Australasian Drama Studies

Issue 85| October 2024

1. Issue 85 (Full Issue PDF)
2. Contents
3. Editorial
4. Karakia in Rehearsal: A Reflection on Indigenous Praxis Fran Kewene  

   This article is a short reflective piece which explores a personal approach to using a Māori ritual called karakia. This reflection explores the importance of karakia as a culturally responsive theatre praxis and an act of decolonising and embodied love within the context of the rehearsal process in Aotearoa New Zealand. Told using a personal story of grief and loss, this reflection introduces the reader to: the whakapapa of karakia, and how karakia is used in Marae Theatre in Aotearoa New Zealand. It also provides examples of karakia used in theatre praxis and concludes with a challenge to the reader to explore their own biases before including karakia authentically into their own theatre praxis.

    

   Keywords

   Decolonisation, karakia, Māori theatre, rehearsal, praxis

5. The Waka of Love: Decolonial Anti-Racist Praxis of Aro Ki Te Hā led by, with and for Indigenous Kids in Aotearoa 

   This article describes The Waka of Love, a Theatre Marae-informed stage production situated within a Kaupapa Māori research project examining impacts of racism on mokopuna Māori in Aotearoa. Underpinned by ethical co-designing – an approach aligned with Indigenous rights that emphasises power-sharing, accountability and positive transformation – and through wānanga-based creative participatory inquiry grounded in Te Ao Māori, mokopuna Māori collaborated to address racism and its impacts on hauora. The Waka of Love serves to illustrate decolonial anti-racist praxis that challenges colonial knowledge systems through empowerment of mātauranga Māori and whakamoemoeā for mokopuna Māori. Central to The Waka of Love is that of aro ki te hā – the sacred reverence for the breath – fostering deep interconnectedness, compassion, empathy, and respect for oneself, one another, Papatūānuku, and the universe. The Waka of Love underscores decolonial anti-racist

   efforts toward liberation, enabling the flourishing of mātauranga and hauora for mokopuna Māori, their whānau and communities.

    

   Keywords

   Love, Indigenous, Māori, decolonial, racism

6. Seeing Yourself to See Others: The Importance of Critical Love in Work with Marginalised Communities 

   This article discusses the unintended harm that Applied Theatre practitioners can inflict on their participants due to their unconscious biases and assumptions. The author argues that this is the result of ‘fake love’, wherein practitioners only centre the vulnerabilities and experiences of their participants while neglecting how they participate in broader systemic issues. The article proposes a shift from ‘fake love’ to ‘Critical Love’, which requires practitioners to engage in a critical and deep self-reflection on their own biases, privileges, and the power dynamics they bring to the room. The author provides examples of her own critical self-reflection and how these may affect participants, and she encourages practitioners to do the same. Through Critical Love, the article argues, practitioners can foster more authentic and empowering relationships with participants, which has the potential to drive real social change and justice within Applied Theatre practice and beyond.

    

   Keywords

   Critical Love, Applied Theatre, facilitation

    
7. Performing Compassion/Performing Aroha in Learning Disabled Theatre 

   In 2023, eight learning disabled performers from Different Light Theatre collaborated with eighteen drama school students from NASDA (National Academy of Singing and Dramatic Art) in Christchurch on a production of Faust.Us based on Marlowe’s

   text. The framing principles of the process were intended to be whanaungatanga (kinship and belonging), kotahitanga (unity) and, particularly, manaakitanga (hospitality) in which the non-disabled staff and students would afford support for the learning disabled performers. However, the emotional and theatrical outcome of this process was a profound reversal of this ‘economy of affection’ in the collaboration and the performance. It was in fact the support of the learning disabled actors for their non-disabled colleagues that proved invaluable and unshakeable. While in inclusive theatre we might assume that the performance of compassion would be for the benefit of the learning disabled actors, this flipping of the script had real power to hit everyone in the guts.

    

   Keywords

   Learning disability, inclusion, radical compassion, manaakitanga

8. ‘Approaching with Alofa’: Transforming Acting Spaces for BIPOC Creatives 

   This talanoa (conversation) between final year PhD candidate Sepelini Mua’au (Levī-Saleīmoa & Matāutu Falelātai) and Nicola Hyland (Te Ati-Haunui-a-Pāpārangi/Ngāti Hauiti) explores the ‘why’ of Sepe’s project that centres around decolonising frameworks and Theatre in Aotearoa. Exploring the whakapapa of this research, Sepe speaks to his upbringing as a second-generation, New Zealand-born Samoan and delves into key moments in his creative journey as an actor, writer, director and theatre-maker. The talanoa questions historical institutions with colonial foundations to encourage conversations around decolonised ways of working as a BIPOC (Black, Indigenous, Person of Colour) creative in Aotearoa. What does approaching rehearsal spaces with alofa/aroha mean for BIPOC creatives? This talanoa acknowledges Sepe’s experiences within the Samoan concept of the vā, which centres around the formation and maintenance of meaningful relationships with people, and. in this instance, Sepe’s creative practice.

    

   Keywords

   Decolonial, BIPOC, actor training, Pasifika

9. Indigenous Performances of Love beyond Settler Recognition in Vigil and The Unnatural and Accidental Women 

   The proliferation of the discourse of recognition in state politics is, as many anti-colonial scholars have argued, a form of governmentality in settler colonial nations. How does love among the colonised disrupt colonial recognition? What learnings do we gain when we theorise acts of decentering colonial recognition in terms of love? This article explores these questions through Anishinaabe artist Rebecca Belmore’s performance Vigil, and Métis playwright Marie Clements’ play The Unnatural and Accidental Women from northern Turtle Island (Canada). The article theorises love as an insurgence against what Dylan Robinson calls ‘perceptual logics of settler colonialism’.

    

   Keywords

   Recognition, Canada, love, MMIW (Missing and Murdered Indigenous Women), performance

10. Adaraye Aragalaya (Struggle for Love): Sri Lanka’s ‘Occupy’ Moment, Plural Political Enactments, and the End of the Rajapaksas 

    The article explores how Aragalaya embodies Judith Butler’s concept of plural performativity as a call for justice and rejection of precarity. This unique Sri Lankan socio-political movement, often called ‘Adaraye Aragalaya’ (struggle for love), reflects its non-violent ethos and practice of inclusivity. In April 2022, groups of young people occupied the Galle Face promenade beside the Presidential Secretariat building in Colombo to demand that the Sri Lankan President, Gotabaya Rajapaksa, resign. Butler suggests that when masses occupy public spaces to protest, exercising their ‘plural and performative right to appear’, the gatherings embody ‘plural performativity’, and the bodies enact ‘political meanings’. The article features an

    analysis of three artists’ performances: a trans woman, a man who carried a large wooden cross, demanding justice for the victims of the 2019 Easter bombings, and a performer who painted his body red to commemorate the 1983 Black July massacre victims.

     

    Keywords

    Sri Lanka, Aragalaya, plural performativity, Judith Butler, non-violent protest

11. Wellbeing in the Performance of Morally Questionable Characters: Enacting Love and Compassion for Human Woundedness 

    The Healthy Conservatoires (UK), covering drama, music and dance training institutions, has included the spiritual (defined as ‘exploring beliefs, values and ethics and creating a sense of purpose and meaning in life’) as one of eight key dimensions in its online wellbeing framework. Yet few drama schools have formally incorporated considerations of moral and spiritual development as part of their curriculum. In 2020, interviews with nine professional actors documented the impacts of playing a villain or other amorally inclined characters. The study found that three factors can impact actors’ personal and relational wellbeing in enacting such characters: 1. the requirements of empathy in the creation and performance of character; 2. the potentiality of moral distress and injury in the creation and performance of character; and 3. the shaping of intrinsic and extrinsic values during professional identity formation. Love and compassion for human woundedness needs to be honoured in drama schools.

     

    Keywords

    Actor training, moral injury, spirituality, intrinsic values, wellbeing

12. Hine’s Monologue Delivered to Her Husband Talite at His Tangihanga, on the Eve of the Poroporoaki 

    Hine’s Monologue is a poroporoaki to her late husband Talite, as she comes to terms with his passing after the unfortunate collapse of their marriage. Despite enduring love, the obstacles they faced together in the form of personal challenges exacerbated by societal inequities and mandates from church authorities undermined their ability to live in love. Hine’s monologue is a call to whānau and community to better support young, brown couples and their families, and a reminder that the kupu aroha is both tūingoa (noun) and tūmahi (verb); in equal parts a nameable thing, a destination, an action, state, and condition. Hine’s monologue, performed by Erina Daniels and Emma Katene, was one of six monologues woven together under the title ONO and presented at both Tahi Festival 2023, Wellington and Koanga Festival 2023, Auckland.

     

    Keywords

    Aroha, Māui, Whānau, Church, Poroporoaki

13. Contributors

Australasian Drama Studies

Issue 84| April 2024

Australasian Drama Studies

Issue 83| October 2023

Australasian Drama Studies

Issue 82 | April 2023

Australasian Drama Studies

Issue 81 | October 2022

Australasian Drama Studies

Issue 80 | April 2022

Australasian Drama Studies

Issue 79 | December 2021

Australasian Drama Studies

Issue 78 | April 2021

Australasian Drama Studies

Issue 77 | January 2021

Australasian Drama Studies

Issue 76 | April 2020

Australasian Drama Studies

Issue 75 | December 2019

Australasian Drama Studies

Issue 74 | April 2019

Australasian Drama Studies

Issue 73 | October 2018

Australasian Drama Studies

Issue 72 | April 2018

October 2017

Full Issue PDF

Contents

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

Reviews

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

April 2017

Full Issue PDF

Contents

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

Reviews

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

October 2016

Full Issue PDF

Contents

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

Reviews

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

April 2016

Contents

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

Reviews

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.

October 2015

Contents

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

Reviews

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

April 2015

Contents

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

Reviews

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
 

October 2014

Full Issue PDF

Contents

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

Reviews

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.

April 2014

Contents

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

October 2013

April 2013

Australasian Drama Studies

Issue 61, October 2012

Design, space and performance: Introduction
Image gallery

Inside the black margin: An essay in words and images
Image gallery

Practitioners' round table: Australian theatre design - past, present and futur
Image gallery

Scenography from the inside
Image gallery

Drawn to the light: The freehand drawing from the dramatic text as an illumination of the theatre designer's eye of the mind
Image gallery

The Prague quadrennial: Repositioning design for performance
Image gallery

Re-viewing the PQ: Responses to the 2011 Prague quadrennial of performance design and space
Image gallery

Australasian Drama Studies

Issue 60, April 2012

Australasian Drama Studies

Issue 59 October 2011

Australasian Drama Studies

Issue 58, April 2011

Australasian Drama Studies

Volume 57 April 2010

Australasian Drama Studies

Volume 56 April 2010

Australasian Drama Studies

Volume 55 October 2009

Australasian Drama Studies

Volume 54 April 2009

Australasian Drama Studies

Volume 53 October 2008

Australasian Drama Studies

Volume 52 April 2008

Australasian Drama Studies

Volume 51 October 2007

Table of Contents

1. Issue 051 (Full Issue PDF)
2. GEOFFREY MILNE Editorial Note
3. PETER J.WILSON Winds of Change: Seeing Australia into the New Century
4. ANNE FORBES From Animism to Digital Animation: Puppetry in New Zealand/Aotearoa
5. RICHARD BRADSHAW Thiodon's Wonders: A Mechanical Theatre in Nineteenth-Century Australia
6. NICOLE ANAE "Belly-Speaker", Machines and Dummies: Puppetry in the Australian Colonies, 1830's-1850's
7. DAVID TREDINNICK Tintookie Man, the LAst of his Tribe: A Story of Peter Scriven
8. YUJI SONE "Phontom" Puppetry in Stelarc's Work
9. RICHARD HART with JULIA DAVIS Dream Puppets: The Journey of an Independent Puppet Theatre
10. SANDY MCKENDRICK in conversation with GEOFFREY MILNE Puppetry as Cultural Exchange in Indigenous Communities
11. JENNIFER PFEIFFER Globalisation and the UNIMA Asia-Pacific Commission
12. MARGARET WILLIAMS Including the Audience: The Idea of 'the Puppet' and the Real Spectator

Reviews

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.

Australasian Drama Studies

vol.50 April 2007

Australasian Drama Studies

Issue 49 October 2006

Theatre Emotion & Interculturalism
Edited by Peta Tait and Jung-Soon Shim
A special focus issue of Australasian Drama Studies

Table of Contents

1. Issue 049 (Full Issue PDF)
2. JUNG-SOON SHIM Introduction: Translating Emotions for the Local Audience
3. PETA TAIT Introduction: Reasoning Emotions in Theatre
4. SUE-ELLEN CASE Musical The Last Empress: A Korean Staging of Woman and Nation
5. JUNG-SOON SHIM Performing Emotion Interculturally: The Korean Production of Love Child
6. PETA TAIT Embodying Love: Mother Meets Daughter in Theatre for Cultural Exchange
7. YOON-TAEK LEE Translated by JOHN CHA and JUNG-SOON SHIM Playscript: O Gu: The Ritual of Death
8. JULIE HOLLEDGE O Gu: A Cross-cultural Case Study of Emotional Expression in Contemporary Korean and Australian Theatre

Reviews

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).

Australasian Drama Studies

Number 48 April 2006

Table of Contents

1. Issue 048 (Full Issue PDF)
2. CAROL LANGLEY Borrowed Voice: The Art of Lip-Synching in Sydney Drag
3. LYNDON TERRACINI The Culture of Place: Making Australian Theatre
4. NICOLE ANAE Adventures in Nineteenth-Century Gender-Bending: Lady Emilia Don in Tasmania, 1862 and 1865
5. ANNA BEMROSE The Boy from Mount Gambier: Robert Helpmann’s Early Career in Australia (1917–1932)
6. STEPHEN VAGG Frank Harvey: Australian Screenwriting Pioneer
7. FIONA GREGORY High-Cultural Histrionics: Judith Anderson’s 1955 Australian Tour
8. DAVID A WILLIAMS Political Theatrics in the ‘Fog of War’
9. PAUL DWYER The inner lining of political discourse: presenting the version 1.0 remix of the Senate Select Committee on a Certain Maritime Incident
10. JOHN McCALLUM CMI (A Certain Maritime Incident): Introduction
11. CMI Performance Script 143
12. RUTH THOMPSON Theatre/s of Peace and Protest: The Continuing Influence of Euripides’ Play The Trojan Women at the Nexus of Social Justice and Theatre Practice
13. RICCI-JANE ADAMS Inheritors of the Dead Heart: Magical Realism in These People and Falling Petals by Ben Ellis
14. ALISON LYSSA Black and White: Australia’s History Onstage in Four Plays of the New Millennium
15. JACK TEIWES Nostalgia, Reconciliation or New National Myth?: The Adaptation of Cloudstreet to the Stage

Reviews

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

Australasian Drama Studies

Issue 47 October 2005

Young People and Performance
Edited by Mary Ann Hunter and Geoffrey Milne
A special focus issue of Australasian Drama Studies

Table of Contents

1. Issue 047 (Full Issue PDF)
2. Young People and Performance in Australia and New Zealand MARY ANN HUNTER and GEOFFREY MILNE
3. Acknowledging the Past: Youth Performing Arts in the 1970s MARGARET LEASK
4. Melbourne to Manchester: Arena Theatre's Artform Evolution ROSEMARY MYERS
5. Pecking at Your Head: The Flight and Fall of 'Magpie' ROSEMARY NURSEY-BRAY
6. White Crocodile, Black Skirt: Theatre for Young People and Cultural Memory HELEN STRUBE
7. Welcome to Lallyland: Introducing the plays of Lally Katz as Magical Feminism RICCI-JANE ADAMS
8. Shalakazap! - Empowerment in Young People's Theatre, Aotearoa/New Zealand: An Interview with Jenny Wake of Calico Theatre LISA WARRINGTON
9. Universality and Specificity, Making Drama From Personal Myth and Point of View JOHN DAVIES
10. Promoting Agency or 'Stepping-Stones R Us'? Recent Melbourne Youth Theatre GEOFFREY MILNE
11. Of Peacebuilding and Performance: Contact Inc's 'Third Space' of Intercultural Collaboration MARY ANN HUNTER

Reviews

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

Australasian Drama Studies

Number 46 April 2005

Table of Contents

1. Issue 046 (Full Issue PDF)
2. Remembering masculinities in the theatre of war JONATHAN BOLLEN
3. The misfit male body in Adelaide Theatre, 1959 BRUCE PARR
4. What’s a man to do? Images of rural Australian masculinities in three plays of the 1950s: Reedy River, The Bastard Country and Lola Montez ADRIAN KIERNANDER
5. ‘The play’s the thing’ no longer: non-linear narrative Kate Champion’s Same, same But Different ROSEMARY KLITCH
6. Identity performance in Northern Ireland and Australia: The Belle of the Belfast City and Radiance REBECCA PELAN
7. Experiencing Kane: an affective analysis of Sarah Kane’s ‘experiential’ theatre in performance ALYSON CAMPBELL
8. Brave ‘new world’: Asian voices in the Theatre of Aotearoa LISA WARRINGTON
9. Official amnesias and embodiments of memory in Australia’s Top End LESLEY DELMENICO
10. ‘Here’s a marvelous convenient place for our rehearsal’: Shakespeare in Australian space ROSEMARY GABY

Reviews

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

Australasian Drama Studies

Issue 45 October 2004

Contemporary Music Theatre in Australia
Edited by Keith Gallasch and Laura Ginters
A special focus issue of Australasian Drama Studies

Table of Contents

1. Issue 045 (Full Issue PDF)
2. Australian music theatre: continuity and hybridity KEITH GALLASCH and LAURA GINTERS
3. ‘A comfortable society’: the 1950s and opera in Australia MICHAEL HALLIWELL
4. Larry Sitsky’s The Golem: the esoteric opera ANTONY ERNST
5. Matricide and the female divine HELEN RUSAK
6. Operatic tradition and ambivalence in Chamber Made Opera’s Recital JONATHAN MARSHALL
7. A music theatre life: LYNDON TERRACINI interviewed by KEITH GALLASCH
8. Mata Hara and the missionary position: Australian double agents in the seduction of randai DOUG LEONARD, INDIJA MAHJOEDDIN and ADRIAN SHERRIFF
9. Suspension, introspection and contradiction: the songs of The Threepenny Opera in rehearsal MIRANDA HECKENBERG
10. 'Australian-ness’ in musical theatre: a bran nue dae for Australia? PETER WYLLIE JOHNSTON

Reviews

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.

Australasian Drama Studies

Number 44 April 2004

Table of Contents

1. Issue 044 (Full Issue PDF)
2. Outside In: Theatre, Networks and Interdisciplinary Perspectives MARIA SHEVTSOVA
3. 'Hello Wien!' The Eighth Rex Cramphorn Memorial Lecture BARRIE KOSKY
4. Utopia, Maps and Ecstasy: Configuring Space in Barrie Kosky's 1996 Adelaide Festival MARY ANN HUNTER
5. Making a Mythopoetic Theatre: Jenny Kemp as Director of an Imaginary Future-Past-Present RACHEL FENSHAM
6. The Question of Authenticity in 1960s-1970s Californian Body art: Posing a Challenge to a Concept of Presence ANJA KANNGIESER
7. Reconciling Shakespeare and Indigeneity in Australia: Star-Cross'd communities and Racial Tempests EMMA COX
8. '...So Many Types, How Can All Be In The Same Category':Questioning Racial Boundaries in Mark de Silva's Stories for Amah SUSAN PHILLIP
9. How Gothic is S/He? Three New Zealand Dramas MURRAY EDMOND

Reviews

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

Australasian Drama Studies

Issue 43 October 2003

Performing Ireland
Edited by Brian Singleton and Anna McMullan
A special focus issue of Australasian Drama Studies
 

Table of Contents

1. Issue 043 (Full Issue PDF)
2. Performing Ireland: New Perspectives on Contemporary Irish Theatre BRIAN SINGLETON and ANNA McMULLAN
3. Renegotiating Landscapes of the Female: Voices, Topographies and Corporealities of Alterity in Marina Carr’s Portia Coughlan MELISSA SIHRA
4. ‘The Souvenir from Foreign Parts’: Foreign Femininity in Deborah Warner’s Medea AOIFE MONKS
5. Shattering Images of Sex Acts and Other Obscene Staged Transgressions in Contemporary Irish Plays by Men STEPHEN DI BENEDETTO
6. ‘There’s Something Queer Here’: Modern Ireland and the Plays of Frank McGuinness DAVID CREGAN
7. Hard Wired/Tender Bodies: Power, Loneliness, the Machine and the Person in the Work of Desperate Optimists CATHY LEENEY
8. The Fantasy of Post-Nationalism in Northern Theatre: Caught Red Handed Transplanting the Planter MARK PHELAN
9. Gendered Media Rivalry: Irish Drama and American Film ROBIN ROBERTS
10. ‘Inside the Immigrant Mind’: Nostalgic Versus Nomadic Subjectivities in Late Twentieth-Century Irish Drama PAUL MURPHY
11. ‘Have you no homes to go to?’ Staging the Diaspora: a Study of Milo’s Wake JULIE-ANN ROBSON
12. Kia ora Begorrah: Performing Irishness in Aotearoa DAVID O’DONNEL

NOTE from Helen Thompson

Reviews

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

Australasian Drama Studies

Number 42 April 2003

Table of Contents

1. Issue 042 (Full Issue PDF)
2. Believing two things at once MICHAEL GURR
3. Collaboration and community The Seventh Rex Cramphorn Memorial Lecture NICK ENRIGHT
4. Introduction to Citizen X CITIZEN X by Sidetrack Performance Group JANE GOODALL
5. Koorero with Jim Moriarty RUTH GLASSEY and ANA WELHAM
6. Guerillas in our midst: contemporary Australian guerilla performance and the poststructural community REBECCA CAINES
7. Roy Rene ‘Mo’: Australian clown or monarch of the mob? KATH LEAHY
8. Black and Tran: a comedy that laughs in the face of racism? HELENA GREHAN
9. Toa Fraser: shifting boundaries in Pacific Island comedy DAVID O’DONNELL and BRONWYN TWEDDLE Women, Collaboration and Intervention
10. Black Chicks Talking: an interview with Leah Purcell LYNNE BRADLEY
11. The desire to affirm and challenge: an interview with Hannie Rayson DENISE VARNEY

Reviews

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

Australasian Drama Studies

Number 41 October 2002

Dance and Physical Theatre
Edited by Adrian Kiernander
A special focus issue of Australasian Drama Studies

Table of Contents

1. Issue 041 (Full Issue PDF)
2. Unnatural Bodies from Violent and Queer Acts in Australian Physical Theatre PETA TAIT
3. On Physical Theatre: A Roundtable Discussion from 'Not Yet It's Difficult' with Peter Eckersall, Paul Jackson, David pledger, Greg Ulfan PETER ECKERSALL
4. Into the Wilderness: Gilgul's 'Physical' Theatre 1994 ALISON RICHARDS and YONI PRIOR
5. Spectacle Effects and Performers of the Sydney Olympics Opening Ceremony MICHAEL COHEN
6. An Epic of New Circus MARTINE MALEVAL translated by JANE MULLETT
7. Dreaming the Future: The Emergence of Bangarra Dance Theatre STEPHANIE BURRIDGE
8. Story Space in Bangarra's Pride: An Imperative for Reconciliation CELIA WEISS
9. Documents in Australian Postmodern Dance: Two Interviews with Lucy Guerin JONATHAN MARSHALL

Reviews

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

Australasian Drama Studies

Number 40 April 2002

Twentieth Anniversary Edition

Table of Contents

1. Issue 040 (Full Issue PDF)
2. Historiography and rewriting: Performing on/as East Timorese bodies in Death at Balibo and Diablo! LESLEY DELMENICO
3. Reviewing Australia’s first performance: The Recruiting Officer in Sydney 1789 NATHAN GARVEY
4. Political manoeuvring behind the scenes: the development of the national theatre idea in Australia during the 1940s DONALD BATCHELOR
5. The hard road to stardom: the early career of Essie Jenyns JANETTE GORDON-CLARK
6. Young colonists on the Australian stage: adaptations of Paul et Virginie by James Cobb and Marcus Clarke IAN HENDERSON
7. A director in rehearsal: Neil Armfield and the Company B production of The Blind Giant is Dancing by Stephen Sewell RUSSELL FEWSTER

Reviews

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

Australasian Drama Studies

Number 39 October 2001

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

1. Issue 039 (Full Issue PDF)
2. Performance Studies: Definitions, Methodologies, Future Directions GAY McAULEY
3. Performance Studies in Australia Today: a Survey of the Field GLENN D’CRUZ
4. Learning in/Through Crisis IAN MAXWELL
5. Shaking the Frame: Erving Goffman and Performance Studies ALISON RICHARDS
6. Toil and Traffic: Australian Appropriations of the Suzuki Method HELEN GILBERT and JACQUELINE LO
7. The Dialectics of Inter-Cultural Performance: Towards a Historiographic Cross-Cultural Praxis JONATHAN MARSHALL
8. The More Things Change the More They Stay the Same…’? Feminisms and Performance Studies KERRIE SCHAEFER and LAURA GINTERS
9. Performance Studies: a Tour Through the Field JONATHAN BOLLEN
10. Discourses of an ‘International’ Disciplinary F ormation: Australian and International Performance Studies Conference Diaries 1991-2001 RACHAEL FENSHAM
11. Discussing Theory-Practice Relationships in Performance: a Round-Table Discussion with Annette Tesoriero, Tess de Quincey,Deborah Pollard, John Baylis, David Pledger, Josephine Wilson PETER EC
12. Review:HELEN THOMSON, Meat Party by Duong Le Quy
13. Review: BARBARA JOSEPH, Sweet Road by Deborah Oswald
14. Review: GEOFFREY MILNE, Melbourne Stories: Three Plays: Who’s Afraid of the Working Class? by Andrew Bovell, Patricia Cornelius, Melissa Reeves, Christos Tsiolkas and Irine Vela; Polly Blue by

Reviews

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

Australasian Drama Studies

Number 38 April 2001

Table of Contents

1. Issue 038 (Full Issue PDF)
2. ‘We Want Hope’: the Power of Indigenous Arts in Australia today. The 2000 Rex Cramphorn Memorial Lecture WESLEY ENOCH
3. Teaching Shakespeare in locked facilities PHILIPPA KELLY
4. Post-feminist Physical Theatre: the Abject and the Split Subject in My Vicious Angel by Christine Evans ADELE CHYNOWETH
5. Sugar, Land and Belonging: Summer of the Seventeenth Doll and No Sugar RUSSELL McDOUGALL
6. ‘What Happens to the Spectator of Hysteria’s Realism?’ The Reception of Elizabeth Robins’and Florence Bell’s Alan’s Wife (1893) SUE THOMAS
7. Proscenium Arches and Fashion Columns: Brisbane Theatre and the Role of Women During the Wars DELYSE RYAN
8. Whose Turn to Shout? The Crisis in Australia Musical Theatre PETER FITZPATRICK

Reviews

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

Australasian Drama Studies

Australian Aboriginal Performance

Issue 37, October 2000

Table of Contents

1. Issue 037 (Full Issue PDF)
2. ANNE MARSHALL Casting about for the scent: Researching Aboriginal performance
3. JARED THOMAS Land of opportunity?
4. JUNE PERKINS 7 valleys of nurturing: Exploring the performing arts philosophy of Wesley Enoch: a profile
5. GEOFFREY MILNE The Festival of the Dreaming: Intimate, contemporary, true
6. JAN PINKERTON Fish out of water
7. KEIRYN BABCOCK Power and performance: Aboriginality and the Academy
8. LYNNE BRADLEY Choosing good ground: a forum interview with Kooemba Jdarra artistic directors Lafe Charleton, Wesley Enoch and Nadine McDonald
9. ADRIAN MARSHALL Writing Truly, Madly, Country
10. GORDON BEATTIE Reflections
11. MARYROSE CASEY From the wings to centre stage: a production chronology of theatre and drama texts by Australian Indigenous writers
12. Review: PETER FITZPATRICK Cloudstreet by Nick Enright and Justin Monjo
13. review: VERONICA KELLY English Stage Comedy 1490 1990 by Alexander Leggatt
14. Review: PHILLIPA KELLY New sites for Shakespeare: Theatre, the Audience and Asia by John Russel Brown
15. Review: RICHARD FOTHERINGHAM, The Cambridge History of American Theatre; Volume 1, ed. Don B. Wilmeth and Christopher Bigsby
16. Review: HAROLD LOVE The Silent Showman:Sir George Tallis by Michael and Joan Tallis, and Civilising the Colonies: Pioneering Opera in Australia by Alison Gyger
17. Review: BRUCE PARR Lovesic: Modernist Plays of Same-Sex Love, 1894-1925,ed. Laurence Senelick
18. Review: PAUL DWYER Legislative Theatre: Using Performance to Make Politics by Augusto Boal
19. Review: JULIAN MEYRICK 1956 and All That: The Making of Modern British Theatre by Dan Rebellato
20. Review: JOANNE TOMPKINS The Drama of South Africa by Loren Kruger
21. Review: KERRIE SCHAEFER, Space in Performance: Making Meaning in the Theatre by Gay McAuley

Australasian Drama Studies

Issue 36, April 2000

Table of Contents

1. Issue 036 (Full Issue PDF)
2. NEIL ARMFIELD AND GEOFFREY RUSH The 1999 Rex Cramphorn memorial lecture: Tearing the cat
3. MARYROSE CASEY Nindethana and the National Black Theatre: interrogating the mythology of the New Wave
4. MURRAY EDMOND The 'original' Downstage and the theatre of its history
5. MIKE FOSTER Community/communitas: renegotiating community theatre today. An interview with Graham Pitts
6. PAUL MAKEHAM 'The city's surrounded by fire': Michael Gow's The Kid
7. JULIA MANT The testimonial stage: theatrical presentations of the prisoner of war, 1995
8. BILL DUNSTONE 'Orders of nature': press, gender and performance in colonial Western Australia 1839-1880
9. MARGARET WILLIAMS and HILARY GOLDER Fighting Jack: a brief Australia melodrama
10. Review:MEREDITH ROGERS The woman in the Window by Alma De Groen
11. Review:GEOFFREY MILNE Chilling and Killing my Annabel Lee by Aidan Fennessy and Secret Bridesmaid's Business by Elizabeth Coleman
12. Review: MELISSA WESTERN X-Stacey by Margery Forde
13. Review: JULIAN MEYRICK The Dogs Play and a A Few Roos Loose in the Top Paddock by Tee O'Neill

Australasian Drama Studies

Issue 35, October 1999

Table of Contents

1. Issue 035 (Full Issue PDF)
2. MARK ST LEON Introduction
3. REG BOLTON Circus as education
4. RICHARD WATERHOUSE Travelling shows in rural Australia 1850-1915
5. MIMI COLLIGAN Circus in theatre: Astley's amphitheatre, Melbourne 1854-1857
6. GAVIN ROBBINS The passion and totality of your body, mind and soul: an interview with Nigel Jamieson
7. LYNN EVERETT Thrills and spills: the precarious life of Circus Monoxide
8. JOHN WHITEOAK The development of Australian Circus Music
9. DAVID C S SISSONS Japanese acrobatic troupes touring Australasia 1867-1900
10. CATHY J BARRETT and HEATHER VALLANCE The wild west show: socio-historic spectacle and character as circus
11. PETA TAIT Circus bodies as theatre animals
12. NICOLA BRACKERTZ The battle for colonial circus supremacy: John Bull, Uncle Sam and their 'Chariots of Fire'
13. MARK ST LEON Noms d'arena: the use of pseudonyms in Australian circus
14. MARK ST LEON Noms d'arena: the use of pseudonyms in Australian circus
15. SUE BROADWAY Circus Oz - the first seven years: a memoir
16. Review: MURRAY BRAMWELL The Blind Giant is Dancing the rev. ed by Stephen Sewell
17. Review:JOANNE TOMPKINS Natural Life adapted by Humphrey Bower

Australasian Drama Studies

Issue 34, April 1999

Australasian Drama Studies

Number 33 Oct 1998

Table of Contents

1. Issue 033 (Full Issue PDF)
2. TOM BURVIL and CHRIS WORTHAM Foreward
3. LLOYD DAVIS Why speak to the dead?!! Teaching and researching Renaissance drama
4. FRANCES DEVLIN-GLASS “Teaching the audience with the play’: feminism and Shakespeare at the Melbourne Theatre Company, 1984-93
5. PHILLIPA KELLY ‘Laughing in his face’: Australia’s Shakespeare
6. ADRAIN KIERNANDER ‘Cupid’s bow burn’d; or, difference endangered in John Lily’s Gallathea and Shakespeare’s cross-dress comedies
7. GEOFFREY MILNE Shakespeare under the stars: a new ‘Elizabethan’ tradition
8. ANTHONY MILLER ‘Imperial Caesar’: Shakespeare’s Julius Caesar on the Australian stage, 1856-1889
9. LUCY POTTER Hamlet and the scene of pedagogy
10. KAORI KOBAYASHI Shakespeare wallah: George C. Miln’s Shakespearean productions in India
11. MARK MINCHINTON The right and only direction: Rex Cramphorn, Shakepeare, and the Actor’s Development Stream
12. PAUL WASHINGTON ‘Bardbiz’ in colonial Australia: the formation of a cultural institution
13. LLOYD DAVIS Reviewing the Renaissance
14. Review: PAMELA A FOULKES, My Body. My Blood by Margaret Kirby
15. Review: MEREDITH ROGERS, Black Sequin Dress by Jenny Kemp
16. Review: RACHEL FENSHAM, Australian Women's Drama, ed. Peta Tait and Elizabeth Schafer
17. Review: GREG McCART, Three Plays by Aristophanes: Staging Women trans, Jeffrey Henderson
18. Review: ALAN BRISSENDEN, Shakespeare's The Merchant of Venice, d. Penny Gay
19. Review: JOHN DOWNIE. Shakespeare and the moving Image: The Plays on Film and Television, ed. Anthony Davies and Stanley Wells
20. Review: RICHARD MADELAINE, The Texts of 'Othello' and Shakespearian Revision by E.A.J. Honigmann
21. Review: HAROLD LOVE Come to Dazzle: Sarah Bernhardt's Australian Tour by Corille Fraser
22. Review: IAN MAXWELL, Performing Brecht Forty Years of British Performances by Margaret Eddershaw
23. Review: JANE GOODALL, A Sourcebook of Feminist Theatre and Performance: On and Beyond the Stage,ed. Carol Martin
24. Review: TOM BURVILL, The Intercultural Performance Reader, ed. Patrice Pavis
25. Review: TOM BURVILL, The Intercultural Performance Reader, ed. Patrice Pavis

Australasian Drama Studies

Number 32 April 1998

Table of Contents

1. Issue 032 (Full Issue PDF)
2. RHODA ROBERTS The 1997 Rex Cramphorn memorial lecture: A passion for ideas: Black stage
3. JUDY PIPPEN Ranged between Heaven and Hades: actors’ bodies in cross-cultural theatre forms
4. FRANCES DEVLIN-GLASS ‘Every man who is not Petruchio doth wish he was’: postfeminist anxiety and the resistance in Dead White Males
5. KAORI KOBAYASHI Touring companies in the Empire: the Miln company’s Shakespearean productions in Japan
6. HELEN THOMSON Dymphna Cusack’s plays
7. Playscript: Panaylota by Angela Costi with an introduction by Kim baston
8. JOH HARTOG The computerized gaze and the performing arts
9. RICHARD FORTHERINGHAM Fingers in the text/book: compiling and editing theatre history
10. Review: KATHERINE NEWEY, Modern Drama by Women, 1880s-1930s. An International Anthology, ed. Katherine Kelly.pdf
11. Review: SIMON CHAN, Thieving Boy and Like Stars in My Hands by Tim Conigrave
12. Review: HELEN THOMSON, The Torrents by Oriel Gray and Blackrock by Nick Enright
13. Review: GEOFFREY MILNE Competitive Tenderness by Hannie Rayson and Waking Eve by Robert Hewett
14. Review: PAUL MAKEHAM The Ghosts Trilogy (Too Young For Ghosts; No Going Back; My Father's Father) by Janis Balodis
15. Review: KIM WALKER, Historiography and Ideology in Stuart Drama by Ivo Kanps
16. Review: HAROLD LOVE, Richard Davis, Anna Bishop: the Adventures of an Intrepid Prima Donna by Richard Davis and Florence Austral: One of the Wonder Voices of the World by James Moffat_.pdf
17. Review: HOWARD McNAUGHTON, Companion to Theatre in Australia, gen.ed. Phillip Parson with Victoria Chance
18. Review: DAVID WILLIAMS, Art Into Theatre: Performance Interviews and Documents by Nick Kaye
19. Review: SIMON WOODS, At Work with Grotowski on Physical Actions by Thomas Richards

Australasian Drama Studies

Number 31 Oct 1997

Table of Contents

1. Issue 031 (Full Issue PDF)
2. BRUCE PARR, TIM BENZIE and SHANE ROWLANDS Introduction
3. LLOYD DAVIS Queer Criticism on Shakespeare
4. KEIRAN BABCOCK ‘Pleasure, danger and genderfucking’: an interview with Moira Flaucane
5. CHRISTOPHER BECKEY Hom(m)oerotics? Or to queer the male body on stage
6. PETA TAIT Interpreting bodily functions in queer performance
7. PHILIP BILTON-SMITH ‘Because they’re my people’: an interview with Alex Harding and Barry Lowe
8. STUART YOUNG Sleeping with the mainstream: gay drama and theatre in Britain moves in from the margin
9. SHANE ROWLANDS Textualities and Sexualities of Bodies in Motion: an interview with Gail Kelly
10. JONATHAN BOLLEN ‘What a queen’s gotta do’: queer performativity and the rhetoric’s of performance
11. Review: GREG MCCART, Aeschylus: Suppliants and Other Dramas: Persians, Seven Against Thebes, Fragments, Prometheus Bound,ed. Michael Ewans
12. Review: PHILIP BILTON-SMITH: Australian Gay and Lesbian Plays ed. Bruce Parr
13. Review: JONATHAN DAWSON: Blackrock: The Screenplay by Nick Enright and Love Serenade by Shirley Barrett
14. Review: LLOYD DAVIS: The Theatrical City: Culture, Theatre and Politics in London 1576-1649,eds. David L.Smith, Richard Strier & David Bevington, and Reading Shakespeare Historically by Lisa J
15. Review: ANDREW MCCANN: Impersonations: the Performance of Gender in Shakespeare's England by Stephen Orgel
16. Review: JIM DAVIS: The Theatre Industry in Nineteenth Century France by F.W.J. Hemmings
17. Review: RACHEL FENSHAM: Performance; a critical introduction by Marvin Carlson
18. Review: PETA TAIT: The Explicit Body in Performance by Rebecca Schneider
19. Review: MARGARET HENDERSON: Queer Theory by Annamarie Jagose

Australasian Drama Studies

Number 30 April 1997

Table of Contents

1. Issue 030 (Full Issue PDF)
2. JOHN ROMERIL Ringing heaven: the second Rex Cramphorn Memorial Lecture
3. FRANCES DEVLIN-GLASS An interview with John Bell
4. MARGARET HAMILTON Open City: a field of linguistic possibilities
5. ALBERT MORAN Try and try again: The Restless Years and nationalizing television drama
6. ANNA BEMROSE E.W.O’Sullivan’s Coo-ee; or Wild Days in the Bush: people’s theatre or political circus?
7. Review: GEOFFREY MILNE ; Sex Diary of an Infidel, Underwear, Perfume and Crash Helmet, and Jerusalem by MichaelGurr, and All Souls by Daniel Keene
8. Review: JOHN DOWNIE. Eugenia by Lorae Parry, and Playlunch:Five Short New Zealand Plays ed. Christine Prentice and Lisa Warrington
9. Review: JONATHAN DAWSON: Spotswood: The Screenplay by Max Dann and Andrew Knight and Cosi: The Screenplay by Louis Nowra
10. Review: JOANNE TOMPKINS ; Performing Nostalgia: Shifting Shakespeare and the Contemporary Past by Susan Bennett
11. Review: JOANNE TOMPKINS ; Performing Nostalgia: Shifting Shakespeare and the Contemporary Past by Susan Bennett
12. Review: LLOYD DAVIS: Hamlet Theory in Practice Series, ed. Peter J.Smith and Nigel Wood, and Scocial Shakesoeare: Aspects of Renaissance Dramaturgy and Contemporary Society by Peter J.Smith
13. Review: DAVID CARNEGIE Theatre and Government Under the Early Stuarts, ed. j.R. Mulryne Shewring
14. Review:GARETH GRIFFITHS: Post-Colonial Drama:Theory, Practice, Politics by Helen Gilbert and Joanne Tompkins
15. Review: PAUL MAKEHAM: Australian Contemporary Drama (rev.ed.) by Dennis Carroll
16. Review: ALAN FILEWOOD: Challenging the Centre: Two Decades of Political Theatre, ed. Steve Capelinf
17. Review: JOANNE TOMPKINS ; Contemporary Dramatists, 5th ed., K.A.Berney

Australasian Drama Studies

Theatre and the Canadian Imaginary

Number 29 October 1996

Australasian Drama Studies

Number 28 April 1996

Australasian Drama Studies

Women Making Theatre for Social Change

Number 27 October 1995

Table of Contents

1. Issue 027 (Full Issue PDF)
2. PETA TAIT, JULIE HOLLEDGE and TONY MITCHELL Introduction
3. JULIE HOLLEDGE ‘The monster is still there’: an interview with Fe Remotigue
4. MINDANAO CULTURAL WORKERS with JULIE HOLLEDGE ‘To heal our social ills’: community theatre practice in the Philippines
5. MATRA ROBERTSON Korean shamanism: an interview with Kim Kum hwa
6. MEEWON LEE Sahmanism and Korean theatre
7. JUNG SOON SHIM Awakening self: images of women in modern Korean drama
8. KAREN HEESON-SMITH ‘True people’s theatre’: an interview with Ranjana Pandey
9. LI YING NING Tradition and its re-creation
10. FATIMA CHEBCHOUB The female artist in Morocco: with references to actresses
11. ANNE-MARIE MORGAN Three approaches to modern theatre in Jakarta in the 1990s: Rendra, Putta Wijaya and Ratna Sarumpaet
12. PLAYSCRIPT: Ms Serena Serenata & Beaset, Luv! By Merlinda Bobis
13. TONY MITCHELL ‘High Art’ and Low Purse’” Adelaide Ristori tours Australia 22 July- 4 December 1875 Part Two
14. SUSAN PFISTERER Cultural anxiety and the new woman playwright: Mrs E.S.Haviland’s On Wheels
15. NOTE: Performance studies – a reply by Gay McAuley
16. Review: TOM BURVILL, Bali: Adat by Graham Shiel, and Aftershocks nu the Newcastle Workers' Cultural Action Committee with writer-in-residence Paul Brown
17. Review: NADIA FLETCHER: Mongrels by Nick Enright, and Furious by Michael Gow
18. Review: ROBIN BOND: Aristophanes: Myth, Ritual and Comedy by A.M.Bowie
19. Review: BETSY TAYLOR: The Cambridge Companion to Medieval English Theatre ed. Richard Beadle
20. Review: DENISE CUTHBERT: Shakespeare and the Geography of Difference by John Gillies
21. Review: PHILIP AYRES: Hamlet versus Lear: Cultural Politics and Shakespeare's Tragedies by David Margolies
22. Review; LIZ SCHAFER : As She Likes It: Shakespeare's Unruly Women by Penny Gay
23. Review: EDWARD SCHEER: Artaud and the Gnostic Drama by Jane Goodall
24. Review: BARBARA GARLICK: The Campbell Howard Annotated Index of Australian plays 1920-1955, domp. & ed. Jack Bedson and Julian Croft
25. Review: CAROLYN PICKETT:Original Women's Theatre: The Melbourne Women's Theatre Group 1974-77 by Peta Tait, and Playworks: Women Theatre Writers 1993
26. Review: PAUL MAKEHAM: John Romeril ed. Gareth Griffiths
27. Review: GARETH GRIFFITHS: The Cambridge Guide to Africa and Caribbean Theatre ed. Martin Banham, Errol Hill and George Woodyard
28. Review: TOM BURVILL, Theatre and Cultural Interaction by Maria Shevtsova
29. Review: GORDON BEATTIE: Architecture, Actor and Audience by Iain Mackintosh
30. Review: FRANCES BONNER: Television and Women"s Culture: The Politics of the popular ed. Mary Ellen Brown
31. Review: JOHN DOWNIE. The Actor's Way by Erike Exe Christoffersen, and Playing Boal: Theatre Therapy, Activism ed. Mady Schutzman and Jan Cohen-Cruz
32. Review: RICHARD CORBALLIS: Avant Garde Theatre 1892-1992 by Christopher Innes

Australasian Drama Studies

Number 26 April 1995

Australasian Drama Studies

Theatre in Southeast Asia

Number 25 October 1994

Australasian Drama Studies

Number 24 April 1994

Australasian Drama Studies

Number 23 October 1993

Australasian Drama Studies

Number 22 April 1993

Australasian Drama Studies

Women in Theatre

Number 21 October 1992

Australasian Drama Studies

Theatre for Communities

Number 20 April 1992

Issue 020 (Full Issue PDF)

Contents

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

Australasian Drama Studies

Number 19 October 1991

Australasian Drama Studies

Theatre and Drama in New Zealand

Number 18 April 1991

Australasian Drama Studies

Number 17 October 1990

Australasian Drama Studies

Theatre at the Crossroads of Culture

Number 15/16 April 1990

Australasian Drama Studies

Number 14 October 1989

Australasian Drama Studies

Australian Theatre Double Issue

Number 12/13 1988

Australasian Drama Studies

Number 11 October 1987

Australasian Drama Studies

Number 10 April 1987

Australasian Drama Studies

Number 9 October 1986

Australasian Drama Studies

Issue 8, April 1986

Australasian Drama Studies

Number 7 October 1985

Australasian Drama Studies

Issue 6, April 1985

Australasian Drama Studies

Volume 3 Number 1 October 1984

Table of Contents

1. Issue 3.1 (Full Issue PDF)
2. Guest editorial  TERRY STURM
3. A brief chronology of theatre in New Zealand LAURIE ATKINSON
4. Dunedin's Globe Theatre: the Carey years DAVID CARNEGIE
5. Dunedin's Globe Theatre: the Carey years DAVID CARNEGIE
6. 'What kind of a society can develop under corrugated iron?': glimpses of New Zealand history in New Zealand plays SEBASTIAN BLACK
7. Footrot Flats: a casebook RICHARD CORBALLIS
8. Raymond Boyce, stage designer JOHN ROBERTS
9. 'Divine gossip': interviews with six New Zealand directors RUTH HARLEY
10. The third New Zealand playwrights' workshop DAVID CARNEGIE
11. Promise and frustration: New Zealand playwrighting since 1975 MERVYN THOMPSON
12. Reviews     PHILLIP MANN: New Zealand Drama 1930-1980,: an illustrated history by John Thomsom; MICHAEL NEILL: Out in the Cold by Greg McGee; JEAN BETTS: Outside In by Hilary Beaton; SUNNY AMEY: On Stage 1; Four Plays for Secondary Schools, ed. David Dowling; JOHN THOMSON: New Zealand Theatre Annals: Christchurch 1900-1919, comp. Howard McNaughton; MAY­BRIT AKERHOLT: Netherwood by Patrick White; RICHARD FOTHERING­HAM: Spangles and Sawdust: the Circus in Australia by Mark St. Leon.

Australasian Drama Studies

Volume 2 Number 2 April 1984

Australasian Drama Studies

Volume 2 Number 1 October 1983

Australasian Drama Studies

Popular Theatre Issue

Volume 1 Number 2 April 1983

Australasian Drama Studies

Volume 1 Number 1 October 1982