Hostname: page-component-586b7cd67f-tf8b9 Total loading time: 0 Render date: 2024-11-24T13:50:22.187Z Has data issue: false hasContentIssue false
  • English
  • Français

The Curios Carnival

Margaret Leng Tan’s Theatrimusicality

Published online by Cambridge University Press:  01 September 2022

Marcus Cheng Chye Tan
Get access Rights & Permissions [Opens in a new window]

Abstract

Theatricality in music performances is often regarded as extraneous, but avantgarde toy pianist Margaret Leng Tan exploits the intermediality between theatricality and musicality to demonstrate how theatrimusicality is imperative to the creation and reception of her music. Curios (2015) is one example in which the work’s structure of meaning and the experience of the carnivalesque are evoked through such a theatrimusical dramaturgy.

Type
Article
Information
TDR , Volume 66 , Issue 3 , September 2022 , pp. 52 - 63
Copyright
© The Author(s) 2022. Published by Cambridge University Press for Tisch School of the Arts/NYU

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Bakchormeeboy. 2020. “The Studios 2020: An Interview with Toy Pianist Margaret Leng Tan (Dragon Ladies Don’t Weep) [Cancelled].” Bakchormeeboy.com, 16 March. Accessed 17 December 2021. bakchormeeboy.com/2020/03/16/the-studios-2020-an-interview-with-toy-pianist-margaret-leng-tan-dragon-ladies-dont-weep-cancelled/.Google Scholar
Bakhtin, Mikhail. (1963) 1984. Problems of Dostoevsky’s Poetics. Ed. and trans. Emerson, Caryl. Minneapolis: University of Minnesota Press.Google Scholar
Bakhtin, Mikhail. (1965) 1984. Rabelais and His World. Trans. Iswolsky, Hélène. Bloomington: Indiana University Press.Google Scholar
Chew, David. 2006. “ Serious toying around.” Today, 22 March:48. https://eresources.nlb.gov.sg/newspapers/Digitised/Article/today20060322-1.2.67.1.Google Scholar
CultureLink Singapore. n.d. “Cabinet of Curiosities.” Accessed 15 July 2020. culturelink.com.sg/projects/cabinet-of-curiosities-new-production/.Google Scholar
Esplanade – Theatres on the Bay. 2021. “The Studios | Dragon Ladies Don’t Week (1–4 April 2021) Interview with Margaret Leng Tan.” YouTube, 13 January. www.youtube.com/watch?v=n_xTZivdcyE.Google Scholar
Féral, Josette, and Bermingham, Ronald P.. 2002. “Theatricality: The Specificity of Theatrical Language.” SubStance 31, 2/3:94–108. doi.org/10.2307/3685480CrossRefGoogle Scholar
Hübner, Falk. 2013. “Shifting Identities: The Musician as Theatrical Performer.” PhD diss., Leiden University.Google Scholar
Jensenius, Alexander Refsum, Wanderley, Marcelo M., Inge Godøy, Rolf, and Leman, Marc. 2010. “Musical Gestures: Concepts and Methods in Research.” In Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman, 12–35. London: Routledge.Google Scholar
Johnson, Lawrence A. 2016. “Too much Lang Lang and too little Profokiev in superstar pianist’s return to CSO.” Chicago Classical Review, 22 May. chicagoclassicalreview.com/2016/05/too-much-lang-lang-and-too-little-prokofiev-in-superstar-pianists-return-to-cso/.Google Scholar
Laban, Rudolf. (1948) 1963. Modern Educational Dance. London: Macdonald and Evans Ltd.Google Scholar
Lachmann, Renate, Eshelman, Raoul, and Davis, Marc. 1988–1989. “Bakhtin and Carnival: Culture as Counter-Culture.” Cultural Critique 11:115–52. doi.org/10.2307/1354246 CrossRefGoogle Scholar
National Gallery Singapore (NGS). 2019. “Interview | Minimalism Redux by Margaret Leng Tan.” YouTube, 11 January. www.youtube.com/watch?v=e9Ram7C6O2c.Google Scholar
The New Yorker. 1992. “Goings on About Town” (music listings), 9 November.Google Scholar
Rebstock, Matthias, and Roesner, David, eds. 2012. Composed Theatre: Aesthetics, Practices, Processes. Bristol: Intellect.Google Scholar
Sharp, Rob. 2011. “Pianist Lang Lang hits out at ‘Bang Bang’ critics.” Independent, 23 June. www.independent.co.uk/arts-entertainment/classical/news/pianist-lang-lang-hits-out-bang-bang-critics-2292453.html.Google Scholar
Small, Christopher. 1998. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press.Google Scholar
Tan, Margaret Leng. 1988. Liner Notes. Sonic Encounters. Mode Records (CD).Google Scholar
Tan, Margaret Leng. 2018. “About.” Accessed 20 July 2020. www.margaretlengtan.com/.Google Scholar
Tan, Margaret Leng. 2020. Zoom interview with author, 20 July.Google Scholar
Tan, Margaret Leng. 2021. “Home.” Accessed 20 July 2020. www.margaretlengtan.com/.Google Scholar
Tsay, Chia-Jung. 2013. “Sight Over Sound in the Judgement of Music Performance.” Proceedings of the National Academy of Sciences 110, 36:14580–85.CrossRefGoogle Scholar

TDReadings

Auslander, Philip. 2006. “Musical Personae.” TDR 50, 1 (T189):100–19. doi.org/10.1162/dram.2006.50.1.100 CrossRefGoogle Scholar
Troyano, Ela. 1979. “John Zorn’s Theatre of Musical Optics.” TDR 23, 1 (T84):37–44. doi.org/10.2307/1145263 Google Scholar