April 2013
Contents
Old Works Revisited
The Calculus of Risk: Rex Cramphorn’s 1988 Measure for Measure
IAN MAXWELL
Australian Theatrical Modernism and Modernity: Patrick White’s Season at Sarsaparilla
DENISE VARNEY
Theatre in New Zealand
We Are Amused: Theatre Comes to Dunedin, December 1861 – April 1862
LISA WARRINGTON
‘Kind of Like an Evil Version of Our Accent’: Imagining National Identity in Performances of Trans-Tasman Rivalry
NICOLA HYLAND
Reflections on Theatre and Performance in the (post-) Earthquake Zone
SHARON MAZER, VICTOR RODGER, SIMON TROON, RYAN REYNOLDS, A DIFFERENT LIGHT, EMMA WILLIS and GEORGE PARKER
Mining and Creating Archives
Making Maps ‘Speak’: e-Mapping Performance on Western Australia’s Coolgardie Goldfield, 1894–98
BILL DUNSTONE and HELENA GREHAN
Discovering Lost Voices: The British Drama League Archive and Amateur Dramatic Societies in New South Wales Regional Communities
JANET McGAW
Mapping Tangible and Intangible Cultural Heritage: The Splinters Archive Project
GAVIN FINDLAY
Dramaturgies and Adaptations
How Faithful Can You Be? Let Me Count the Ways: The Adaptation of Red Cap
JANIS BALODIS
From Shakespeare to the Super Bowl: Theatre and Global Liveness
EDDIE PATERSON and LARA STEVENS
Direct Address as Action and Effect in Bare Witness and Beyond the Neck
NOEL MALONEY
Old Stories, New Forms
Spending Two Weeks ‘Mucking Around’: Discourse, Practice and Experience during version 1.0’s Devising Process
KATE ROSSMANITH
Circus in the Cemetery: Transforming Space and Unearthing Memory in Vulcana Women’s Circus Performance, Grave Effects of Notable Women
NATALIE LAZAROO
Reviews
Haruru Mai and Strange Resting Places
HILARY HALBA
Urbanesia: Four Pasifika Plays
LISA WARRINGTON
Lena Ashwell: Actress, Patriot, Pioneer
VICTOR EMELJANOW
An Actress Prepares: Women and ‘the Method’
KATE HUNTER
Musical Theatre Auditions and Casting: A Performer’s Guide
NEIL RUTHERFORD
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