presented by dr. jessica d. butler international trombone festival 2014
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The Creative Identity of Women: An Introduction to Select Chamber Music Theater Works by Composer William
Osborne for Trombonist Abbie Conant
Presented by Dr. Jessica D. ButlerInternational Trombone Festival 2014
William Osborne & Abbie Conant
The Wasteland Company & Chamber Music Theater
• Musical Mono-Dramas• Performance Artist +
Accompaniment• Minimal Sets• Clear, Poetic Texts• Realistic Character Development • Inspired by Samuel Beckett• Focus on the Creativity of Women
A.E.R. Structure
Anticipation Event Reflection
A.E.R. Structure
Winnie (1983)
Winnie (1983)
Winnie (1983)
Textural Analysis Within A.E.R. Structure
Winnie 2 Winnie 3
Miriam Trilogy
“The Trilogy shows us what is behind each of the three doors of the subjective perception of a woman. In
general, we experience a universal anima and feminine spirit. We experience a woman’s spirit of creativity caught in the poisoned landscape of patriarchy. We
experience a world where the feminine is not truly seen, where it is not taken seriously, and where it is
instrumentally zed and deeply violated.” -Abbie Conant
Miriam Trilogy Part One, The Mirror–Musical pantomime– Depicts Miriam’s identity crisis and
attempted suicide
Part Three, The River–Miriam and infant daughter– Biblical reference
Miriam: The Chair
Miriam: The Chair
Miriam 4Miriam 5
“I was personally experiencing pure hatred because I was a feminine being. Just to experience that viscerally…I think a lot of women experience it at an unconscious level and they’re
constantly hiding it from themselves because it’s so painful to be hated because you’re a woman. But it is everywhere if you have eyes to see it…And at the time I didn’t get it. I wasn’t a
feminist—I was a trombone player. I played the best, and I got the job, but then there was all of this other stuff. And it took
many years before I realized it wasn’t about me as a player, it was about me as a woman.” -Abbie Conant
Street Scene for the Last Mad Soprano
The Mad Soprano
Operatic Characters in Street Scene
• Lucia from Donizetti’s Lucia di
Lammermoor
• Brünhilde from Wagner’s Ring Cycle
• Mimi from Puccini’s La Bohème
• Desdemona from Verdi’s Otello
Osborne’s Cell Theory for Combinatorial Hexachords
“Oscar Wilde once said, ‘Life imitates art far more than art imitates life.’ This theme is central to Street Scene for the
Last Mad Soprano. Through art we shape the way we view the world and ourselves. Through art we decide what we are as humans and how we will live our lives.” -William
Osborne
“Cast on my grave a flower,But let there be no weeping,
When ‘neath the turf I’m sleeping,Let not an eye grow dim.”
“For ‘mid the fields of azureI go to wait for him,
Ah yes, ah yes, ah yes, ah yes,‘Mid the fields of azure I wait for him,
Ah yes, ah yes, ah yesI wait.”
-Mad Soprano as Lucia SS 1
“Let me die, and what do you want,
you who comfort me in such a harsh fate, in this great suffering?”
-Mad Soprano as Arianna
“The poor soul that’s pining alone and lonely
There on the des’late strand.Oh Willow! Willow! Willow!
Upon her bosom her head inclining.Willow! Willow! Willow!”
-The Mad Soprano as Desdemona
SS 3SS 4
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