera annorum 1901-1930

Suomessa vuosina 1901-1930 julkaistun eläintieteellisen kirjallisuuden bibliografia.

Being in between: An Ethnographic Study of Opera and Dialogical Identity Construction

The paradoxical co-existence of conflicting logics governs practices in cultural organizations. This requires ‘balancing acts’ between artistic and managerial efforts, which are often subjects to struggle among the organizational members. This ethnographic study aims to go beyond either-or thinking on the paradoxical organizational context by examining how the organizational members of an opera house construct views on their organization in dialogical meaning-making processes. Various professional groups, dozens of upcoming productions, increased international cooperation, and global competition combined with scarce financial resources make opera houses a complex though interesting context for organization studies. In order to provide a deeper knowledge of the internal dynamics of an opera organization this thesis takes an interpretative view to examine the ways organizational members construct and make sense of their organization. How is the opera organization constructed by the organizational members? How do the members draw on different logics when relating to their organization? Or what are the elements that characterize the relational processes of organizational identity construction in an opera organization? The thesis aims to answer these questions by providing a detailed description of the everyday life of an opera organization and a particular focus put on organizational identity construction. The processes of organizational identity construction are approached from a relational point of view. This may involve various relations between multiple positions, different professional groups, other organizations in the cultural field or between past and present understandings of an organization. The study shows that the construction of an opera organization involves not only the two conflicting logics of art and economy, but also the logic of a national institution. The study suggests also that organizational identities are constructed through processes related to the dialogics of positions, work and management practices. The dialogics involve various struggles through which the organizational members find themselves between the different organizational aspects such as visiting ‘stars’ and an ensemble or between ‘Finnishness’ of opera productions and internationalization. In addition, the study argues that a struggle between different elements is a general mode of relation in cultural organizations and therefore an inherent and enduring aspect in the organizational identity construction. However, the space of ‘being in between’ involves both the enabling and constraining elements in the dialogical identity construction in the context of cultural organizations, which present the struggle in a more generative light.

Vita, et fatti dell'invitissimo imperatore Carlo Qvinto, et historie universali del mondo, de' suoi tempi... opera vitilissima a prencipi, signori, & capitani, & qual si voglia persona che d'historie si diletta composta dal Sig. Alfonso Ulloa, con la Pace, & Capitolationi seguite, tra li due potentissimi Prencipi Di Francia, & Spagna : & Con Toaule Copiosissime : & In questa ultima qditione in molti moughi mccresciuta, & migliorata

Afonso de Ulloa, escritor espanhol, nasceu em Zamora na primeira metade do século XVl e morreu em Veneza, Itália, em 1580. Filho de Francisco de Ulloa, oficial que esteve na África com Carlos V, seguiu também a carreira das armas, estabelecendo-se depois em Veneza. Desempenhou várias missões diplomáticas, escreveu muitas obras e traduziu para o italiano, língua que conhecia tanto quanto a materna, autores espanhóis e portugueses. Quanto à obra Vita, et fatti dell' invitissimo imperatore Carlo Qvinto.. . sabe-se que foi pela primeira vez impressa em Veneza em 1560 por Vincenzo Valgrisio e que foi muitas vezes reeditada. Salvo pela época, a edição supra referenciada não oferece grande interesse artístico, mas há uma interessante gravura com a efígie de Carlos V.

Explicação do salmo cincoenta feita a rogo da madre Dona Isabel de Sancto Antonio, ou de Lima, pello P. Fr. Pedro de S. Francisco frade menor da Provincia de Portugal : Dico ego opera mea

Pedro de S. Francisco nasceu em Marzagào, na África, em data desconhecida, e morreu em 1638. O religioso franciscano foi mestre em Teologia e Provincial da sua Ordem. Segundo Inocêncio, na ‘Explicação do salmo cincoenta’, o autor analisa e comenta extensamente cada um dos versos do salmo Miserere mei Dei e afirma, ainda, que "são raros os exemplares deste livro, em que (corno diz o censor Jorge Cabral, que o reviu por ordem do Santo Ofício) resplandece a erudição, doutrina, piedade e sabedoria do autor". O impressor da obra, Pedro Craesbeeck, nasceu em Antuérpia, onde aprendeu a arte da impressão na famosa Oficina de Cristóvão Plantino. Mudou-se para Portugal por volta de 1592, onde fundou uma verdadeira dinastia de impressores célebres que ali trabalharam nos séculos XV e XVI. Responsável pela impressão de obras de grande beleza tipográfica. Pedro Craesbeeck tornou-se impressor régio, conforme consta em alvará de 28 de maio de r620. Seus trabalhos foram editados no período de 1597 a 1632.

Io. gottl. heineccii, iureconsulti quondam celeberrimi : recitationes in elementa iuris civilis secundum ordinem institutionum, accedunt io. christ. gottl. heineccii ... commentarius de vita, fatis ac scriptis b. parentis, auctior emendatior christiani thomasii, delineatio historiae juris nec non burc. gottelf. struvii, bibliotheca juris selectissima cum notis hen. contelmanni, ubi praestantiora iurisconsultorum opera ad nostra usque tempora referuntur

Título Uniforme : Corpus Juris Civilis. Institutas.

Megaeventos e direito à moradia: como opera o empreendedorismo urbano no contexto do neodesenvolvimentismo. O caso do Parque Olímpico no Rio de Janeiro

Esta pesquisa busca investigar um processo em curso, onde a estratégia do empreendedorismo na gestão das políticas públicas urbanas vem se adaptando e se conformando ao atual contexto de política econômica chamada de neodesenvolvimentismo. Para isso, as parcerias público-privadas tem um papel fundamental na gestão do desenvolvimento urbano, no âmbito das três esferas de poder. Abordaremos, portanto, o histórico das reformas políticas do País que levaram a uma evolução da política de nacional-desenvolvimentismo ao novo desenvolvimentismo, para entendermos o contexto no qual as atuais parcerias público-privadas vem sendo desenvolvidas como modelo para de gerir o território. Mencionaremos também a legislação e os discursos por trás da defesa deste tipo de negócio entre o poder público e o setor privado. Ainda, como o país enfrentou a crise de 2008, chamada de crise das crises, utilizando esse modelo de gestão do território. Os megaeventos esportivos serão analisados como um fator catalizante da atração de investimentos e negócios para as cidades. No Rio de Janeiro, com a escolha da cidade para sediar os Jogos Olímpicos, e também sendo uma das cidades sedes da Copa do Mundo FIFA de 2014, várias de transformações territoriais se iniciaram. Com fortes indícios de que uma série de violações estava por vir, a fim de abrir espaço e ampliar o mercado dos investimentos privados. O Parque Olímpico, como principal local de competições das Olimpíadas de 2016, configura-se como uma imensa oportunidade de negócios com a iniciativa privada, localizado em área de ampla expansão do mercado imobiliário da cidade: a Barra da Tijuca. Diante disso, muitas comunidades pobres vem sofrendo com a política de deslocamento forçado para dar lugar aos investimentos no território. Neste contexto, está a comunidade Vila Autódromo, estabelecida bem ao lado do local de implementação do empreendimento. Sua remoção está prevista no estudo de viabilidade e no edital de concessão. Estudaremos a parceria público-privada realizada para a construção do Parque Olímpico, através da análise dos documentos relacionados ao seu processo licitatório e a escolha do consórcio vencedor. Ainda, como esse empreendimento tem impactado no caso da comunidade Vila Autódromo, que além de já ter sido alvo de outras tentativas de remoção, foi objeto de uma política de regularização fundiária no passado e tem um intenso histórico de resistência e de luta pela permanência.

SS.PP. Toletanorum quotquot extant Opera : tomus primus [-tertius]

Nunc primum simul edita, ad codices mss. recognita, nonnullis notis illustrata atque in duos tomos distributa.

ION, OPERA IN SEVEN SCENES, BASED ON EURIPIDES ORIGINAL PLAY

The opera ION serves as my Doctoral Dissertation at the University of Maryland School of Music. The librettist of the opera is Nick Olcott, Opera Assistant Director at the University. My interest in this little-known play of Euripides began with my work with Professor Lillian Doherty of the University's Classics Department. Since I am fluent in Greek, I was able to read the play in original, becoming aware of nuances of meaning absent in the standard English translations. Professor Leon Major, Artistic Director of the University's Opera Studio, was enthusiastic about the choice of this play as the basis for an opera, and has been very generous of his time in showing me what must be done to turn a play into an opera. ION is my first complete stage work for voices and constitutes an ambitious project. The opera is scored for a small chamber orchestra, consisting of Saxophone, Percussion (many types), Piano, a Small Chorus of six singers, as well as five Soloists. An orchestra of this size is adequate for the plot, and also provides support for various new vocal techniques, alternating between singing and speaking, as well as traditional arias. In ION, I incorporate Greek folk elements, which I know first-hand from my Balkan background, as well as contemporary techniques which I have absorbed during my graduate work at Boston University and the University of Maryland. Euripides' ION has fascinated me for two reasons in particular: its connection with founding myth of Athens, and the suggestiveness of its plot, which turns on the relationship of parents to children. In my interpretation, the leading character Ion is seen as emblematic for today's teenagers. Using the setting of the classic play, I hope to create a modern transformation of a myth, not to simply retell it. To this end, hopefully a new opera form will rise, as valid for our times as Verdi and Wagner were for theirs.

VERSATILITY IN THE MODERN PERFORMER: THREE DIVERSE OPERA ROLES

This dissertation project consisted of performances of three diverse operatic roles. The goal was to examine the challenges and benefits of performing diverse repertoire (baroque, classical, and romantic opera, in this case) and to observe how vocal and acting techniques might adjust to different styles and voice classifications. On December 3, 5, 11, and 13,2003, I performed a composite role in Fatal Song, directed by Leon Major, in the Robert & Arlene Kogod Theatre. This opera pastiche, premiered in 1996, contains spoken dialogue, and the music originates from famous eighteenth and nineteenth-century operas. I explored the challenges and benefits of playing three different, well-known opera characters within the same opera, performing four different languages within the same opera, and performing spoken dialogue in an opera. My roles in this pastiche of famous opera included Lucia from Lucia di Lammermoor by Gaetano Donizetti, Manon from Manon by Jules Massenet, and Pamina from Die ZauberJlote by W.A. Mozart. On January 28 and 29, 2005, I performed the role of Nice in Eurilla e Alcindo, a serenata by Antonio Vivaldi, in Homer Ulrich Recital Hall; musical direction by Joseph Gascho and stage direction by Kate Vetter Cain. I explored the challenges and benefits of preparing baroque ornamentation, singing without a conductor, performing an unknown work, staging a work that is not traditionally staged, singing with minimal sets and costumes, and singing with period instruments. On April 16,20, and 24,2005, I performed the role of Musetta in Giacomo Puccini's La BohBme, directed by Pat Diamond and conducted by Jeffrey Rink, in the Ina & Jack Kay Theatre. I examined the challenges and benefits of singing with a large orchestra of modem instruments, singing Puccini rubato and coordinating this with the conductor, and singing a role in one of the most well-known operas in today's repertoire. As a result of this investigation, I concluded that singing different styles, and singing outside one's voice classification, within reason, is beneficial. The knowledge, skill, confidence and insight I acquired by becoming more versatile benefited me as a performer and as a teacher.

THE DIVERGENT PATHS OF OPERA IN THE CLASSICAL PERIOD AS SEEN THROUGH THE OPERATIC WORKS OF CHRISTOPH WILLIBALD GLUCK AND WOLFGANG AMADEUS MOZART

Although evidence of Gluck's influence on Mozart is sometimes discernible, by examining the two operas I have performed and a recital of arias by these two composers we can see clear contrasts in their approach to and expression of classical opera. The two operas discussed are Gluck's Armide and Mozart's Le Nozze di Figaro. Gluck and Mozart were both innovators but in very different ways. Gluck comes from a dramatic background (his principles have been compared to those of Wagner) and Mozart brings together dramatic excellence with the greatness of his musical genius, his gift of melody, and his ensemble writing, which is arguably unequaled in the repertory. A well-rounded performer strives to understand what the composer is really trying to say with his work, what the message to the audience is and what his particular way of conveying it is. The understanding of a composer's approach to drama and character interaction plays a huge role in character development. This applies no matter what role you are preparing whether it is baroque opera or late romantic. Discovering the ideals, style, and purpose of a composer contributes to an effective and rewarding performance experience, for those on stage, those in the pit, and those sitting in the seats.

OPERA IN AMERICA: MUSIC OF, BY, AND FOR THE PEOPLE­: A PERFORMANCE DISSERTATION

Opera in America: Music of, by, and for the people is a study of the relationship between American popular culture and opera in the United States. Four performance projects demonstrate the on-going exchange between the operatic community-including its composer, singers, and patrons-and the country's popular entertainment industry with its broad audience base. Numerous examples of artistic cross pollination between lowbrow and highbrow music will illustrate the artistic and social consequences created by this artistic amalgamation. Program #1, By George! By Ira! By Gershwin!, is a retrospective of Gershwin's vocal music representing a blending of popular and serious music in both style and form. The concert includes selections from Porgy and Bess, a work considered by many musicologists as the first American opera. Program #2, Shadowboxer, is a premiere performance of an opera by Frank Proto and John Chenault. For this newly commissioned work, I serve as Assistant Director to Leon Major. Shadowboxer provides a clear example of opera utilizing popular culture both musically and dramatically to tell the true story of American hero and legendary boxer, Joe Louis. Program #3, Just a Song at Twilight, is an original theatrical music piece featuring music, letters, diaries, and journals of the Gilded Age, an era when opera was synonymous with popular entertainment. Special attention is focused on tum-of­ the-century singers who performed in both opera and vaudeville. Program #4 is a presentation of Dominick Argento's Miss Manners on Music and illustrates the strong relationship that can exist between opera and American popular entertainment. Originally conceived as a song cycle, I have staged the work as a one-act opera sung and acted by soprano Carmen Balthrop. This piece is based on the writings of pop icon and newspaper columnist Judith Martin, otherwise known as Miss Manners. All four performances are recorded in audio and video formats.

Music for Three Stages: Performance Preparation for Opera, Operetta and Recital

Music for Three Stages: Performance Preparation for Opera, Operetta and Recital began as three stand-alone performances: two operas, Albert Herring and Die Fledermaus, as assigned by my opera program, and a recital of music by composers who wrote operas, art songs and non-operatic large-scale works, which I programmed. Upon starting the process of preparing for these three performances, I hypothesized that each would require unique preparation techniques. What I discovered, however, was that instead of each being unique and isolated in preparation, each performance, along with other performances that I had throughout the year, highly informed my approach to each piece. Through the preparation of program notes, included in this dissertation, as well as the musical preparation of each performance, I concluded that preparing for these performances was a long arc over the course of the year, with much give and take among the styles of music and an integrated style of preparation, instead of the individualized preparations that I expected.