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1. Issue 080 (Full Issue PDF)
13.Driving “Transformational change”: using ecodramaturgy to develop a more sustainable theatre ecosystem Dr Saffron Benner
Ecodramaturgy expands dramaturgical practice to include all aspects of ecology – biological and ideological. Ecodramaturgy believes that theatre has the unique capacity to rethink and reframe our understanding of and approaches to climate change and climate action. However, ecodramaturgy has been largely applied to issues of performance practice and theory and is underutilised in examining the theatre as a production ecosystem. Conversely, theatre companies have been slow to adopt comprehensive policies, strategies and actions to address climate change, despite having been directly impacted. This essay uses ecodramaturgy as a critical lens to investigate how theatre can become a more sustainable ecosystem, using examples from Queensland theatre, as well as wider Australian, contexts.
KEY WORDS: Ecodramaturgy, sustainability, ecosystems, Queensland theatre
14.Oppression and allyship in Australia’s Deaf Arts. Racheal Missingham and Bree Hadley
In this article, we investigate the history of Deaf theatre in Australia, through the lens of oppression and allyship. Through a review of the to date limited academic, industry, and media literature, in conjunction with survey and interview research with Deaf theatre practitioners, this research sheds light on Deaf theatre makers’ perceptions of the ways in which ally support can operate to create both social benefits and barriers, and how this has impacted on the non-linear development and recent decline in Deaf theatre companies in Australia. It finds that, in developing a framework to scaffold stronger allyship relationships with d/Deaf and hard of hearing artists, it is critical to consider the accessibility and cultural requirements not just in relation to theatre methodologies, but in relation to arts management practices, which support continuing company production, too. Challenges in creating strong, successful, respectful, and sustainable relationships between Deaf and non-Deaf artists are arising, this research finds, from lack of understanding of the dynamics of audism in play in theatre training, theatre making, theatre management, and the industry at large for d/Deaf artists.
KEY WORDS: D/deaf arts, d/Deaf theatre, d/Deaf theatre in Australia, oppression, allyship, audism
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1. Issue 079 (Full Issue PDF)Photography and theatre have strong connections. The two artforms speak to authenticity, fiction, and craft, and in coming together create an engaging dialogue of visual references. The premise of this conversation was to question and explore the dynamic role performance photography has within the world of theatre and live performance. This conversation between professional practitioners aims to open further inquiry into the field and speak to the intersection of performance photography and theatre within Australia’s contemporary performance landscape from the photographers’ point of view.
The recent rise in sonic-led dramaturgical analysis has contested previously perceived hierarchies of sound and vision in the theatre. This paper seeks to move away from a binary approach and offers a heterarchical approach to directing the relationship between sound and vision. Carole Crumley defines heterarchy as “the relation of elements to one another when they are unranked,” so that the power is “counterpoised” (1995, p.3), and this paper applies this concept to the process of creating a multi-sensory, site-specific interdisciplinary work, Plunge (2017).
Drawing on the spectacle of elite sport, Plungeexperimented modes of viewing: up close, through glass, up a 10m dive-tower, through illuminated water and at vast distances from an open-air stadium, as audiences promenaded across the aquatic centre viewing small and large-scale videos projected onto the body, buildings and pools. heterarchical approach to composition facilitated the ambiguity of ownership between verbatim techniques and fiction to deliberately blur the ‘truth’ claims of the form and broaden public perceptions of elite athletes. Through a de-hierarchical approach to artforms and interplay between sound and vision, Plungesought to create a highly sensate, large-scale spectacle that still felt deeply intimate, personal and political.
In this article, I discuss Mapping the Sound/Soundscape Portrait (206, 2018), an audience-participatory, synaesthetic sound/drawing live performance. I perform my synaesthesia: sitting on a large piece of paper, I draw the sounds that I hear as I “see” them with the eyes of my mind, and I move accordingly— if sound is a place (soundscape), what does it look like? Conceiving sound as a performative element with agency, Mapping invites those involved to pay attention to the liveness of the soundscape in which they are immersed and their relationship with it. This work questions the sight-hegemonic and purpose-oriented human experience of place by centralising the presence and presentness of sound as the key-element of narrative-making and knowledge production. The agency of the audience and of sound in the performance de-centralises the artist, who ceases to be the protagonist of the work and becomes a vehicle for its process to unfold. The performance offers a new sensorial perspective on the surrounding environment to those involved, contributing to the scholarship studying the role of live art and embodied practices as tools in investigating the world.
Three prominent Australian artists who work with projection discuss the ways in which they collaborate within creative processes and creative teams, forging new visual dramaturgies of performance-making in a rapidly expanding practice.
This practice-led research opens the heart of collaboration in Composed Theatre, capturing the dynamics of the earliest stages of creative development from the inside, through the eyes of artists who specialise in music, theatre and the territory in between.
This paper uses text, image and sound to tune in to productive tensions in creative development of SOX , a work of non-verbal Composed Theatre led by live looped music within which artists may locate and concentrate the inventiveness necessitated by an intermedial approach to making performance. This note from the field examines themes of experimentation and collaboration, and identifies oscillations between form and indeterminacy, spontaneity and plasticity in creative development where music is allowed to lead.
Siren Song premiered at the 2017 Dark Mofo Festival, in Hobart, Australia. Twice daily for the duration of the festival, at dawn and dusk, 450 speakers, mounted on the roofs of 6 buildings across the Hobart waterfront as well as the speaker set from a tsunami warning system mounted onto a retired defence helicopter, blasted choral soundscape of female voices through the streets of Hobart and out across the Derwent River. I argue that Siren Song forms part of a wider sound-led shift in contemporary Australian festival programming which rejects English theatre hierarchies of text and vocal clarity, instead drawing on sounds ability to engulf, to rupture and to claim air space in contemporary performance. In this paper, I analyse the ways that Siren Song deployed politics of sound, how it claimed volume, took up vibrational space and asserted echo and how these vibrations and volumes possessed landscape and airspace. Drawing together theorists from sound studies, performance studies and gothic studies, I argue that the sonic innovations driving Siren Song are substantial and offer new approaches for the confrontation of cultural anxieties through a decentralising of text and an immersion in states of sonic extremity.
The radical disruption of live performance that began in 2020 and continues in 2021 raises a fundamental question regarding the presence of the present in the time of performance.
In this essay, I examine my own sound design and the evolution of a pandemic-restricted solo practice as a site in which a ‘post-pandemics’ of performance might become possible. If 2020 in its upheaval and chaos showed the all-too-narrow limits of our care for others, what is the role of performance design in the recovery of that care? I engage a poetics of care and consent in performance design through notions of Pirate Care, xenofeminist action, and the relation to Other proposed by Jean-Luc Nancy. I reflect on and dissect my own response to pandemic time and space, and the shapes that vulnerability, fear, and uncertainty build in our performed worlds. Deploying this knowledge I look to a way forward for performance design and live performance, real-time and asynchronous, physically distant and present, that can engender this ‘post-pandemics’.
If theatre reflects contemporary society, a director ignores screen cultures at their own peril. Audiences increasingly view and communicate via screens. Television in all its forms (live to air, subscription and on demand services) provide readily accessible content to the public in the comfort of their homes – a viewing pattern exacerbated by the Covid pandemic. Screen cultures that overtook live performance in the 20th Century as the preferred entertainment medium continue their dominance. However, when theatre did resurface from Australia’s first pandemic lockdown in late 2020, audiences returned in large numbers, suggesting a significant appetite for live performance still exists. At the same time, screen aesthetics, because of its cultural ubiquity, shape how theatrical mis-en-scène is created. Theatre has been challenged for some time in the way(s) the presence of the live actor is staged in reference to screen technologies. Directors, Russell Fewster and Geordie Brookman, reflect on creating text-based work for the stage in a mediatized age. They refer to examples of their work to illustrate and examine how they create mis-en-scène with a keen awareness of the dominance of media technologies. As a composer and musician, Richard Chew reflects on how the physical presence of playing live music in a theatre context differs from its pre-recorded counterpart.
12. Authenticity within Digital Performance: A New Framework to Understand the Relationship between Audience, Vision Technology and Scenography Tessa Rixon, Gene Moyle, Steph Hutchison and Joslin
The notion of authenticity is experiencing a resurgence within the theatre and performance field. With its myriad of meanings and associations – from ‘the original’, ‘the real’, ‘truthful’, ‘genuine’, ‘believable’, ‘emotionally resonant’, and more – authenticity is a key component in engaging audiences with live performance. Despite an increasing body of research considering the authenticity of performance, performer and audience experience, little conversation has taken place in the field of digital performance and scenography. This article examines the field of authenticity to arrive at a definition within the context of digital performance. Through the identification of the core constructs of truthfulness, believability and emotional engagement, we introduce a new Authenticity Framework to inform future studies on the authenticity of digital performance. Focusing specifically on vision technologies, we demonstrate the application of the framework through first-person reflection on two Australian digital performances - Laser Beak Man by Dead Puppet Society (2019) and Wireless by Lisa Wilson and Paul Charlier (2017) – and argue this Framework can offer new approaches to the creation of authentic digital performances for the benefit of practitioners and audiences alike.
Focusing on Fraught Outfit’s On the Bodily Education of Young Girls (2013), photographer Pia Johnson and director Adena Jacobs, reflect upon the unique collaborative relationship that was created for the production. Exploring how having a photographer as a visual dramaturg provided a different perspective on notions of the feminist gaze, the body, young women and the making process.
14. Genealogies of Darkness Paul Jackson
This essay seeks to think through some of the features and meanings of blackouts in contemporary Australian theatre. A blackout is normally understood as a visual and temporal absence, an agreed break, a functional, conventional hiatus, having developed from the use, and subsequent abandonment, of the house curtain. However, a range of contemporary Australian theatre works conceive of the blackout as more: a palpable presence, an affective void, tangible rather than conventional, informing narrative structures, and fundamental to the work’s understanding of image creation and meaning. These visual voids reflect different dramatic and philosophical traditions, drawing on and contributing to genealogies of darkness.
Four artists working across performance, music and sound consider the ways in which technological advances and embodied and material approaches to sound practice have shifted their work over time.
16. Reviews
17. Contributors
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1. Issue 078 (Full Issue PDF)Theatre is sometimes imagined as an art form at risk – from talking pictures in the 1920s and television in the 1950s to the Covid-19 pandemic in the 2020s. But the Wolanski Collection and data from AusStage tell a different story. Theatre companies and venue buildings come and go. Yet, over the last hundred years, theatre in Sydney is a story of growth: more venues, with more seats, presenting more performances in a wider range of genres to more spectators. This essay uses maps of venues in Sydney and visualisations of repertoire patterns to reveal insights into the city’s history of theatre production and cultural change between 1920 and 2020. It demonstrates an approach to research that integrates digital records of theatre production with theatre programs from an archival collection. Maps are arranged in a time-series to reveal what venues to audiences in Sydney. Genre terms drawn from theatre programs trace the evolution of performance, while information on the national origin of artists frame the efforts to produce Australian works. In visualising data on theatre production, the essay reveals longitudinal patterns in repertoire that challenge assumptions about theatre in Sydney and extend the story in new directions.
Keywords: theatre, history, visualisation, database, archive
7. The Guthrie Report and Its Discontents Chris HayTable of Contents
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Editorial
Denise Varney and Sandra D’Urso
Before The Ham Funeral: ‘The YOUNG MAN Appears’ – John Tasker Returns Home
Laura Ginters
Modernist Drama Decried: Patrick White, Spoiled Identity, and Failure as a ‘Logic of Use’
Julian Meyrick
Robyn Nevin, Patrick White and the Art of the Modern in Australian Theatre
Anne Pender
Making Room for Modernism: The 1979 Sydney Theatre Company Production of Patrick White’s A Cheery Soul
Andrew Fuhrmann
Mayakovsky’s Hammer: Experimental Theatre as Romantic Modernism, Sydney, 1968–1970
Ian Maxwell
Eleanor Roosevelt: Theatrical Emotion for Political Benefit
Peta Tait
Recompositions: Images of Patrick White in William Yang’s My Generation
Edward Scheer and Helena Grehan
From Grotowski to Betty Can Jump
Kerry Dwyer
Transmitting Embodiment: Grotowski to Body Weather
Nicola Heywood
RINA KIM,
Disability, Public Space Performance and Spectatorship: Unconscious Performers, by Bree Hadley;
ROBERT REID,
The Mill: Experiments in Theatre and Community, by Meredith Rogers;
PETA TAIT,
Performing Neurology: The Dramaturgy of Dr Jean-Martin Charcot, by Jonathan Marshall;
DAVID O’DONNELL,
Stanislavsky in the World: The System and Its Transformations Across Continents, by Jonathan Pitches and Stefan Aquilina;
LISA WARRINGTON,
Talanoa: Four Pacific Plays and Black Faggot and Other Plays, by Victor Rodger;
RAND HAZOU,
Theatre of Real People: Diverse Encounters at Berlin’s Hebbel am Ufer and Beyond, by Ulrike Garde and Meg Mumford
Contributors
Editorial Note
Meredith Rogers and Julian Meyrick
‘The Elasticity of Her Spirits’: Actresses and Resilience on the Nineteenth- Century Colonial Stage
Jane Woollard
'Chaos' and 'Convergence' on the Western Australian Goldfields: The Politics of Performance in the 1890s
William Dunstone and Helena Grehan
Black, White, and Red Faces: Race and Performance at NIDA
Christopher Hay
'A Rare Opportunity to Fail': STAB's Legacy of Theatrical Experimentation
Emma Willis
Performing Emotion to Remember a Pakeha Worldview
Adriann Smith
Hyperrealism and the Everyday: The Plays of Ranters Theatre
Raimondo Cortese
Dramaturgy of Mobility: Towards Crossover and Fusion in Out of the Ordinary
Maggie Ivanova and Alex Vickery-Howe
'Mad March' in the Festival City: Place-Making and Cultural Clash at Adelaide’s Festivals
Sarah Thomasson
SALLY RICHARDS,
Caryl Churchill, by Mary Luckhurst;
MARYROSE CASEY,
Audienceas Performer:The Changing Role of Theatre Audiences in the Twenty-First Century, by Caroline Heim;
DAVID O'DONNELL,
Japanese Robot Culture:Performance, Imagination and Modernity, by Yuji Sone;
LISA WARRINGTON,
Best Playwriting Book Ever, by Roger Hall, plus Shift– three plays, by Alison Quigan, Vivienne Plumb & Lynda Chanwai-Earle, edited by David O'Donnell
Editorial Note
by Meredith Rogers, Mick Douglas and Bree Hadley
Performing Mobilities
Mick Douglas
Mobilising the Mobilities Paradigm in Drama, Theatre and Performance Studies: Potentials, Politics and Pitfalls
Bree Hadley
Moving ‘Misfits’
Kate Maguire-Rosier
Ship Inventory: Preparations Across Twelve Months
Amaara Raheem
Layne Waerea’s Public Laughter
Christopher Braddock
5 Short Blasts
Madeleine Flynn and Tim Humphrey
Migrant Mobilities: Cruel Optimism and the Case of A.J. D’Cruz
Glenn D’Cruz
Algorithmic Misfits
Ben Landau
Unsteady Belongings: Rethinking the Experience of Nation through Movement
Justine Shih Pearson
14 Thoughts about the Ghan – in the Shape of a Train
Meredith Rogers
Like Riding a Bicycle: Achieving Balance through Mobility in Site-Specific Performance – A Comparative Study of Railway Wonderland (2015)
by Northern Rivers Performing
Arts and Sir Don v The Ratpack (2009)
by Guerrilla Street Theatre Paul Davies
SHARON MAZER,
Remaking Pacific Pasts: History, Memory, and Identity in Contemporary Theater from Oceania, by Diane Looser, and Places for Happiness: Community, Self, and Performance in the Philippines by William Peterson;
JONATHAN W. MARSHALL,
I Shudder to Think: Performance as Philosophy, by Margaret Cameron;
NICOLA HYLAND,
Here/Now: 8 Plays by Award-Winning NZ Playwrights, edited by David O’Donnell; LISA WARRINGTON, The FitzGerald Brothers’ Circus: Spectacle, Identity and Nationhood at the Australian Circus,by Gillian Arrighi;
EMMA WILLIS,
Despatch, by Angie Farrow; JANE WOOLLARD, Imagined Landscapes: Geovisualizing Australian Spatial Narratives, by Jane Stadler, Peta Mitchell and Stephen Carleton
Editorial Note
by Meredith Rogers
Screening Live Performance: Australia’s Major Theatre Companies In The Age Of Digital Transmission
by Richard Fotheringham
Top Girls ‘Down Under’
by Campion Decent
Theatre Animals: Sumner Locke Elliott’s Invisible Circus
by Anne Pender
The Sacrifice Of Oriel Gray (1920–2003): Australian Playwright
by Merrilee Moss.
Real Men At Play: Massive Company’s The Brave
by Rand Hazou
Applied Theatre Techniques For Community Workers – Towards A Performative And Anti-Oppressive Ethical Approach
by Athena Lathouras, Jo Loth And Dyann Ross
Acting In Verbatim Theatre: An Australian Case Study by Sarah Peters
Reinterpreting Passion: A Study Of Habib Tanvir’s Theatre
by Prateek
Tom Gutteridge,
What a Body Can Do by Ben Spatz
D B Valentine,
Blackta by Nathaniel Martello-White
Amitabh Vikram Dwivedi,
Othello: Language and Writing by Laurie Maguire
Josey De Rossi,
Theatre and Migration by Emma Cox (Foreword by Peter Sellars)
Josey De Rossi,
Theatre and Time by David Wiles
Rand T Hazou,
Performing Digital: Multiple Perspectives on a Living Archive, edited by David Carlin and Laurene Vaughan
Kerryn Palmer,
Children of the Poor by Mervyn Thompson and Stage Adventures and Stage Adventures: Eight Classroom Plays, edited by David O’Donnell
James Wenley,
The Plays of Bruce Mason: A Survey by John Smythe.
Not Just 'Evocative': The Function of Music in Theatre
by Kim Baston
Music, Silence and the Single Note in the Creation of Meaning in Theatre
by Bagryana Popov
The Theatre of Dreams: Hypnotism and the Science of Historical Action
by Andrew Lawrence-King
Music and Sound Design: A Round Table Discussion with Anna Liebzeit, Kelly Ryall and Ian Moorhead with Kim Baston
Jethro Woodward in Interview with Kim Baston
Sound (Image, Text): Audiovisual Relationships in M+M with Daniel Schlusser, Darrin Verhagen and James Paul.
David N. Martin and the Post-War 'Acts and Actors' of Australian Variety
by Veronica Kelly
Reading and Performing Abjection: Staging Joyce, a Professional Reflection by Frances Devlin-Glass
NICOLA HYLAND, Remaking Pacific Pasts: History, Memory, and Identity in Contemporary Theater from Oceania, by Diana Looser;
MARGARET HAMILTON, The Politics of Interweaving Performance Cultures: Beyond Postcolonialism, edited by Erika Fischer-Lichte, Torsten Jost and Saskya Iris Jain;
PRATEEK, Bertolt Brecht: A Literary Life, by Stephen Parker;
SHARON MAZER, The Routledge Companion to Puppetry and Material Performance, edited by Dassia N. Posner, Claudia Orenstein and John Bell;
ANNA KAMARALLI, Women on the Early Modern Stage, edited by Frances E. Dolan, Lucy Munro, Brian Gibbons and Arthur F. Kinney;
CATHERINE FARGHER, The Curious Incident of the Dog in the Night-Time, by Simon Stephens;
MERRILEE MOSS, Engine by Janis Balodis and House on Fire, by Debra Oswald
Australian Gothic Drama: Mapping a Nation’s Trauma from Convicts to the Stolen Generation
by Stephen Carleton
Andrew Bovell’s When the Rain Stops Falling: Theatre in the Age of ‘Hyperobjects’
by Mohebat Ahmadi
Patrick White and Aesthetic Modernism in Mid-Century Australia
by Denise Varney and Sandra D’Urso
Radical Adaptation: Hypertextuality, Feminism and Motherhood in The Rabble’s Frankenstein (After Mary Shelley)
by Sarah French
The Grotesque and the Gothic in Peter King’s John Gabriel Borkman: A Reflection from the Inside
by Jim Daly
A Thousand Hills: Responding to the Ethical Nightmare
by Emma Willis
Performing Cultural Heritage: Authenticity and the Spirit of Rebellion
by Angela Campbell
Performing Haunting Histories: A Psychogeographical Reading of Two Site-Specific Performance Projects on Rottnest Island
by Hannah Böttcher and Alexandra Ludewig
Community Engagement or Community Conversation?: Boomtown, a Large-Scale Regional, Outdoor Community Theatrical Event
by Danielle Carter and Caroline Heim
The Castanet Club: History, Provenance and Influence
by Terence Crawford
JAMES MCKINNON, Theatre’s Heterotopias: Performance and the Cultural Politics of Space, by Joanne Tompkins;
KAREN KARTOMI THOMAS, Performativity and Event in 1960s Japan: City, Body, Memory, by Peter Eckersall;
EMMA WILLIS, Visions and Revisions: Performance, Memory, Trauma, edited by Bryoni Trezise and Caroline Wake;
D.B. VALENTINE, Staging Asylum: Contemporary Australian Plays About Refugees, edited by Emma Cox;
NICOLA HYLAND, Theatricality, Dark Tourism and Ethical Spectatorship: Absent Others, by Emma Willis;
SALLY RICHARDS, International Women Stage Directors, edited by Anne Fliotsos and Wendy Vierow;
LINDSAY ANN REID, Women in Shakespeare: A Dictionary, by Alison Findlay;
SARAH PETERS, Shafana and Aunt Sarrinah: Soft Revolution, by Alana Valentine;
HILARY HALBA, Don’t Mention Casablanca, by Michelanne Forster;
EMMA WILLIS, Falling and Other Short Plays, by Angie Farrow;
STUART YOUNG, Then It Was Now Again: Selected Critical Writings, by Murray Edmond
Introduction
Russell Fewster
Staging David Hicks
Richard Jordan
Digital Alchemy: The Posthuman Drama of Adam J.A. Cass's
I Love You, Bro
Jodie Mcneilly
A Phenomenology of Chunky Move's GLOW: Moves Toward
a Digital Dramaturgy
Lara Stevens
Alienation in the Information Age: Wafaa Bilal's Domestic Tension
Suzanne Kersten, David Pledger, Julian Rickert, Tamara Saulwick and Hellen Sky with Gorkem Acaroglu and Glenn D'Cruz
Working with Technology/Making Technology Work: a Round Table Discussion
Robert Walton
Bewildering Behaviour: Practice as Research for Audiences and
Other Creators of Immersive Performance
Robin Deacon
White Balance: a History of Video
Yoni Prior
Impossible Triangles: Flat Actors in Telematic Theatre
Asher Warren
Mixed Actor Network Reality: a Performance in Three Networks
Susan Broadhurst
Theorising Performance and Technology:
Aesthetic and Neuroaesthetic Approaches
Gorkem Acaroglu
Cyborg Presence in Narrative Theatre
Yuji Sone
Imaginary Warriors: Fighting Robots in Japanese Popular Entertainment Performance
Glenn D'Cruz
6 Things I Know About Geminoid F, or What I Think About
When I Think About Android Theatre
Gorkem Acaroglu
Sayonara Interviews: Android–Human Theatre
VERONICA KELLY, Circus and Stage: The Theatrical Adventures of Rose Edouin and G.B.W. Lewis, by Mimi Colligan;
PAUL MONAGHAN, Postdramatic Theatre and the Political, edited by Karen Jürs-Munby, Jerome Carroll and Steve Giles;
NICOLA HYLAND, Enacting Nature: Ecocritical Perspectives on Indigenous Performance, edited by Birgit Dawes and Marc Maufort;
FIONA GREGORY, Rhythm and Meaning in Shakespeare: A Guide for Readers and Actors, by Peter Groves;
CHRIS HAY, Teaching Shakespeare and Marlowe: Learning Versus the System, by Liam E. Semler; and
KATH BICKNELL, The Audience Experience: A Critical Analysis of Audiences in the Performing Arts, edited by Jennifer Radbourne, Hilary Glow and Katya Johanson.
Meredith Rogers and Julian Meyrick
Introduction
Helen Thomson
Obituary for GJM
Geoffrey Milne
Australian Theatre in the 1980s: Trends and Movements
Robert Reid
A City This Size Should Have So Many Theatres: The Church Theatre, 1983–1989
Paul Davies
Dramatic Tales Stir the Suburbs: Melbourne's Location Theatre Movement, 1979–1990
Meredith Roger
At Home with The Mill: Democratic Theatre-Making in Geelong, 1978–1984
Jane Mullett
Australian New Circus in the 1980s
Peter Eckersall (Moderator) with Russell Walsh, Suzanne Chaundy, Peter King, Patricia Cornelius, Bob Pavlich, John Ellis
Round Table on Theatre in Melbourne in the 1980s
Julian Meyrick
The Logic of Culture: The Fate of Alternative Theatre in the Post-Whitlam Period
Glenn d'Cruz
The Man Who Mistook Marat for Sade: 'Living' Memory and the Video Archive
Alison Richards
Your History: Manning Clark's A History of Australia and the End of the New Wave
Gillian Arrighi
Towards a Cultural History of Community Circus in Australia
Rebekah Woodward-Hanna
A Patchwork of Participation: Wan Smolbag Theatre's 'Big Plays' in Vanuatu
Natalie Lazaroo
We're Off to See the Wizard of Auslan: Translating Deaf Experience Through Community Performance
Jonathan Bollen
From The Silver Lining to The Roaring Days!: Amateur Theatre and Social Class in Broken Hill, 1940s–1960s
Murray Couch
Sex, Gender and the Industrial: Plays Performed by Broken Hill Repertory Society, 1945–1969
Chris Wenn
How I Heard: The 'Phenomenarchaeology' of Performance
Reviews
HELENA GREHAN, Theatre and Performance in the Asia-Pacific: Regional Modernities in the Global Era, by Denise Varney, Peter Eckersall, Chris Hudson and Barbara Hatley;
ANDRÉ BASTIAN, Telling Stories: Aboriginal Australian and Torres Strait Islander Performance, by Maryrose Casey, with an Afterword by Liza-Mare Syron;
KIM BASTON, 'We're People Who Do Shows': Back To Back Theatre: Performance Politics Visibility, edited by Helena Grehan and Peter Eckersall;
KAREN KARTOMI THOMAS, Performance, Popular Culture, and Piety in Muslim Southeast Asia, edited by Timothy P. Daniels;
FELIX NOBIS, The Twentieth-Century Performance Reader, 3rd edn, edited by Teresa Bradshaw and Noel Witts;
MERRILEE MOSS, Transparency, by Suzie Miller, Kelly, by Matthew Ryan, and Cyberbile and Grounded, by Alana Valentine;
LISA WARRINGTON, Downfall: Three New Zealand History Plays, by Michelanne Forster, and Playmarket 40: 40 Years of Playwriting in New Zealand, edited by Laurie Atkinson, and David O'Donnell:
RAND T. HAZOU, Rebellious Mirrors: Community-Based Theatre in Aotearoa/New Zealand, by Paul Maunder;
DAVID O'DONNELL, Me & Robert McKee, by Greg McGee;
EMMA WILLIS, Three Plays: Robert Lord, edited by Philip Mann;
DAVID O'DONNELL, Twenty New Zealand Playwrights, by Michelanne Forster and Vivienne Plumb
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Design, space and performance: Introduction
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Inside the black margin: An essay in words and images
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Practitioners' round table: Australian theatre design - past, present and futur
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Scenography from the inside
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Drawn to the light: The freehand drawing from the dramatic text as an illumination of the theatre designer's eye of the mind
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The Prague quadrennial: Repositioning design for performance
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Re-viewing the PQ: Responses to the 2011 Prague quadrennial of performance design and space
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JASNA NOVAKOVIC, Unspoken by Rebecca Clarke;
HILARY HALBA Awhi Tapu by Albert Belz and The Prophet by Hone Kouka;
DAVID O'DONNELL, Baghdad Baby! by Dean Parker;
ALISON RICHARDS About Performance no 6, ed. Gay McAuley;
LISA WARRINGTON, Nola Millar: A Theatrical Life by Sarah Gaitanos; Just Who Does He Think He Is?: A Theatrical Life by George Webby;
MARY ELIZABETH ANDERSON, Anarchic Dance, eds Liz Aggiss and Bill Cowrie with Ian Bramley;
BREE HADLEY, And Then, You Act: Making Art in an Unpredictable World, by Anne Bogart;
MARK SETON, Jacques Copeau, by Mark Evans;
IAN MAXWELL, Encounters with Tadeusz Kantor, by Krzysztof Miklaszewski translated and edited by George Hyde.
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Theatre Emotion & Interculturalism
Edited by Peta Tait and Jung-Soon Shim
A special focus issue of Australasian Drama Studies
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HILARY HALBA, Frangipani Perfume and Dianna Fuemana, Mapaki (Wellington: The Play Press, 2004); Oscar Kightley and Simon Small, Fresh Off the Boat (Wellington: The Play Press, 2005); Albert Wendt, The Songmaker’s Chair (Wellington: Huia, 2004) by Makerita Urale;
JERRY C. JAFFE, Noh Business (Berkeley: Atelos, 2005) by Murray Edmond;
PETA TAIT, The Dolls’ Revolution: Australian Theatre and the Cultural Imagination (Melbourne: Australian Scholarly, 2005) by Rachel Fensham and Denise Varney, with Maryrose Casey and Laura Ginters;
JULIAN MEYRICK, Not Wrong – Just Different: Observations on the Rise of Contemporary Theatre (Sydney: Currency Press, 2005) by Katherine Brisbane;
CAROLYN D’CRUZ, Beneath the Sequined Surface: An Insight into Sydney Drag (Sydney: Currency Press, 2006) by Carol Langley;
IAN MAXWELL, Electoral Guerilla Theatre: Radical Ridicule and Social Movements (New York and London: Routledge, 2005) by L. M. Bogad;
RONALDO MORELOS, The Aesthetics of the Oppressed (London and New York: Routledge, 2006) by Augusto Boal;
IAN GASKELL, A Boal Companion: Dialogues on Theatre and Cultural Politics (New York and London: Routledge, 2006) eds Jan Cohen-Cruz and Mandy Schutzman;
SALLY GARDNER, Exhausting Dance: Performance and the Politics of Movement (New York and London: Routledge, 2006) by Andre Lepecki;
IAN MAXWELL, The Path of the Actor (London and New York: Routledge, 2005) by Michael Chekhov, (edited by Andrei Kirillov and Bella Martin).
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JENNY DE REUCK, Prologues to Shakespeare’s Theatre: Performance and Liminality in Early Modern Drama by Douglas Bruster and Robert Weimann
JOHN JACOBS, Talking to the Audience: Shakespeare, Performance, Self by Bridget Escolme
BREE HADLEY, Circus Bodies: Cultural Identity in Aerial Performance by Peta Tait
JONATHAN MARSHALL, Into Performance: Japanese Women Artists in New York by Midori Yoshimoto
DAVID MOODY, Theatrical Events: Borders, Dynamics, Frames eds Vicky Ann Cremona et al
BARRY O’CONNOR, Trade Secrets: Australian Actors and Their Craft by Terence Crawford
JONATHAN DAWSON, Three Dollars: Screenplay by Robert Connolly and Elliot Perlman
Young People and Performance
Edited by Mary Ann Hunter and Geoffrey Milne
A special focus issue of Australasian Drama Studies
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MEREDITH ROGERS, Upstaged: Australian Women Dramatists in the Limelight at Last by Michelle Arrow
DAVID WATT, The Space Between: The Art of Puppetry and Visual Theatre in Australia by Peter J. Wilson and Geoffrey Milne
ALISON RICHARDS, Innovation in Australian Arts, Media and Design: Fresh Challenges for the Tertiary Sector ed. Rod Wissler et al
VERONICA KELLY, Writing and rewriting: National Theatre Histories ed. S.E. Wilmer
RACHEL FENSHAM, Virtual Theatres: An Introduction by Gabriella Giannachi
PENNY GAY, The Cambridge Companion to Victorian and Edwardian Theatre ed. Kerry Powell
PETER ECKERSALL, Eugenio Barba by Jane Turner and The Intercultural Performance Handbook by John Martin
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RICHARD FOTHERINGHAM, Shashibiya: Staging Shakespeare in China by Li Ruru
BRIDGET MARY AITCHISON, Merely Players? Actors’ Accounts of Performing Shakespeare by Jonathan Holmes and Inside the Royal Shakespeare Company: Creativity and Institution by Colin Chambers;
VICTOR EMELJANOW, Alice May, Gilbert and Sullivan’s First Prima Donna by Adrienne Simpson
HOWARD McNAUGHTON, Oscar Asche, Orientalism, and British Musical Comedy by Brian Singleton
RUSSELL FEWSTER, Konstantin Stanislavsky by Bella Martin and Vsevolod Meyerhold by Jonathon Pitches
ADRIAN KIERNANDER, Dodin and the Maly Drama Theatre: Process to Performance by Maria Shevtsova
MARYROSE CASEY, Theatre Australia (Un)limited: Australian Theatre Since the 1950s by Geoffrey Milne
WILLIAM PETERSON, Staging Nation: English Language Theatre in Malaysia and Singapore by Jacqueline Lo
GLEN D’CRUZ, Alternatives: Debating Theatre Culture in the Age of Con-Fusion ed. Peter Eckersall, Uchino Tadashi and Moriyama Naoto
Contemporary Music Theatre in Australia
Edited by Keith Gallasch and Laura Ginters
A special focus issue of Australasian Drama Studies
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PETER HOLBROOK, William Shakespeare, ‘The Merchant of Venice’ ed. Charles Edelman
LEAH MERCER, Selected Plays of Hélène Cixous ed. Eric Prenowitz
BRIAN SINGLETON, Antonin Artaud: A Critical Reader ed. Edward Scheer
PAUL MAKEHAM, The Twentieth-Century Performance Reader ed. Michael Huxley and Noel Witts
JONATHAN BOLLEN, Performance: Recasting the Political in Theatre and Beyond by Stephen Chinna
SUE RIDER, The Parsons Lectures: The Philip Parsons Memorial Lectures on the Performing Arts 1993-2003 ed. Katharine Brisbane and Don’t Tell Me, Show Me: Directors Talk About Acting by Adam Macaulay
HELENA GREHAN, Playing Australia: Australian Theatre and the International Stage ed. Elizabeth Schafer and Susan Bradley Smith.
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IAN MAXWELL, Performance and Evolution in the Age of Darwin: Out of the Natural Order by Jane R Goodall
SIMON DEVEREAUX, The Convict Theatres Early Australia, 1788-1840 by Robert Jordan
MIMI COLLIGAN, The Pollards: A Family and Its Child and Adult Opera Companies in New Zealand and Australia 1880-1910 by Peter Downes
HOWARD McNAUGHTON, Crucible of Cultures: Anglophone Drama at the Dawn of a New Millenium ed. Marc Maufort and Franca Bellarsi
DENISE VARNEY, Popular Theatre: A Sourcebook ed. joel Schechter
ANN WILSON, How Theatre Educates: Convergences & Counterpoints with Artists, Scholars and Advocates ed. Kathleen Gallagher and David Booth
JOANNE TOMPKINS, The Semiotics of Theatre and Drama, second edition by Keir Elam
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Performing Ireland
Edited by Brian Singleton and Anna McMullan
A special focus issue of Australasian Drama Studies
Table of Contents
NOTE from Helen Thompson
NADIA FLETCHER, The Jack Manning Trilogy by David Williamson
JONATHAN DAWSON, Dirty Deeds: Screenplay by David Caesar, and Rabbit-Proof Fence: Screenplay by Christine Olsen
DAVID CARNEGIE, Ben Jonson and Theatre: Performance, Practice and Theory by Richard Cave, Elizabeth Schafer, & Brian Wooland
CATHERINE NEWEY, Reflecting the Audience, London Theatregoing, 1840-1880 by Jim Davis & Victor Emeljanow
RICHARD FOTHERINGHAM, Dames, Principal Boys … and All That: A History of Pantomime in Australia by Viola Tait
MICHELE PIERSON, Why the French Love Jerry Lewis: From Cabaret to Early Cinema by Rae Beth Gordon
IAN MAXWELL, Re:Direction: A Theoretical and Practical Guide ed. Rebecca Schneider & Gabrielle Cody
JULIAN MEYRICK, Nowhere but Broadway by Jill Shearer and In-yer-face Theatre: British Drama Today by Aleks Sierz
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RONALDO MORELOS, Three Plays by Asian Australians ed. Don Batchelor
JONATHAN DAWSON, Lantana: Original Screenplay by Andrew Bovell
DAVID CARNEGIE, O Brave New World: Two Centuries of Shakespeare on the Australian Stage ed. John Golder & Richard Madelaine
PETER FITZPATRICK, Workers’ Playtime: Theatre and the Labour Movement Since 1970 by Alan Filewod & David Watt
RACHEL FENSHAM, Mapping Cultural Identity in Contemporary Australian Performance by Helena Grehan
VERONICA KELLY, Siting the Other: Re-visions of Marginality in Australian and English-Canadian Drama ed. Marc Maufort & Franca Bellarsi
KOH TAI ANN, Theatre and Politics in Contemporary Singapore by William Peterson
REBECCA SCHNEIDER, Body Show/s: Australian Viewings of Live Performance ed. Peta Tait
Dance and Physical Theatre
Edited by Adrian Kiernander
A special focus issue of Australasian Drama Studies
Table of Contents
BEN PAYNE, Blak Inside by John Harding
JONATHAN DAWSON, Blue Murder: The Screenplay by Ian David and Ned Kelly: The Screenplay by John Michael McDonagh
SUSAN LEVER, Grassroots: Series One by Geoffrey Atherton, Katherine Thomson and Michael Brindley
PETER FITZPATRICK, See How It Runs: Nimrod and the New Wave by Julian Meyrick
SIMON WOODS, The Art of Stillness by Paul Allain
BRIDGET MARY AITCHISON, To the Actor on the Technique of Acting by Michael Chekhov and Acting (Re)considered: A Theoretical and Practical Guide ed., Phillip B. Zarrilli
DAVID WATT, Performing Democracy: International Perspectives on Urban Community-Based Performance ed. Susan C. Haedicke and Tobin Nellhaus
Twentieth Anniversary Edition
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WILLIAM PETERSON, The Singapore Trilogy by Robert Yeo
HELENA GREHAN, Postcolonial Plays: An Anthology by Helen Gilbert
PAUL GALLOWAY, Keep Everything You Love by David Brown;
JONATHAN DAWSON, Chopper: The Screenplay by Andrew Dominik
SUSAN LEVER, Top Shelf 1: Reading and Writing the Best in Australian TV Drama by Greg Haddrick; Top Shelf 2: Five Outstanding Television Screenplays by Greg Haddrick
NERIDA NEWBIGIN, Vasari on Theatre by Thomas A. Pallen
DAVID O’DONNELL, Playing Bit Parts in Shakespeare by M. M. Mahood
BRUCE PARR, The Changing Room: Sex, Drag and Theatre by Laurence Senelick
MURRAY BRAMWELL, As Many Lives As A Cat: The University of Adelaide Theatre Guild 1938-1998 by Kerrie Round, and The Pram Factory: The Australian Performing Group Recollected by Tim Robertson
Performance Studies in Australia
Edited by Gay McAuley, Glenn D’Cruz and Alison Richards
A special focus issue of Australasian Drama Studies
Table of Contents
TOM BURVILL, The Chekhov Theatre: A Century of the Plays in Performance by Laurence Senelick
REBECCA PELAN, The Politics of Irish Drama: Plays in Context from Boucicault to Friel by Nicholas Grene
JACQUELINE LO, The Politics of Cultural Practice: Thinking Through Theatre in an Age of Globalization by Rustom Bharucha
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GEOFFREY MILNE, Crazy Brave by Michael Gurr and A Beautiful Life by Michael Futcher and Helen Howard
DON BACHELOR, Georgia by Jill Shearer
JONATHAN DAWSON, Looking for Alibrandi: The Screenplay by Melina Marchetta
DENISE VARNEY, Feminist Theatre Practice: A Handbook by Elaine Aston
HAROLD LOVE, Visual Ephemera: Theatrical Art in Nineteenth-century Australia by Anita Calloway
IAN MAXWELL, Corpus Delecti: Performance Art of the Americas ed. Coco Fusco
BARBARA GARLICK, Defiance: Political Theatre in Brisbane 1930-1962 by Connie Healy
HOWARD McNAUGHTON, The Theatre of Form and the Production of Meaning: Contemporary Canadian Dramaturgies by Ric Knowles
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DAVID WATT
Community theatre: a progress report
MARY ANN HUNTER
A Good Yarn and a yarn with Allen Lyne and Alan Holy
DEAN TUTTLE
Street Arts: counting the community
MARKO PAVLYSHYN
Culture and the émigré consciousness: Ukrainian theatre in Australia 1948-1969
GEOFFREY MILNE
Community theatre in Melbourne: The Bridge
PLAYSCRIPT
The Bridge by Vicky Reynolds
MARIA SHEVISOVA
Audiences for Filef Theatre Group’s L’Albero delle rose/The Tree of Roses and Storie in cantlere/Stories in Construction
TONY MITCHELL
Wogs still out of work: Australian television comedy in colonial discourse
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