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Issue 79
Mon, 20 Dec 2021Printable version
Australasian Drama Studies
Issue 79 | December 2021
Table of Contents
1. Issue 079 (Full Issue PDF)2. Contents
3. Editorial Pia Johnson and Miles O’Neil
4. A Conversation Between Performance Photographers Brett Boardman and Jeff Busby, with Notes by Heidrun Lohr Pia Johnson
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.
5. The Intimate and the Epic in Plunge: A Writer-Director’s Approach to Heterarchical Composition Kate Shearer
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.
6. A Performative Investigation of the Agency of Sound: Mapping the Sound/ Soundscape Portrait Angela Viora
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.
7. ‘Where’s the AV Guy?’: A Conversation with Rhian Hinkley, Margie Medlin and Nick Roux Yoni Prior
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.
8. Seed Value: Collaboration and Creative Development in Composed Theatre David Megarrity
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.
9. Siren Song: Strengthening Community through Sonic Insurgency Miles O’Neil
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.
10. Towards a Post-Pandemics of Sound in Performance Chris Wenn
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’.
11. Liveness in the Digital Age: Performance Case Studies Russell Fewster, Geordie Brookman and Richard Chew
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
Issue 78
Thu, 27 May 2021Printable version
Australasian Drama Studies
Issue 78 | April 2021
Table of Contents
1. Issue 078 (Full Issue PDF)2. Contents
3. Editorial Yoni Prior
4. Staging Music in Shakespeare Richard Fotheringham
An analysis of insights and limitations in using architectural and antiquarian approaches to staging Shakespeare’s plays in performance, then and now, particularly in relation to music, musicians, and the ‘music room’.
5. From Bejewelled Crucifix to Modern Dress: ‘Shakespeare and Stage Costume’ from Wilkie to Bell Rachel Fensham
Theatre costumes except with rare exceptions are fragile artefacts – often worn out during their lifetime by use and re-use, sometimes used by multiple actors or exchanged between one company and another; and they are often adapted, lost or destroyed when they come to the end of their useful life. Aoife Monk’s ground-breaking book, The Actor in Costume, has invigorated research on the material culture of costumes although there is still much to be accomplished to understand the role of costumes on the Australian stage. They do however offer tantalising glimpses of the embodied life of theatre history and suggest new ways of responding to the role of archives in the interpretation of historical change.
With a focus on an object-oriented analysis of costume, this paper elaborates on a much earlier contribution from Oscar Wilde to debates on the historical authenticity of costumes in his essay, Shakespeare and Stage Costume, and examines its influence on the theatre entrepreneur, Allan Wilkie, and his Shakespeare company in the early part of the twentieth century. By looking at the role of selected objects, relics and costumes in Wilkie’s productions and comparable works from the same period, questions about theatrical aura, colonial transmission and the anxieties of modernity for the reception of Shakespeare in Australia can be explored.
6. Visualising the Story of Theatre in Sydney: Venues, Repertoire and Change, 1920–2020 Jonathan Bollen
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 HayIn March 1949, as an adjunct to a scoping mission for a return Old Vic theatre tour to Australia, famed director Tyrone Guthrie was invited to prepare a report on the possibility of an Australian national theatre. Government records indicate that he spent six weeks in Australia, before delivering a “Report on Australian Theatre” that was subsequently published in the June 1949 Australian Quarterly. Despite its famously dismissive tone, the Guthrie Report became a lightning rod around which demands for a national theatre and for federal arts subsidy finally began to coalesce.
However, tracing a coherent narrative about the Report is difficult. Sources and later accounts differ on details and these inaccuracies have crept into even the most authoritative accounts of Australian theatre history. In this article, I return to the original records that established Guthrie’s visit to Australia, as well as the government deliberations that his Report provoked, to reveal the Guthrie Report as offering a blueprint for the arts subsidy that developed in Australia during the 1950s. By further contextualising “the notorious Guthrie Report” (Meyrick 27), my work also interrogates the value of aetiological myths to writing and re-writing national theatre histories.
8. Recognising the Face of Australian Theatre: Authentic Diversity and the Case of Metanoia Glenn D’Cruz in interview with Görkem Acaroğlu, Shane Grant and Greg Ulfan
Metanoia is a theatre company founded by Görkem Acaroğlu, Greg Ulfan and Shane Grant in 2013. The group consistently redresses the under representation of non-Anglo writers, performers, directors and other theatre workers on Australian stages — this is especially true of flagship theatre companies (see Kim Ho, Cultural Diversity in Australian Theatre, 2017). Originally located at the Mechanics Institute in Brunswick, Melbourne, the company is now based in regional Victoria and continues to explore how questions of race, ethnicity, gender identity and class play out in a variety of local and international contexts. Metanoia has built a reputation for producing innovative works that span a variety of genres including narrative theatre, digital performance, immersive installations and live art. This paper identifies the company’s major aims and achievements with a focus on its political orientations and dramaturgical strategies by interviewing its principal creatives. Since the word, ‘metanoia’ refers to changes or shifts in perception, thought and action, this paper explores the company’s perspective on the problems associated with attempting to (literally) change the face of Australian theatre culture. This article includes hyperlinks to video recordings of selected Metanoia productions.
Keywords: Diversity; inclusivity; colour blind casting; Australian Theatre; Politics, Race
9. ‘It Caught the Zeitgeist’: Interview with Andrew Bovell Nathan Hastie
Andrew Bovell’s When the Rain Stops Falling is one of Australia’s most critically and commercially successful plays of the twenty-first century, which tells the story of a family’s search for reconciliation across several generations, before, during and after an apocalyptic environmental event. Since its first performance in 2008 for the Adelaide Festival of Arts, it has become one of Australia’s most produced plays internationally. It is an early work of Australian environmentalist theatre, while also being one of the first plays to draw parallels between the generational inherited trauma of colonialism and environmental damage. For his Honours thesis at the University of Queensland, Nathan Hastie interviewed Andrew Bovell in his investigation of how Bovell’s play was able to find success from the Australian market to both Broadway and the West End. Bovell is one of Australia’s leading playwrights, with other major works staged annually on international stages, such as Speaking in Tongues (later adapted into the film Lantana) and Things I Know To Be True. The following interview provides an insight into Bovell’s creative process and discusses his thoughts concerning identity, nation and the disappearing physical and psychological landscapes, and how all of these elements come together in When the Rain Stops Falling. For Hastie’s thesis, he additionally interviewed the play’s director, Chris Drummond, while also comparing the success of When the Rain Stops Falling, to another successful Australian play, Holding the Man, in which he also interviewed playwright Tommy Murphy and director David Berthold.
10. ‘Sustained Personal Contact’: Recent Australian Productions on Tour in China Anne Pender
In 2012 Australia’s first ambassador to China, Stephen Fitzgerald, argued that Australians need a stretch of the imagination ‘to be able to imagine a different kind of relationship’ with China, one that is not merely transactional and commercial. Fitzgerald encouraged Australians to invest in the relationship in a way that we have with other important nations such as the UK and the US. He stressed the need for an ‘intensity of sustained personal contact’. The making of theatre is one of the ways in which sustained personal contact occurs, and a genuine cultural exchange.
Between 2012 and 2020 at least a dozen Australian theatre companies have taken their work to China. Companies offering opera, ballet, spoken word drama, physical theatre, puppetry and children’s theatre have all toured or appeared at festivals, some of them offering productions over multiple years. This article draws on extensive first-hand accounts by participants interviewed by the author to explore the recent experiences of actors, directors and producers involved in three touring productions and their reception by Chinese audiences, against a backdrop of expanding access to, and increasing interest in Australian performance in the People’s Republic. Using a case study approach, the article examines the development and production of three diverse works and the extent of their adaptation for audiences in China. The case study productions include Saltbush, an immersive children’s theatre production from Insite Arts, Baba Yaga, a children’s play and co-production between Adelaide’s Windmill Theatre and Scotland’s Imaginate, and desert, 6.29pm, a play produced by the Red Stitch Actors’ Theatre, who were invited to perform at the Wuzhen Theatre Festival in 2018.
The article considers the spaces of aesthetic transformation and intercultural connection afforded by the productions, the long-term investment in children’s theatre in South Australia that has enabled the international reach of several companies, the finely balanced economics of touring to China, and the sustained personal relationships between the touring companies and the individuals who operate the highly successful Shanghai-based presenting company, A.S.K (Art Space for Kids). It speculates about performance futures and collaborative opportunities between China and Australia at a time of strained relations.
11. What Are The Ties That Hold Us Together? The Smartphone Networks in As If No One Is Watching and Body of Knowledge Abbie Victoria Trott
In this time of ubiquitous digitality, the smartphone has become a central interface of connection. It gathers us together, tying us to people that we know – and people that we don’t – as we participate in what Shuhei Hosokawa described in 1984 as acts of ‘secret theatre.’ Considering two networked performances – Vulcana Women’s Circus and WaW Dance’s As If No-One is Watching (2018, 2019), and Body of Knowledge (2019) by Samara Hersch – I use network theory to examine the ties that assembled the audience members together. Watching a physical abstraction of the private, while listening to personal stories in public, the audience – through their smartphone – interfaced with the performance of As If No One is Watching, enabling them to engage with acts of theatre in secret. In contrast – working together to establish a ‘body’ of ‘knowledge’ – the audience of Body of Knowledge used smartphones to interface with each other and the performers. Situated firmly in the ‘physical,’ as opposed to the ‘virtual,’ these immersive performances were reliant on smartphone facilitated post-digital networks. In this article I explore how the smartphone in performance gathers audience members together over a network.
12. Reviews
13. Contributors
Issue 77
Wed, 20 Jan 2021Printable version
Australasian Drama Studies
Issue 77 | January 2021
Table of Contents
- Issue 077 (Full Issue PDF)
- Contents
- Editorial: Regional Theatre in Australia Jennifer Beckett, Rachel Fensham and Paul Rae
- Passionate, Not Parochial: Local Theatre in Launceston Asher Warren and Jane Woollard
- Flexible Theatrics in Early Goldfields Ballarat Ailsa Brackley du Bois
- The Suitcase Royale: Sonic Explorations of Gothic Victorian Towns Miles O’Neil
- A Community of Producers: A Conversation about Vocabulary, Weather, Creative Problem-Cracking, Distance and Performance in Regional Western Australia Chloe Flockhart and Paul McPhail
- A Gym for Empathy: A Conversation about Regional Migrant Stories, Theatre and the Banquet of Life Elena Carapetis and Anthony Peluso
- The Anchor, the Centre, the Shelter, the Dwelling: A Conversation about Contemporary Theatre Practice in Regional Australia Jude Anderson and Joe Toohey
- That Very Specific Place: A Regional Australian Theatre Conversation Ros Abercrombie, Paul McPhail, Anthony Peluso and Joe Toohey
- The Economic Aesthetics of Three Regional, Unpaid-Led Theatre-Producing Companies Anna Loewendahl
- Ariel Songs: Performing Cultural Ecologies of Ballarat Angela Campbell, Tanja Beer, Richard Chew and Kim Durban
- ‘It Was a Cracker’: Listening in to Youth Audiences, Regional and Urban, with Show Reports Abbie Victoria Trott
- Desert Stages: The Place of Theatre in the Barkly Region’s Creative Ecology Sarah Woodland and Brydie-Leigh Bartleet
- ‘Dreaming, It Is Like Breathing Air’ Edwin Lee Mulligan and Dalisa Pigram Ross
- Shared Bodies: Dramaturgies of/for Listening and Hearing Angela Conquet
- Reviews
- Contributors
Issue 76
Thu, 28 May 2020Printable version
Australasian Drama Studies
Issue 76 | April 2020
Table of Contents
- Issue 076 (Full Issue PDF)
- Abstracts
- Editorial Yoni Prior
- Dancing, Marching and Baton Twirling with the Virgin: Performing Community at the Peñafrancia Festival in the Philippines William Peterson
- Festivals, Funerals and Circuses: The Impact of Space and Design in the Construction of Meaning and Audience Experience Natalie Lazaroo and Jennifer Penton
- Polyfest Postponed: Performing ‘Us’ in Christchurch in 2019 Tony McCaffrey
- Disciplined Subjects and Social Performance: Entertainments at the Fremantle Lunatic Asylum, 1873–1906 Jonathan W. Marshall
- Wassailing and Festive Music in Shakespeare’s Twelfth Night Kathryn Roberts Parker
- Local Archive, Distant Reading: Performance Space at Cleveland Street and Carriageworks Caroline Wake and Boni Cairncross
- Enacting Restorative Justice: Shakespeare and Tikanga Māori in Cellfish (2017) Rand Hazou
- Hold On: Australian Innovations in Access Aesthetics Madeleine Little, Sarah Austin and Eddie Paterson
- Contemporary Performance and Climate Change: Re-defining the Australian Landscape Narrative Linda Hassall
- Celebrating Fifty Years in Prague: Reflections on Australian Scenographic Identity through the Prague Quadrennial of Performance Design and Space Tessa Rixon and Sarah Winter
- Entanglements with Time: Staging Duration and Repetition in the Theatre Deborah Pollard
- An Actress Weeps: Corporeal Dissonance in the Actor’s Experience of Performing Testimony in Eduardo Coutinho’s Jogo de Cena Rea Dennis
- Shifting Hybridity: An Intercultural Arab–Australian Shadow Theatre Performance Lynne Kent
- Review
- Contributors
Issue 75
Wed, 18 Dec 2019Printable version
Australasian Drama Studies
Issue 75 | December 2019
Table of Contents
- Issue 075 (Full Issue PDF)
- Editorial: The Actress in the 21st Century Mary Luckhurst
- Woman as Subject: Critical Perspectives of Australian Commercially Successful Plays with Leading Roles for Female Actresses Margaret Haining and Caroline Heim
- Interview with Candy Bowers – Intersectionality and the Australian Theatre Industry Sarah French
- Nicole Kidman: Transformation and the Business of Acting Mary Luckhurst
- Interview with Zoe Coombs Marr Miles O’Neil
- Vanishing Acts: The Actress and the Archibald Prize Fiona Gregory
- Interview with Julie Forsyth – Career Visibility: ‘You Need Someone Who Sees You’ Yoni Prior
- Performing Technical Innovation: The Pioneering Audio Work of Tamara Saulwick Miles O’Neil
- Interview with Margi Brown Ash – Finding Balance: Mental Health, Wellbeing and Female Performers Lynne Bradley
- Cross-Gender Playing Techniques: Actresses and Innovation in the Portrayal of Female Jingju (Beijing /Peking Opera) Roles Megan Evans
- Interview with Yoni Prior Miles O’Neil
- Musical Theatre and Australian Leading Ladies: Legacies of the Past and Current Challenges – ‘How Lucky We Are to Be Alive Right Now’ Trevor Jones
- Playing with Extremes: The Travelling Sisters and Contemporary Sketch Comedy Sarah Peters
- Reviews
- Contributors
Issue 74
Tue, 14 May 2019Printable version
Australasian Drama Studies
Issue 74 | April 2019
Table of Contents
- Issue 074 (Full Issue PDF)
- Editorial
- The NDIS and Disability Arts in Australia: Opportunities and Challenges Bree Hadley, Gerard Goggin et al
- Verbatim Theatre and a Dramaturgy of Belonging Sarah Peters
- A West End Celebrity Proselytises the Bonds of Empire: Seymour Hicks and Bruce Bairnsfather’s Old Bill in 1920s Australia Veronica Kelly
- Visions of Restorative Justice in Theatre, Theory and Practice Paul Dwyer, J.R. Martin and Michele Zappavigna
- Breathtaking Performance: a room with no air’s Exhaustive Aesthetics of Holocaust Memory Bryoni Trezise
- Playing the Edinburgh Lottery: Six Decades of New Zealand Theatre at the Edinburgh Festival Fringe James Wenley
- Toward an Ethical Practice: Child Performers in Contemporary Performance for Adult Audiences Sarah Austin
- Creating Feminine/ist Theatre: Écriture Féminine as a Framework for Directors Laura Hartnell
- Ranters: Rehearsal and Development Process – How Is the Text Enacted? Raimondo Cortese
- The Veil of Queer Aesthetics: Lindsay Kemp and the Subtext of Gay Desire in Oscar Wilde’s Salomé Gerrard Carter
- Reviews
- Contributors
Issue 73
Wed, 23 Jan 2019Printable version
Australasian Drama Studies
Issue 73 | October 2018
WARNING: Aboriginal and Torres Strait Islander readers are advised that the article Namatjira: Beyond the Script contains an image of a person who has died.
Table of Contents
- Issue 073 (Full Issue PDF)
- Editorial – Turangawaewae: A Place to Stand in Contemporary Indigenous Performance in Australasia and Beyond Nicola Hyland, Liza-Mare Syron and Maryrose Casey
- Foreword Anne Marshal
- The Hepatitis C Trilogy: A case for Indigenous theatre as a contemporary manifestation of traditional healing business. Blayne Welsh
- Shot Bro: A Theatrical Korero about Depression and Suicide in Aotearoa/ New Zealand Sally Richards
- Engaging with Local First Nations Communities through the Performing Arts Denise Wilson, Tandi Palmer Williams, Karilyn Brown and Liza-Mare Syron
- A Renaissance in Wellington Maori Theatre Tanemahuta Gray
- Transnational Connections: First Nations Conversations through Making Performance Liza-Mare Syron
- Namatjira: Beyond the Script – Visual and Performative Aesthetics as Conduits for the Communication of Western Aranda Ontology Susanne Thurow
- WOER WAYEPA – The Water Is Rising: A Torres Strait Islander Approach to Knowledge Mobilisation, and Saibaian Approach to Cultural Knowledge Transference to Performative Storytelling Margare
- Performances of Belonging Maryrose Casey
- A Conscious Un-couplet: Wahine Maori Stand Up to Shakespeare Nicola Hyland
- Choreographed Pasts: A Historiographic Inquiry into Australian and Indigenous Australian Concert Dance Luke Forbes
- Finding a Sense of Place in the Pacific Diaspora: Pasifika Performance in Aotearoa David O’Donnell
- The Whanau We Have Always Had: The Future Is Indigenous Hone Kouka
- Reviews
- Contributors
Issue 72
Sun, 1 Apr 2018Printable version
Australasian Drama Studies
Issue 72 | April 2018
Table of Contents
- Issue 072 (Full Issue PDF)
- Editorial
Julian Meyrick, Yoni Prior, Meredith Rogers - Harry Lyons Is ‘Here, There and Everywhere’: Australia’s Late-19th-Century Global Entertainment Broker
Gillian Arrighi - A ‘Great Anti-War Play’: Bury the Dead on the World Stage
Lisa Milner - Landscapes as Graveyards: Spectral Return and Performativity in the Contested Landscape
Jonathon W. Marshall, Emily Duncan - Postcard from the Edge: Tom Holloway’s Beyond the Neck and the Limits of Verbatim
Caroline Wake - Diagrams of Influence: A Model for Charting Artistic Lineages
Melanie Beddie - The Precarious Lives of Actors
Ian Maxwell, Mark Seton, Marianna Szabó - 148 Weekly Ticket Footscray – A Fifteen-Year Audience
Merophie Carr - Divisive Dramaturgy: Community Engagement in Contemporary Mediated Publics
Asher Warren - Reviews
- Contributors
