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Musical Biography: Towards New Paradigms (review)

Musical Biography: Towards New Paradigms (review) 04-reviews302 5/17/07 9:05 AM Page 215 Reviews 215 Tomson, and provide lovely expression to ideas offered up less artfully else- where in the volume; others are playfully compelling, as is Guillermo Verdic- chia. As many interviews with authors can be, other contributions are fairly unhelpful in further sussing out the complex issues of representing lives, and some of the playwrights presented here are prone to trafficking in platitudes. Consistently, authors characterize themselves as parasitic, or even verge on ethical irresponsibility. Lorena Gale, often a powerful voice in the field and in performance, blithely asserts that “I do not see any ethical issues involved in portraying the lives of real people, dead or living, in the theatre,” ignoring a great deal of human contractual behavior (312). This assertion is balanced by Marie Clements’s brief meditation on the accountability of the playwright of auto/biography, but generally, valuable nuggets for academic critics and theorists are harder to find in this section. Perhaps the only other obstacle that such readers might find is the vol- ume’s adherence primarily to the work of Canadian playwrights and theatre practitioners. While the work of these artists certainly deserves greater atten- tion than it currently receives, particularly http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Biography University of Hawai'I Press

Musical Biography: Towards New Paradigms (review)

Biography , Volume 30 (2) – Jul 25, 2007

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2007 Biographical Research Center.
ISSN
0162-4962
eISSN
1529-1456

Abstract

04-reviews302 5/17/07 9:05 AM Page 215 Reviews 215 Tomson, and provide lovely expression to ideas offered up less artfully else- where in the volume; others are playfully compelling, as is Guillermo Verdic- chia. As many interviews with authors can be, other contributions are fairly unhelpful in further sussing out the complex issues of representing lives, and some of the playwrights presented here are prone to trafficking in platitudes. Consistently, authors characterize themselves as parasitic, or even verge on ethical irresponsibility. Lorena Gale, often a powerful voice in the field and in performance, blithely asserts that “I do not see any ethical issues involved in portraying the lives of real people, dead or living, in the theatre,” ignoring a great deal of human contractual behavior (312). This assertion is balanced by Marie Clements’s brief meditation on the accountability of the playwright of auto/biography, but generally, valuable nuggets for academic critics and theorists are harder to find in this section. Perhaps the only other obstacle that such readers might find is the vol- ume’s adherence primarily to the work of Canadian playwrights and theatre practitioners. While the work of these artists certainly deserves greater atten- tion than it currently receives, particularly

Journal

BiographyUniversity of Hawai'I Press

Published: Jul 25, 2007

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