LEADER 06164nam 22004333 450 001 9910511780403321 005 20210901203617.0 010 $a1-76062-699-6 035 $a(CKB)4100000011971269 035 $a(MiAaPQ)EBC6652196 035 $a(Au-PeEL)EBL6652196 035 $a(OCoLC)1259323625 035 $a(EXLCZ)994100000011971269 100 $a20210901d2015 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aActs of Courage $eFast Cars and Tractor Engines; Stories of Love and Hate; I'm Your Man 210 1$aSydney :$cCurrency Press,$d2015. 210 4$dİ2014. 215 $a1 online resource (173 pages) 311 $a1-925005-25-9 327 $aCover -- Playwright's Biography -- Theatre Companies -- The Complexity of Courage: Roslyn Oades' Headphone Verbatim Theatre Trilogy -- Caroline Wake -- Author's Note -- Production note -- Track list -- First Production -- Characters -- Fast Cars & -- Tractor Engines -- Prologue -- Scene 1: Ahmad Family - Fast Cars -- Scene 2: Boxer - Hits -- Scene 3: Hilda & -- Daughter - Greatest Love -- Scene 4: Three Girls - In Love -- Scene 5: Ahmad Family - Spillin' The Beans -- Scene 6: Hilda & -- Daughter - Jewish Husband Part 1 -- Scene 7: Three Girls - Boyfriend -- Scene 8: Hilda & -- Daughter - Jewish Husband Part 2 -- Scene 9: Boxer - Kill 'Im -- Scene 10: Margaret & -- Son - Policeman'S Daughter -- Scene 11: Hilda & -- Daughter - Men -- Scene 12: Margaret & -- Son - Tassie -- Scene 13: Ninh - Ambush -- Scene 14: The Royalists - Royal Visit -- Scene 15: Ninh - Very Brave -- Scene 16: Mayor & -- Mum - Dickhead Part 1 -- Scene 17: Boxer - Head Problems -- Scene 18: The Royalists - Graffiti -- Scene 19: Three Girls - He'S African -- Scene 20: Mayor & -- Mum - Dickhead Part 2 -- Scene 21: Margaret & -- Son - White People -- Scene 22: Ninh - Bullets -- Scene 23: Three Girls - They Started Early -- Scene 24: The Royalists - Bankstown Square -- Scene 25: Ahmad Family - Jihad -- Scene 26: Ninh - Tractor Engine -- Production note -- Track list -- First Production -- Characters -- Stories of Love & -- Hate -- Prologue -- Scene 1: Love Hurts -- Scene 2: Cop & -- Wife - Gentle Giant -- Scene 3: Auburn Girls - I Couldn'T Stand Him -- Scene 4: Carol & -- Max - Bottom Of The Barrel -- Scene 5: Surfers - Is It Better Than Sex? -- Scene 6: Car Boys - I'M A Bass-Head -- Scene 7: Love God - The Moon Is Out -- Scene 8: Swim Ladies - Oh, What A Beautiful Morning -- Scene 9: Tommy & -- Mohammed D - Everyone'S Friends. 327 $aScene 10: Shire Kids - I Love The Shire -- Scene 11: Surfers - Surf Warriors -- Scene 12: Swim Ladies - Broken Ankle -- Scene 13: Tommy & -- Mohammed D - Wanna Go Beach -- Scene 14: Carol & -- Max - Swordfish -- Scene 15: Love God - Mark Is In Love -- Scene 16: Morris - How To Love Your Son -- Scene 17: Car Boys - Dream Car, Dream Girl -- Scene 18: Shire Kids - We'Re Considered Easy -- Scene 19: Tommy & -- Mohammed D - Your Pride -- Scene 20: Surfers - Puffer Fish -- Scene 21: Car Boys - What A Car Says -- Scene 22: Tommy & -- Mohammed D - Ophff, Love Song -- Scene 23: Shire Kids - Under The Bridge -- Scene 24: Surfers - Bad Behaviour -- Scene 25: Cop & -- Wife - 8:00 A.M. -- Scene 26: Photographer - The Train Situation -- Scene 27: Cop & -- Wife - Big Black Baton -- Scene 28: Love God - Houda Calls -- Scene 29: Car Boys - The Riots Were The Best -- Scene 30: Morris - Stopping Tommy -- Scene 31: Surfers - War Zone -- Scene 32: Carol & -- Max - 'The Incident' -- Scene 33: Auburn Girls - Protective Parents -- Scene 34: Morris - A Fish Out Of Water -- Scene 35: Swim Ladies - All The Pearls In The Sea -- Production note -- Track list -- First Production -- Characters -- I'm Your Man -- Prologue -- Scene 1: Opening - Training Rounds -- Scene 2: Billy The Kid - Keypad Warrior -- Scene 3: Cj - What Questions? -- Scene 4: Billy The Kid - Punch Demo -- Scene 5: Wale - Fear -- Scene 6: Gus - Pain -- Scene 7: Cj - Career -- Scene 8: Physical Task - Skipping Routines -- Scene 9: Wally Carr - I Hate Violence -- Scene 10: Wale - The Start -- Scene 11: Jeff - The Start -- Scene 12: Billy The Kid - You'Re On -- Scene 13: Wally Carr - Nervous Wee -- Scene 14: Team Billy - Post-Fight -- Scene 15: Physical Task - Shadow Boxing -- Scene 16: Jeff - For Others -- Scene 17: Wale - My Dream -- Scene 18: Cj - Three Guys -- Scene 19: Wally Carr - Headbutt. 327 $aScene 20: Tony & -- Dave - Meeting Dave -- Scene 21: Gus - Tony Mundine -- Scene 22: Tony & -- Dave - Weak Chin -- Scene 23: Billy The Kid - The Title -- Scene 24: Cj - Magnet To Trouble -- Scene 25: Gus - Looking Bad -- Scene 26: Wale - Accident -- Scene 27: Physical Task - Billy Sparring -- Scene 28: Jeff - Pressure -- Scene 29: Wally Carr - Coulda Been Better -- Scene 30: Billy The Kid - Warrior -- Scene 31: Ring Annoucement / Physical Task - Gym Percussion -- Scene 32: Billy & -- Senehan Montage -- Scene 33: Jeff - Azuma -- Scene 34: Tony & -- Dave - Girls Before A Fight -- Scene 35: Billy The Kid - A Loss -- Scene 36: Wally Carr - Bad Dreams -- Scene 37: Tony & -- Dave - Over Boxing -- Scene 38: Cj - Police Career -- Scene 39: Gus - Hands Up, Head Down -- Scene 40: Team Billy - This Is It -- Copyright Details. 330 $aActs of Courage forges immediacy and honesty between a vast range of Australian stories, generating forgiveness and hope in the act. Oades' unwavering loyalty to the words, sounds and silences of everyday conversations conveys a steadfast loyalty to the experiences and the people from which they come. This trilogy celebrates not only the Australian spirit through times of hardship, but everyday, extraordinary, acts of courage. 517 $aActs of Courage 608 $aElectronic books. 700 $aOades$b Roslyn$01068370 701 $aWake$b Caroline$01068371 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910511780403321 996 $aActs of Courage$92553082 997 $aUNINA LEADER 03602nam 22007092 450 001 996248117103316 005 20151005020623.0 010 $a0-511-10059-0 010 $a1-107-12575-8 010 $a1-280-43645-X 010 $a0-511-17656-2 010 $a0-511-04550-6 010 $a0-511-15745-2 010 $a0-511-30451-X 010 $a0-511-61355-5 010 $a0-511-01663-8 024 7 $a2027/heb06327 035 $a(CKB)111087027191008 035 $a(EBL)202208 035 $a(OCoLC)475917195 035 $a(SSID)ssj0000222690 035 $a(PQKBManifestationID)11221245 035 $a(PQKBTitleCode)TC0000222690 035 $a(PQKBWorkID)10175433 035 $a(PQKB)10892482 035 $a(UkCbUP)CR9780511613555 035 $a(Au-PeEL)EBL202208 035 $a(CaPaEBR)ebr10019083 035 $a(CaONFJC)MIL43645 035 $a(MiAaPQ)EBC202208 035 $a(dli)HEB06327 035 $a(MiU)MIU01000000000000007294861 035 $a(EXLCZ)99111087027191008 100 $a20090914d2002|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aPlaying with history $ethe historical approach to musical performance /$fJohn Butt$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2002. 215 $a1 online resource (xvi, 265 pages) $cdigital, PDF file(s) 225 1 $aMusical performance and reception 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a0-521-01358-5 311 $a0-521-81352-2 320 $aIncludes bibliographical references (p. 243-252) and index. 327 $aCover; Half-title; Series-title; Title; Copyright; Contents; Preface; Acknowledgements; Abbreviations; 1 Joining the historical performance debate; 2 Historical performance and truth to the work': history and the subversion of Platonism; 3 Historical performance and truth to the composer': rehabilitating intention; 4 Negotiating between work, composer and performer: rewriting the story of notational progress; 5 Historical performance at the crossroads of modernis and postmodernism 330 $aWhy do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this 2002 study, John Butt sums up debates on the nature of the early music movement and historically informed performance, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors of the movement, while claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed. He also asks whether the phenomenon of historically informed performance reflects changes in the culture of western music and how it, in turn, may have influenced that culture, particularly in regard to such issues as the status of the composer, the work, intentionality and notation. 410 0$aMusical performance and reception. 606 $aPerformance practice (Music) 606 $aMusic$xHistory and criticism 615 0$aPerformance practice (Music) 615 0$aMusic$xHistory and criticism. 676 $a781.4/311 700 $aButt$b John$0385251 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a996248117103316 996 $aPlaying with history$91889388 997 $aUNISA