Keywords: THESIS3

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## Explicit self-representation

The character consciously outlines a figure of itself, and this may happen within the context of either monologue or dialogue. The information acquired is neither objective nor binding, and does not co-incide with the authorially intended receptive forum for this particular figure.

A form of explicit voluntary self-representation we find in the contest between Todd and Pirelli. As Pirelli has an Italian accent, this part of his characterization is voluntary. But as soon as he begins to recount his successes, the outline of the character is complete. Pirelli's form of self-representation is voluntary, and he turns out to be Irish:

> PIRELLI:(Reverting to Irish) Ow, call me Danny, Daniel O'Higgins the name when it's not perfessional. (Looks around the shop) Not much, but I imagine you'll pretty it up a bit. (Holds out his hand) I'd like me five quid back, if'n ya don't mind5.18.

The first observation we can make, is that we have been misled when as to Pirelli's identity. As earlier stated: explicit voluntary self-representation is neither objective nor binding. Our second observation is that a transition from voluntary explicit self-representation to involuntary explicit self-representation, is closer to the truth.

During the contest the music supports O'Higgins' self-representation as an Italian. A few examples: first of all, O'Higgins is a high bel-canto tenor, a typically Italian type of voice. Then there is of course, the Italian accent (figure 5.7 on p. .) And then there is the music.

Figure 5.7: The Contest

If we look at the first part of the contest5.19(No. 10 in the vocal score) we see a kind of bel-canto aria:

> PIRELLI: Now signorini, signori,
> We mix-a da lather
> But first-a you gather
> Around
> Signorini, signori
> You looking a man
> Who have had-a da glory
> To shave-a da Pope!
> (Lathering his man) Mister Sweeney whoever
> (To the customer, as he accidentally lathers his nose) I beg-a your pardon'll
> Probably say it was only a cardinal.
> Nope! (Finishes lathering the man)
> It was-a da Pope!

This whole section is set on a constant movement of semi-quavers, and I am led to assume that it must be sung in one breath. At the end of this section the word ''Pope'' ends on a high C5.20, one of the highest notes for a tenor, and difficult to accomplish without the use of the falsetto-register. This kind of fast rhythmic singing reminds me of Rossini, for instance his Largo al factotum from Il Barbiere di Siviglia which provides with an even more obvious example of this. I think that in this case, the music helps Pirelli/O'Higgins convince the audience, both on stage and off-stage that he is Italian.

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