Pain, rain, and rhyme: the role of rhythm in Stefanie Preissner’s work

Book chapter


Lech, K. 2015. Pain, rain, and rhyme: the role of rhythm in Stefanie Preissner’s work. in: Radical Contemporary Theatre Practices by Women in Ireland Dublin Carysfort Press. pp. 151-166
AuthorsLech, K.
Abstract

This chapter explores the role of rhyme in the work of a young Irish writer and actor Stefanie Preissner. The focus on the two productions performed during ABSOLUT Fringe Festival 2011 and 2012: 'Our Father' (a nominee for the ABSOLUT Fringe Awards 2011) and 'Solpadeine is My Boyfriend'. The former, directed by Tara Derrington, was written and performed by Preissner in rhymed verse. The latter, directed by Gina Moxley, was written and presented by Preissner in the mixture of rhymed verse and rhymed and unrhymed prose. Through the combination of prosodic and performance analyses, this chapter shows how the use of rhymes facilitates Preissner’s exploration of individuals facing difficult changes. In particular, I focus on Preissner’s performance of rhymes as an escape and her use of rhymes as an expression of pain. In both 'Our Father' and 'Solpadeine' Preissner uses rhymes as a tool to engage her audiences in explorating their own reaction to change. She also 'invites' them to face the pain and fear connected to change. At the same time this chapter explores the links between the theme of change and Preissner’s use of rhymes and elements of autobiography to complicate her own identity during the performances. This, as I argue, allows the audience to engage with her productions on multiple levels. The interview with Preissner that this chapter is accompanied by sheds further light on her work.

KeywordsHip-hop; verse; theatre; Stefanie Preissner; Irish theatre; autobiography
Page range151-166
Year2015
Book titleRadical Contemporary Theatre Practices by Women in Ireland
PublisherCarysfort Press
Output statusPublished
Place of publicationDublin
ISBN9781909325753
Publication dates
Print2015
Publication process dates
Deposited06 Jan 2017
Official URLhttp://www.carysfortpress.com/products/radicaltheatre.htm
Permalink -

https://repository.canterbury.ac.uk/item/87zy0/pain-rain-and-rhyme-the-role-of-rhythm-in-stefanie-preissner-s-work

  • 17
    total views
  • 0
    total downloads
  • 6
    views this month
  • 0
    downloads this month

Export as

Related outputs

Dramaturgy of form performing verse in contemporary theatre
Lech, K. 2021. Dramaturgy of form performing verse in contemporary theatre. Routledge.
Claiming their voice: foreign memories on the post-Brexit British stage
Lech, K. 2020. Claiming their voice: foreign memories on the post-Brexit British stage. in: Meerzon, Y., Dean, D. and McNeil, D. (ed.) Migration and stereotypes in performance and culture Palgrave Macmillan. pp. 215-234
Lockdown verses and anxieties of presence: How Polish theatre rhymed a case for its purpose on the pandemic stage?
Lech, K. 2020. Lockdown verses and anxieties of presence: How Polish theatre rhymed a case for its purpose on the pandemic stage? Critical Stages/Scènes critiques. 22, p. 2020.
“Roughening up of the utterance” or “It’s not all mountains and sheep and Emily Dickinson.”: How contemporary practitioners test boundaries of verse drama?
Lech, K. 2020. “Roughening up of the utterance” or “It’s not all mountains and sheep and Emily Dickinson.”: How contemporary practitioners test boundaries of verse drama? Coup de Théâtre. 34, pp. 161-179.
Acting as the act of translation: domesticating and foreignizing strategies as part of the actor’s performance in the Irish-Polish production of bubble revolution
Lech, K. 2019. Acting as the act of translation: domesticating and foreignizing strategies as part of the actor’s performance in the Irish-Polish production of bubble revolution. in: Meerzon, Y. and Pewny, K. (ed.) Routledge. pp. 39-50
Students as producers and active partners in enhancing equality and diversity: ‘culturosity’ at Canterbury Christ Church University
Lech, K., Hoople, L., Abiker, K., Mitchell, M. and Mooney, P. 2017. Students as producers and active partners in enhancing equality and diversity: ‘culturosity’ at Canterbury Christ Church University. Journal of Educational Innovation, Partnership and Change. 3 (2). https://doi.org/10.21100/jeipc.v3i2.533
Verse in contemporary Irish theatre
Lech, K. 2018. Verse in contemporary Irish theatre. in: Jordan, E. and Weitz, E. (ed.) The Palgrave handbook of contemporary Irish theatre and performance pp. 599-613
Bubble revolution: performing translation
Lech, K. 2016. Bubble revolution: performing translation. Edinburgh 04 - 28 Aug 2016
Difficult encounter: Polish theatre on the Irish stage between 2004 and 2015
Lech, K. 2015. Difficult encounter: Polish theatre on the Irish stage between 2004 and 2015. Litteraria Pragensia. 25 (50), pp. 32-46.
Memory, Communism, and foreign words in Julia Holewińska’s Foreign Bodies: balancing foreignization and domesticating strategies in a production by Polish Theatre Ireland
Lech, K. 2014. Memory, Communism, and foreign words in Julia Holewińska’s Foreign Bodies: balancing foreignization and domesticating strategies in a production by Polish Theatre Ireland. Translation Ireland. 19 (2), pp. 37-48.
Puppets, dogs, and vegetarian angels: ecocriticism in Jakub Krofta’s Polish productions
Lech, K. 2015. Puppets, dogs, and vegetarian angels: ecocriticism in Jakub Krofta’s Polish productions. Theatralia. 18 (2), pp. 277-302. https://doi.org/10.5817/TY2015-2-7
Metatheatre and the importance of Estrella in Calderón’s 'La vida es sueño' and its contemporary productions
Lech, K. 2014. Metatheatre and the importance of Estrella in Calderón’s 'La vida es sueño' and its contemporary productions. Bulletin of the Comediantes. 66 (2), pp. 175-193. https://doi.org/10.1353/boc.2014.0036