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Publisher: RMIT Publishing   (Total: 400 journals)

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Showing 1 - 200 of 400 Journals sorted alphabetically
40 [degrees] South     Full-text available via subscription   (Followers: 2)
Aboriginal and Islander Health Worker J.     Full-text available via subscription   (Followers: 14)
Aboriginal Child at School     Full-text available via subscription   (Followers: 5)
About Performance     Full-text available via subscription   (Followers: 11)
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ACORN : The J. of Perioperative Nursing in Australia     Full-text available via subscription   (Followers: 17, SJR: 0.103, h-index: 4)
Adelaide Law Review     Full-text available via subscription   (Followers: 19)
Advocate: Newsletter of the National Tertiary Education Union     Full-text available via subscription   (Followers: 1)
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Analysis     Full-text available via subscription   (Followers: 3)
Ancient History : Resources for Teachers     Full-text available via subscription   (Followers: 4)
Anglican Historical Society J.     Full-text available via subscription   (Followers: 3)
Annals of the Royal Australasian College of Dental Surgeons     Full-text available via subscription   (Followers: 4, SJR: 0.101, h-index: 11)
ANZSLA Commentator, The     Full-text available via subscription   (Followers: 3)
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Arena J.     Full-text available via subscription   (Followers: 1)
Around the Globe     Full-text available via subscription   (Followers: 1)
Art + Law     Full-text available via subscription   (Followers: 12)
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Artefact : the journal of the Archaeological and Anthropological Society of Victoria     Full-text available via subscription   (Followers: 3)
Artlink     Full-text available via subscription   (Followers: 5)
Asia Pacific J. of Clinical Nutrition     Full-text available via subscription   (Followers: 10, SJR: 0.672, h-index: 51)
Asia Pacific J. of Health Management     Full-text available via subscription   (Followers: 3)
Aurora J.     Full-text available via subscription  
Australasian Biotechnology     Full-text available via subscription   (Followers: 1, SJR: 0.1, h-index: 8)
Australasian Catholic Record, The     Full-text available via subscription   (Followers: 5)
Australasian Drama Studies     Full-text available via subscription   (SJR: 0.101, h-index: 2)
Australasian Epidemiologist     Full-text available via subscription  
Australasian Historical Archaeology     Full-text available via subscription   (Followers: 7)
Australasian J. of Early Childhood     Full-text available via subscription   (Followers: 4, SJR: 0.174, h-index: 1)
Australasian J. of Gifted Education     Full-text available via subscription   (Followers: 5, SJR: 0.115, h-index: 3)
Australasian J. of Human Security, The     Full-text available via subscription   (Followers: 1)
Australasian J. of Irish Studies, The     Full-text available via subscription   (Followers: 8)
Australasian J. of Regional Studies, The     Full-text available via subscription   (Followers: 1)
Australasian Law Management J.     Full-text available via subscription   (Followers: 7)
Australasian Leisure Management     Full-text available via subscription   (Followers: 1)
Australasian Musculoskeletal Medicine     Full-text available via subscription   (Followers: 3)
Australasian Music Research     Full-text available via subscription   (Followers: 4)
Australasian Parks and Leisure     Full-text available via subscription   (Followers: 2)
Australasian Plant Conservation: J. of the Australian Network for Plant Conservation     Full-text available via subscription   (Followers: 4)
Australasian Policing     Full-text available via subscription   (Followers: 5)
Australasian Public Libraries and Information Services     Full-text available via subscription   (Followers: 32)
Australasian Review of African Studies, The     Full-text available via subscription   (Followers: 2)
Australian Aboriginal Studies     Full-text available via subscription   (Followers: 10, SJR: 0.109, h-index: 6)
Australian Advanced Aesthetics     Full-text available via subscription   (Followers: 4)
Australian Ageing Agenda     Full-text available via subscription   (Followers: 6)
Australian and Aotearoa New Zealand Psychodrama Association J.     Full-text available via subscription  
Australian and New Zealand Continence J.     Full-text available via subscription   (Followers: 3)
Australian and New Zealand Sports Law J.     Full-text available via subscription   (Followers: 8)
Australian Art Education     Full-text available via subscription   (Followers: 7)
Australian Bookseller & Publisher     Full-text available via subscription   (Followers: 1)
Australian Bulletin of Labour     Full-text available via subscription   (Followers: 2)
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Australian Coeliac     Full-text available via subscription   (Followers: 1)
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Australian Educational and Developmental Psychologist, The     Full-text available via subscription   (Followers: 8, SJR: 0.143, h-index: 4)
Australian Family Physician     Full-text available via subscription   (Followers: 3, SJR: 0.364, h-index: 31)
Australian Field Ornithology     Full-text available via subscription   (Followers: 4, SJR: 0.141, h-index: 6)
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Australian Forestry     Full-text available via subscription   (Followers: 2, SJR: 0.252, h-index: 24)
Australian Grain     Full-text available via subscription   (Followers: 2)
Australian Holstein J.     Full-text available via subscription   (Followers: 1)
Australian Humanist, The     Full-text available via subscription   (Followers: 3)
Australian Indigenous Law Review     Full-text available via subscription   (Followers: 19)
Australian Intl. Law J.     Full-text available via subscription   (Followers: 23)
Australian J. of Acupuncture and Chinese Medicine     Full-text available via subscription   (Followers: 3, SJR: 0.106, h-index: 3)
Australian J. of Adult Learning     Full-text available via subscription   (Followers: 15, SJR: 0.159, h-index: 7)
Australian J. of Advanced Nursing     Full-text available via subscription   (Followers: 11, SJR: 0.225, h-index: 26)
Australian J. of Asian Law     Full-text available via subscription   (Followers: 4)
Australian J. of Cancer Nursing     Full-text available via subscription   (Followers: 8)
Australian J. of Civil Engineering     Full-text available via subscription   (Followers: 5, SJR: 0.17, h-index: 3)
Australian J. of Dyslexia and Learning Difficulties     Full-text available via subscription   (Followers: 8)
Australian J. of Emergency Management     Full-text available via subscription   (Followers: 10, SJR: 0.401, h-index: 18)
Australian J. of French Studies     Full-text available via subscription   (Followers: 7, SJR: 0.1, h-index: 5)
Australian J. of Herbal Medicine     Full-text available via subscription   (Followers: 3, SJR: 0.109, h-index: 7)
Australian J. of Language and Literacy, The     Full-text available via subscription   (Followers: 2, SJR: 0.399, h-index: 9)
Australian J. of Legal History     Full-text available via subscription   (Followers: 14)
Australian J. of Mechanical Engineering     Full-text available via subscription   (Followers: 3, SJR: 0.129, h-index: 4)
Australian J. of Medical Science     Full-text available via subscription   (Followers: 1, SJR: 0.122, h-index: 5)
Australian J. of Multi-Disciplinary Engineering     Full-text available via subscription   (Followers: 2)
Australian J. of Music Education     Full-text available via subscription   (Followers: 3)
Australian J. of Music Therapy     Full-text available via subscription   (Followers: 8)
Australian J. of Parapsychology     Full-text available via subscription   (Followers: 2)
Australian J. of Social Issues     Full-text available via subscription   (Followers: 5, SJR: 0.178, h-index: 20)
Australian J. of Structural Engineering     Full-text available via subscription   (Followers: 6, SJR: 0.296, h-index: 8)
Australian J. of Water Resources     Full-text available via subscription   (Followers: 6, SJR: 0.226, h-index: 9)
Australian J. on Volunteering     Full-text available via subscription   (Followers: 2)
Australian J.ism Review     Full-text available via subscription   (Followers: 8)
Australian Life Scientist     Full-text available via subscription   (Followers: 2, SJR: 0.1, h-index: 2)
Australian Literary Studies     Full-text available via subscription   (Followers: 5, SJR: 0.1, h-index: 6)
Australian Mathematics Teacher, The     Full-text available via subscription   (Followers: 6)
Australian Nursing J. : ANJ     Full-text available via subscription   (Followers: 6)
Australian Orthoptic J.     Full-text available via subscription  
Australian Primary Mathematics Classroom     Full-text available via subscription   (Followers: 4)
Australian Screen Education Online     Full-text available via subscription   (Followers: 2)
Australian Senior Mathematics J.     Full-text available via subscription   (Followers: 1)
Australian Sugarcane     Full-text available via subscription  
Australian TAFE Teacher     Full-text available via subscription   (Followers: 4)
Australian Tax Forum     Full-text available via subscription   (Followers: 3)
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Australian Voice     Full-text available via subscription   (Followers: 6)
Bar News: The J. of the NSW Bar Association     Full-text available via subscription   (Followers: 5)
Bioethics Research Notes     Full-text available via subscription   (Followers: 13)
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Breastfeeding Review     Full-text available via subscription   (Followers: 17, SJR: 0.31, h-index: 19)
British Review of New Zealand Studies     Full-text available via subscription   (Followers: 4)
Brolga: An Australian J. about Dance     Full-text available via subscription   (Followers: 1)
Cancer Forum     Full-text available via subscription   (SJR: 0.143, h-index: 10)
Cardiovascular Medicine in General Practice     Full-text available via subscription   (Followers: 7)
Chain Reaction     Full-text available via subscription  
Childrenz Issues: J. of the Children's Issues Centre     Full-text available via subscription  
Chiropractic J. of Australia     Full-text available via subscription   (SJR: 0.107, h-index: 3)
Chisholm Health Ethics Bulletin     Full-text available via subscription   (Followers: 1)
Church Heritage     Full-text available via subscription   (Followers: 4)
Commercial Law Quarterly: The J. of the Commercial Law Association of Australia     Full-text available via subscription   (Followers: 4)
Communicable Diseases Intelligence Quarterly Report     Full-text available via subscription   (Followers: 2, SJR: 0.567, h-index: 27)
Communication, Politics & Culture     Open Access   (Followers: 13)
Communities, Children and Families Australia     Full-text available via subscription   (Followers: 2)
Connect     Full-text available via subscription   (Followers: 2)
Contemporary PNG Studies     Full-text available via subscription  
Context: J. of Music Research     Full-text available via subscription   (Followers: 8)
Corporate Governance Law Review, The     Full-text available via subscription   (Followers: 7)
Creative Approaches to Research     Full-text available via subscription   (Followers: 13)
Critical Care and Resuscitation     Full-text available via subscription   (Followers: 18, SJR: 1.737, h-index: 24)
Cultural Studies Review     Full-text available via subscription   (Followers: 15)
Culture Scope     Full-text available via subscription   (Followers: 4)
Current Issues in Criminal Justice     Full-text available via subscription   (Followers: 10)
Dance Forum     Full-text available via subscription   (Followers: 2)
DANZ Quarterly: New Zealand Dance     Full-text available via subscription   (Followers: 3)
Day Surgery Australia     Full-text available via subscription   (Followers: 2)
Deakin Law Review     Full-text available via subscription   (Followers: 14)
Developing Practice : The Child, Youth and Family Work J.     Full-text available via subscription   (Followers: 19)
Early Days: J. of the Royal Western Australian Historical Society     Full-text available via subscription  
Early Education     Full-text available via subscription   (Followers: 8)
EarthSong J.: Perspectives in Ecology, Spirituality and Education     Full-text available via subscription   (Followers: 1)
East Asian Archives of Psychiatry     Full-text available via subscription   (Followers: 2, SJR: 0.331, h-index: 7)
Educare News: The National Newspaper for All Non-government Schools     Full-text available via subscription  
Educating Young Children: Learning and Teaching in the Early Childhood Years     Full-text available via subscription   (Followers: 17)
Education in Rural Australia     Full-text available via subscription   (Followers: 1)
Education, Research and Perspectives     Full-text available via subscription   (Followers: 10)
Educational Research J.     Full-text available via subscription   (Followers: 17)
Electronic J. of Radical Organisation Theory     Full-text available via subscription   (Followers: 3)
Employment Relations Record     Full-text available via subscription   (Followers: 2)
English in Aotearoa     Full-text available via subscription   (Followers: 1)
English in Australia     Full-text available via subscription   (Followers: 2, SJR: 0.19, h-index: 6)
Essays in French Literature and Culture     Full-text available via subscription   (Followers: 7)
Ethos: Official Publication of the Law Society of the Australian Capital Territory     Full-text available via subscription   (Followers: 5)
Eureka Street     Full-text available via subscription   (Followers: 5)
Extempore     Full-text available via subscription  
Family Matters     Full-text available via subscription   (Followers: 10, SJR: 0.259, h-index: 8)
Federal Law Review     Full-text available via subscription   (Followers: 21)
Fijian Studies: A J. of Contemporary Fiji     Full-text available via subscription   (Followers: 1)
Focus on Health Professional Education : A Multi-disciplinary J.     Full-text available via subscription   (Followers: 7)
Food New Zealand     Full-text available via subscription   (Followers: 4)
Fourth World J.     Full-text available via subscription   (Followers: 1)
Frontline     Full-text available via subscription   (Followers: 18)
Future Times     Full-text available via subscription   (Followers: 2)
Gambling Research: J. of the National Association for Gambling Studies (Australia)     Full-text available via subscription   (Followers: 5)
Gay and Lesbian Law J.     Full-text available via subscription   (Followers: 2)
Gender Impact Assessment     Full-text available via subscription   (Followers: 1)
Geographical Education     Full-text available via subscription   (Followers: 2)
Geriatric Medicine in General Practice     Full-text available via subscription   (Followers: 8)
Gestalt J. of Australia and New Zealand     Full-text available via subscription   (Followers: 2)
Globe, The     Full-text available via subscription   (Followers: 3)
Government News     Full-text available via subscription   (Followers: 2)
Great Circle: J. of the Australian Association for Maritime History, The     Full-text available via subscription   (Followers: 7)
Grief Matters : The Australian J. of Grief and Bereavement     Full-text available via subscription   (Followers: 10)
He Puna Korero: J. of Maori and Pacific Development     Full-text available via subscription   (Followers: 4)
Headmark     Full-text available via subscription   (Followers: 2)
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Health Issues     Full-text available via subscription   (Followers: 2)
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Health Voices     Full-text available via subscription  
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Journal Cover Australasian Drama Studies
  [SJR: 0.101]   [H-I: 2]   [0 followers]  Follow
    
   Full-text available via subscription Subscription journal
   ISSN (Print) 0810-4123
   Published by RMIT Publishing Homepage  [400 journals]
  • Issue 71 - Editorial
    • Abstract: Varney, Denise; D'Urso, Sandra
      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Disability, public space performance and spectatorship:
           Unconscious performers [Book Review]
    • Abstract: Kim, Rina
      Review(s) of: Disability, public space performance and spectatorship: Unconscious performers, by Bree Hadley, Basingstoke: Palgrave Macmillan, 2014.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Before the Ham Funeral: 'The young man appears' - John Tasker
           returns home
    • Abstract: Ginters, Laura
      The young Australian theatre director John Tasker arrived back in Australia in 1959, having spent the previous seven years in England and Europe training as an actor, but also absorbing the rich cultural life on offer. On his return, Tasker soon made the acquaintance of Patrick White, who quickly became convinced that Tasker was the most promising young director in Sydney: Tasker would go on to direct the premiere productions of three of White's plays in just over two years in the early 1960s, beginning with The Ham Funeral. This article serves as a 'prologue' to White's early reception in the Australian theatre, tracing Tasker's own engagement with (a broadly defined) modernism and examining how his early - and today almost unknown - productions in Australia reflected this affinity, attracted White's attention, and indeed presaged the successful launch of the theatrical careers of both men.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Robyn Nevin, Patrick White and the art of the modern in
           Australian theatre
    • Abstract: Pender, Anne
      Patrick White's love of the theatre began early in life and he especially enjoyed the company of actors. He wrote roles for specific actors, such as Kerry Walker and Max Cullen, frequently made recommendations to directors as to which actors should play particular parts in his plays, and spent long periods at rehearsals observing quietly. At times, he was overcome with emotion as the actors worked. White also famously 'took up' a few Australian actors and cultivated their friendship, notably Walker and Kate Fitzpatrick.

      Perhaps more than any other actor, Robyn Nevin brought White's modernist theatricality to life in her extraordinary portrayal of Miss Docker in Jim Sharman's production of A Cheery Soul in 1979. H.G. Kippax described Nevin's performance as 'dazzling', referring to the production as both 'spectacular and poetic'. This article considers Robyn Nevin in the context of theatrical modernism and the plays of Patrick White. Nevin's range is wide and her capacity for comic acting is particularly versatile. Nevin's comic acting in White's plays demonstrates her contribution to an Australian style of acting that is evident in the work of Nevin as well as in that of Walker and Cullen. This style of acting, developed in Australia with directors John Bell, Rex Cramphorn and Jim Sharman, has powerfully shaped our understanding of White's plays and modernist drama, allowing a new perspective on aesthetic modernism. The article focuses on the constellation of White, Sharman and Nevin in creating the landmark production of A Cheery Soul in 1979.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Modernist drama decried: Patrick White, spoiled identity, and
           failure as a 'Logic of use'
    • Abstract: Meyrick, Julian
      This article discusses a hitherto unexamined letter exchange between the author Patrick White and the theatre director John Sumner. It concerns the production by the Union Theatre Repertory Company of two White plays in the 1960s: 'The Season at Sarsaparilla' (1962) and 'A Cheery Soul' (1963). The aperture of the correspondence also takes in productions of 'The Ham Funeral' (1961) and 'Night on Bald Mountain' (1964) by the Adelaide University Theatre Guild in the same period. Thus it provides a seminal example of 'failure' in White's five-year sojourn in Australian theatre from 1960 to 1965, a time when his four best-known plays were denounced by critics and rejected by audiences. By way of analysis, I deploy a range of interpre tive concepts drawn from Erving Goffman's Stigma (1963), most importantly the notions of 'spoiled identity' and 'role discrepancy'. I define the social fact of failure as a certain relation between actual social identity, virtual social identity, personal identity and ego-identity. The article examines the White- Sumner correspondence to show how failure was managed as a job of work by a 'logic of use' pursuant to its being a likely outcome of staging one of White's plays. In conclusion, it lists the features of a 'logic of use' and discusses the adaptive utility of failing in creative situations where the penalty to be paid - being designated 'a failure' - is both probable and heavy.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Eleanor Roosevelt: Theatrical emotion for political benefit
    • Abstract: Tait, Peta
      This article explores the performance of emotions in relation to gender identity in the fulfilment of public duties in the modernist era. It explains how emotions were knowingly expressed and evoked in public appearances by Eleanor Roosevelt (Eleanor) to political purpose. The article outlines the formal and informal connections between the Americans, Franklin and Eleanor Roosevelt, and the Australians, Herbert and Mary Alice (Mary Alice) Evatt, developed in the play Eleanor and Mary Alice and how these influenced national alliances in wartime and the subsequent United Nations' refugee policies. The article further explains how gendered attitudes to emotion both facilitated these processes as it blinkered recognition of their vital function and obscured the contributions of Eleanor and Mary Alice. Cast in a motherly, caring role as the President's wife, Eleanor contradictorily showed considerable courage - as did Mary Alice - as well as leadership.

      It is argued that the consideration of emotions in modernist politics and within its gendered patterns can be framed as an identifiable theatrical process and by utilising the idea of substitution. While these historical events proved foundational to subsequent alliances between Australia and the United States, the emotional dynamics surrounding political events remain implicit. Yet such examples of performed emotion as a controlled condition offer crucial insights about political decision-making.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Mayakovsky's hammer: Experimental theatre as romantic
           modernism, Sydney, 1968-1970
    • Abstract: Maxwell, Ian
      Fredric Jameson has written of the 'structures of feeling' immanent to the postmodern condition: the breakdown of temporality and the associated experience of euphoric, intoxicating intensity, what he calls 'postmodern schizo-fragmentation'. For Jameson, this contrasts with the 'anxieties and hysterias' of modernism.

      Taking up Jameson's concern with what, for want of a better term, we might call the 'dominant moods' of modernism and postmodernism, this article seeks to nuance and expand our understanding of modernism as it was lived and experienced. Specifically, I turn to Robert Genter's identification of 'Romantic Modernism', characterised, in contrast to high modernism's preoccupation with formal innovation, in terms of a search for redemption through sublime, primitive innocence, and instinctuality.

      I use this rubric to think about the work of a handful of innovative theatre-makers working in Sydney in the late 1960s: a brief, romantic modernist moment blooming in the years immediately prior to, and to a large extent overwhelmed by, the Australian New Wave theatre of the early 1970s. Those artists are Nico Lathouris, one of the driving forces behind the Performance Syndicate and the attempts to create a collective practice based upon Grotowski's writings, and the experimental group called the Human Body, members of which included Clem Gorman, Judy (later Juno) Gemes and Johnny Allen.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Making room for modernism: The 1979 Sydney Theatre Company
           production of Patrick White's a cheery soul
    • Abstract: Fuhrmann, Andrew
      The question for theatre-makers is: how to make the stage new' How can theatre escape what is already given' 'The painter does not paint on an empty canvas', write Deleuze and Guattari, 'and neither does the writer write on a blank page; but the page or canvas is already so covered with preexisting, preestablished clich s that it is first necessary to erase, to clean, to flatten, even to shred, so as to let in a breath of air from the chaos that brings us the vision'. We might say that the stage, too, no less than the canvas and the page, is full of clich s, pre-established rhythms of characterisation and plotting, in dialogue and gesture, setting and design, which crowd on to every stage and ghost every performance. Based on a viewing of a recently restored archival recording, this article offers the example of the 1979 Sydney Theatre Company production of Patrick White's A Cheery Soul. Sweeping aside White's detailed stage directions and placing the character of Miss Docker in an abstract but atmospheric landscape, the production carried its audience into a world that baffled naturalistic conventions of meaning and connection, broke with clich and successfully created something new for the Australian theatre.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Recompositions: Images of Patrick White in William Yang's my
           generation
    • Abstract: Scheer, Edward; Grehan, Helena
      This article explores William Yang's relationship to Nobel Prize-win ning Australian author Patrick White as documented in Yang's theatre work and subsequent documentary, My Generation (2008). Drawing on his photography, reworked as a performance in 2008 and then later as a film which aired on ABC Television in June 2013, Yang situates White in the social, cultural and political landscape of 1970s Australia. Building on Yang's subtle storytelling and image-making techniques, this article provides readers with a series of images, glimpses into the life and milieu of a formidable, yet vulnerable and wryly humorous writer. We explore the ways in which Yang's layered approach to storytelling allows contempo rary audiences to access often secret or untold stories, places and images of Australia - and especially the Sydney of the late twentieth century.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - From Grotowski to Betty can jump
    • Abstract: Dwyer, Kerry
      In Nancy, France, at the Centre for Theatre Training and Research, Kerry attended a workshop with Jerzy Grotowski, whose work at his Theatre Laboratory in Poland was exciting the European theatre world. Grotowski and his leading actors taught the international students their basic approach to actor training and dramaturgy. The work was intense, rigorous and spiritual, and had a profound effect on her. On her return to Melbourne, keen to share her discoveries of the intensity and power of Grotowski's work with colleagues from university theatre days, she found that they were engaged in fostering a new Australian theatre. It was 'Ocker' theatre with a decidedly male point of view and in no way sacred. Determined for women's voices to be heard, Kerry and a group of women created Betty Can Jump, a powerful, witty, provocative feminist theatre piece at the Pram Factory, partly in response also to Grotowski's question to her, 'Who are you''

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Transmitting embodiment: Grotowski to body weather
    • Abstract: Heywood, Nicola
      In the form of a memoir, this article frames experience of creative and somatic systems that make and unmake the body of the performer, and in doing so 'undo' and re-shape a performer's self-perception. As a young performance practitioner in the late 1970s, looking for ways to build my craft, intent on asking existential questions, I threw myself into extreme experiences in search of some kind of transformative self-knowledge. Like many of my generation, for me becoming an artist was not just about acquiring a raft of skills but entering an all-encompassing way of life. So I sought out performance training regimes that demanded whole-bodied and fulltime commitment. The following discussion puts two of the methodologies that I stumbled across - and dived into headfirst - into a gap-filled dialogue. They were the theatre-based actor training of Polish director Jerzy Grotowski, and the dance-based training Body Weather, developed by Japanese choreographer Min Tanaka and his company Mai-Juku.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Talanoa: Four pacific plays; Black faggot and other plays [Book
           Review]
    • Abstract: Warrington, Lisa
      Review(s) of: Talanoa: Four pacific plays, by Victor Rodger, Auckland: Little Island Press, 2017; and Black faggot and other plays, by Victor Rodger, Wellington, NZ: Victoria University Press, 2017.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Stanislavsky in the world: The system and its transformations
           across continents [Book Review]
    • Abstract: O'Donnell, David
      Review(s) of: Stanislavsky in the world: The system and its transformations across continents, by Jonathan Pitches and Stefan Aquilina, London and New York: Bloomsbury, 2017.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Performing neurology: The dramaturgy of Dr Jean-Martin Charcot
           [Book Review]
    • Abstract: Tait, Peta
      Review(s) of: Performing neurology: The dramaturgy of Dr Jean-Martin Charcot, by Jonathan Marshall, Palgrave Macmillan, 2016.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - The mill: Experiments in theatre and community [Book Review]
    • Abstract: Reid, Robert
      Review(s) of: The mill: Experiments in theatre and community, by Meredith Rogers, North Melbourne, Vic.: Australian Scholarly Publishing Pty Ltd, 2016.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Contributors
    • PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 71 - Theatre of real people: Diverse encounters at Berlin's Hebbel
           am Ufer and Beyond [Book Review]
    • Abstract: Hazou, Rand
      Review(s) of: Theatre of real people: Diverse encounters at Berlin's Hebbel am Ufer and Beyond, by Ulrike Garde and Meg Mumford, London: Bloomsbury Methuen Drama, 2016.

      PubDate: Wed, 27 Dec 2017 17:07:12 GMT
       
  • Issue 70 - Japanese Robot culture: Performance, imagination and modernity
           [Book Review]
    • Abstract: O'Donnell, David
      Review(s) of: Japanese Robot culture: Performance, imagination and modernity, by Yuji Sone, New York: Palgrave MacMillan, 2017.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - Best playwriting book ever; Shift: Three plays [Book Review]
    • Abstract: Warrington, Lisa
      Review(s) of: Best playwriting book ever, by Roger Hall, Wellington: Playmarket, 2016; and Shift: Three plays, by Alison Quigan, Vivienne Plumb and Lynda Chanwai-Earle, by David O'Donnell (ed.), Wellington: Playmarket, 2016.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - Dramaturgy of mobility: Towards crossover and fusion in out of
           the ordinary
    • Abstract: Ivanova, Maggie; Vickery-Howe, Alex
      This article examines the implications that the new cultural competencies and literacies associated with participatory and popular cultures might hold for dramaturgy in terms of characterisation, creating a sense of space-time, and the artist's role in society.Our analysis focuses on Alex Vickery-Howe's new Australian play Out of the Ordinary (2016), situating it in the context of his earlier explorations of alternative dramaturgies, Once Upon a Midnight (2008) and Molly's Shoes (2011).Drawing structurally on the ways crossover and fusion have developed new cultural expression and reached new audiences in music and film, we investigate the creative potential that comics, manga, anime and related fan cultures might hold for dramaturgy.Our goal is to explore the thinking that underlies crossover and fusion as artistic practices requiring a kind of creative bilingualism - in our case, a mastery of the cultural competencies and literacies associated with cross- and multi-modal creative expression.We suggest that such creative bilingualism has been a continuing element in culture since the rise of melodrama, reminding us that expressive turns towards mystery, magic, intense spiritual experiences, etc.could, in fact, underscore social engagement.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - 'Mad March' in the festival city: Place-making and cultural
           clash at Adelaide's festivals
    • Abstract: Thomasson, Sarah
      Each year, Adelaide hosts a range of diverse sporting and cultural events - headlined by the Adelaide Festival, Adelaide Fringe, and WOMADelaide - in 'Mad March'.When the 2012 open-air opening night concert of the Adelaide Festival by Ennio Morricone was disrupted by the nearby Clipsal 500 V8 Supercar Race, this concentration of events led to an unprecedented contest over Adelaide's urban space.This clash between cultural and sporting fans was indicative of what geographer Don Mitchell calls a 'culture war' that exposes a conflict within the place-making narratives of Adelaide as the capital of the 'Festival State'.In this article, I read the events, debates and discourses surrounding Adelaide's festivals in 2012 for how local cultural identities and priorities were staged, contested and renegotiated within the public sphere.I argue - drawing on theoretical concepts borrowed from cultural geography - that the cultural clash between V8s and violins was a competition between two groups exercising what David Harvey terms their 'right to the city' and 'power over the processes of urbanization' through their choice of leisure activity.This controversy calls into question South Australia's ongoing status as the nation's premier Festival State and provides a case study through which to examine the role of ubiquitous arts festivals in place promotion and their impact on local culture.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - Audience as performer: The changing role of theatre audiences
           in the Twenty-First century [Book Review]
    • Abstract: Casey, Maryrose
      Review(s) of: Audience as performer: The changing role of theatre audiences in the Twenty-First century, by Caroline Heim, London and New York: Routledge, 2016.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - 'A rare opportunity to fail': STAB's legacy of theatrical
           experimentation
    • Abstract: Willis, Emma
      In 2016, Wellington's BATS Theatre's annual STAB commission, given for cutting-edge performance projects, celebrated its twenty-first birthday.The successful and long-lived commission has funded works that push the boundaries of performance practice for almost as long as national arts funding body Creative New Zealand has existed.The commission functions as a hothouse for the creative and professional development of emerging practitioners, as well as serving as a vehicle for audience development.In this way, STAB has made a significant impact on the creative ecology of the Wellington theatre sector.This article gives a brief history of the commission and its contribution to the development of local contemporary theatre practices.It surveys the aesthetic innovations emerging from the commissioned projects, paying particular attention to the key role that STAB has had in developing devising and design practices.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - Performing emotion to remember a Pakeha worldview
    • Abstract: Smith, Adriann
      The theatrical depiction of emotion can be a powerful vehicle for the representation of cultural identity.Examining the theatrical use of emotion in Gary Henderson's play Home Land and Stuart Hoar and Chris Blake's opera Bitter Calm, this article considers how performed emotions may represent Pākehā cultural identity on the stage.

      The cultural memories underlying theatrical emotions empower them to challenge ideas, and this article considers how the theatrical use of emotion represents memories of, and ideas about, Pākehā cultural identity.As a form of cultural language, a performance, as Bert O.States observes, 'offers an aesthetic completion to a process we know to be endless ... The play imitates the timely in order to move it from time, to give time a shape.'

      Within this shape, the remembered and reconfigured past is emotionally represented, at multiple performances, to an ever-changing present.This representation to an audience allows for an ongoing examination of personal and cultural identity in which emotional representation performs a key role.For, as Peta Tait notes, '[i]f emotions are socially meaningful only as natural, this locates them as opposite to culture and camouflages their immense social power'.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - Hyperrealism and the everyday: The plays of Ranters Theatre
    • Abstract: Cortese, Raimondo
      This article reflects on the performance texts that I have written and dramaturged with Ranters Theatre over a twenty-two-year period, covering three phases of work, each of which engages everydayness as part of its methodology.A key focus is textual dramaturgy, how the text is constructed, critiqued and dramaturged in order to create a finished performance text or play.Comparison is drawn with other contemporary theatre practitioners in Melbourne and overseas who also engage the everyday as a central component of their raison d' tre.

      The application of everyday aesthetics within narrative and dramaturgical structures provides the performers with a platform to focus on the moment-to-moment minutiae of actions that take place between them.

      In the theatre of the everyday that I describe, the audience is invited into the same conceptual space and time as the performers, one that sits in the blurred lines between the fictive and the real.The narrative frame is partly supplied and defined by the audience in a way that elicits and intensifies a need for the performance of the text to take place.

      This article explores the ways in which everyday theatre and dialogue/ situation reveal hidden agendas and subtextual content that would otherwise not present itself and would remain invisible within the everyday field itself.This same content, recontextualised and manipulated, while suggesting and inspiring new texts and actions, now offers itself as a 'reading' with the potential for profound implications for the viewer.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - Black, White, and Red faces: Race and performance at NIDA
    • Abstract: Hay, Christopher
      On 12 May 1960, writes John Clark, 'Robert Quentin's remarkable production of Marc Connelly's The Green Pastures put NIDA on the theatrical map'.It was, indeed, NIDA's first public performance - the commonly cited Our Town was performed in-house in 1959, and the well-regarded repertory season of Hay Fever and Love's Labour's Lost made up the first graduation shows in October 1960.Despite the importance that Clark ascribes to it in his 2003 history of NIDA (quoted above), The Green Pastures is conspicuously absent from almost all institutional histories, and even for Clark it merits only this one sentence.

      Deep South.NIDA, not at the time noted for the ethnic diversity of its students or staff, presented the play in full blackface.A contemporary issue of PIX Magazine reports that 'all the students had to put on dark brown grease paint so often that many developed a "tan" lasting for weeks.But most of them enjoyed this ordeal to learn their art'.Although this was industry practice at the time, the fraught history of blackface performance is one reason that this show has dropped out of the narrative.

      This article will argue that understanding the racial blindness on which the institution is built has implications for contemporary practice there.In particular, I will draw on a recent student production of The Importance of Being Earnest, in which a group of students of colour began their performance in full whiteface make-up.The students used this performance to critique the assumptions of racial neutrality that underpin their training, and to instead propose embracing their difference as a source of dramatic power.

      As well as returning a historical performance to the chronology of NIDA's early work, this article contributes important insight to the perceived neutrality of actor training.If conservatoire-style training is to endure in the twenty-first century, I argue that it must take seriously the specific cultural context of its students, as well as the historical context in which the institution operates.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - 'Chaos' and 'Convergence' on the Western Australian goldfields:
           The politics of performance in the 1890s
    • Abstract: Dunstone, William; Grehan, Helena
      This article adapts Doreen Massey's concept of space as a simultaneity and multiplicity of social relationships 'stretched out' over time, as a lens through which to consider the rapid emergence of a regional theatre sector during the 1890s mining boom on Western Australia's 'default frontier' Eastern Goldfields.In effect, we argue that while the locational surface of Eastern Goldfields theatre production was intensely local in its geographic and cultural specificities, it was also inalienably and reflexively affiliated with metropolitan centres of theatre production and consumption elsewhere in colonial Australia and the wider Anglosphere.We analyse the historical record of turn-of-the-twentieth-century Eastern Goldfields theatre performances to instantiate elements of 'chaos', by which Massey means 'happenstance juxtapositions' of cause and effect in theatre production within and beyond the region.At the same time, we argue that 'chaos' others itself as 'convergence', as local interests sought to consolidate regional control of the 'spatial ordering' of Goldfields theatre production and consumption.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - Editorial note
    • Abstract: Meyrick, Julian; Rogers, Meredith
      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - 'The elasticity of her spirits': Actresses and resilience on
           the Nineteenth-century colonial stage
    • Abstract: Woollard, Jane
      Eliza Winstanley (1818-82) and Maria Taylor (1805'-41) were English-born actors who were among the early leading performers in Barnett Levey's acting company at his Theatre Royal in George Street, Sydney.Taylor's parents were 'singing actors' who, in the first years of the nineteenth century, performed at London's Haymarket and Covent Garden theatres, and were regularly engaged for the summer seasons in provincial theatres.Winstanley also came from a theatrical family - her father was a scenic painter and her younger sister Ann was a performer.This article describes how Maria Taylor and Eliza Winstanley brought their theatrical skills and resilience to the task of building a theatrical culture in Australia.Both women faced many challenges in their personal and professional lives, but both possessed the capacity to bounce back, continuing to practise and refine their craft in difficult circumstances.

      Winstanley observed and worked with many performers over the course of her thirty-year acting career in Australia, England and America.In the preface to her first book, Shifting Scenes in Theatrical Life (1859), Winstanley writes that her narrative is 'founded on facts, gathered in the course of an extensive professional career'.Winstanley adds that her characters 'are also equally real, but sufficiently disguised in their portraiture ... to avoid the charge of ill-natured personality'.Her intention in writing Shifting Scenes, she claims, is to celebrate the skills, qualities and virtues of performers, which she describes as the 'best qualities that do honour to human nature'.In this article, I propose that the 'best qualities' Winstanley identified in her colleagues can be described as 'personal resilience'.I reflect on how the resilience of Maria Taylor and Eliza Winstanley was shaped by their personal traits and aspirations.Both women used the press to defend their reputations or confront enemies.However, Maria Taylor's 'giddy and volatile disposition' prompted her to defy convention with bold and risky choices in her personal life.In contrast, Eliza Winstanley placed a high value on conventional respectability, and carefully maintained her reputation as a skilled professional performer and moral servant of the public.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - Mary Luckhurst [Book Review]
    • Abstract: Richards, Sally
      Review(s) of: Mary Luckhurst, by Caryl Churchill, Michigan: Routledge Modern and Contemporary Dramatists, 2015.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 70 - Contributors
    • PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Contributors
    • PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Remaking Pacific pasts: History, memory, and identity in
           contemporary theater from Oceania [Book Review]
    • Abstract: Mazer, Sharon
      Review(s) of: Remaking Pacific pasts: History, memory, and identity in contemporary theater from Oceania, by Diana Looser, (Honolulu: University Of Hawai'i Press, 2014) And William Peterson, Places For Happiness: Community, Self, And Performance In The Philippines (Honolulu: University Of Hawai'i Press, 2016).

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Performing mobilities
    • Abstract: Douglas, Mick
      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Editorial note
    • Abstract: Rogers, Meredith; Douglas, Mick; Hadley, Bree
      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Layne Waerea's public laughter
    • Abstract: Braddock, Christopher
      This article discusses the itinerant art practice of Auckland-based Layne Waerea. As Maori lawyer turned performance artist, Waerea's mobile public gestures escape clear categorisation - they are temporal and inscrutable. She will mow grass berms in the affluent Auckland suburbs of Remuera and Orakei, advertise 'free' water on Queen Street, sell 'free' air and create new Maori bus lanes. Her 'injunctions' (as she calls them) challenge ideas of artistic, legal and social discipline.

      Layne Waerea's provocative performances reveal ongoing tensions between British Crown (manifest in the New Zealand Government) and Maori. As Waerea seeks out performance places for 'disagreement and injunction', she explores notions of kawanatanga (governorship), tino rangatiratanga (self-determination and a right to exercise authority) and kaitiakitanga (an obligation to nurture and protect). These notions pertaining to a Maori worldview are imbued with expectations of right behaviour, appropriate priorities and ethical decision-making.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Ship inventory: Preparations across Twelve months
    • Abstract: Raheem, Amaara
      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Moving 'Misfits'
    • Abstract: Maguire-Rosier, Kate
      In Dianne Reid's recent work Dance Interrogations (a Diptych), performed as part of the 2015 Melbourne Fringe Festival by Reid and collaborating artist Melinda Smith, spectators had no seats but rather roamed, observing two mature dancers. In this article, I explore Reid and Smith's live performance, a combination of structured movement improvisation and screendance, as a provocation of the relationship between movement and agency. I address the theatrical event through the multifaceted lens of the performers' experiences, spectators' responses and my own observations. Smith is also a wheelchair user and her movement quality is in stark contrast to that of fellow performer Reid, who sweeps through the space with the typical ease and flow of a trained dancer. Spectators' identification of Smith's particular movement aesthetic not only expands traditional conceptions of the dancerly body, but bears social implications for those of us perceived to be with disability. Most poignantly, one such implication is the importance of being seen on one's own terms. As Smith crawls on the floor, stands precariously on her knees and is lifted in the air, her palpable effort and slow movement defy what Tobin Siebers identifies as an 'ideology of ability' (2010). The performance draws our attention to the physical environment - an old train carriage and a convent - creating a strong concern with relationship to place and how that relationship enables or disables freedom of expression, or movement in that space. My empirical study considers this concern in relation to Rosemarie Garland-Thomson's concept of 'misfits' - 'a material-discursive becoming' (2011) - and, in doing so, uncovers a radical aesthetic anchored in Reid and Smith's deviance as mature dancers, and in the case of Smith, as a dancer with disability. Smith and Reid also speak so that their words - both organic and computer-generated - shape their movement with a palpable sense of agency. Spectators are moved, literally and otherwise, as they make space and even accommodate the performers' movements. I suggest that the performers mobilise particular aesthetic strategies: the visibility of disability and maturity; the establishments of 'fits' and 'misfits' between the performers, their environment and their audiences; the extension of material presence across bodies, but also through digital images and sounds; the cultivation of mindfulness in spectators; and the materialisation of a motif of slowness. I argue that these aesthetic strategies give rise to a politicised agency which is illuminated by the notion of 'misfits'.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Mobilising the mobilities paradigm in drama, theatre and
           performance studies: Potentials, politics and pitfalls
    • Abstract: Hadley, Bree
      It is now more than a decade since the emergence of the 'mobilities turn' in the social sciences. Popularised in John Urry's books on Mobilities, and Sociology Beyond Societies, as well as in the work of Tim Cresswell, Mimi Sheller, and others, the 'mobilities turn' has rapidly begun to Influence approaches to the analysis of social life, agency, status and Power. According to Urry, twentieth-century theorisations of power relations - and, in particular, the power relations that prevail in public sites, spaces and places - paid too much attention to the experience of fixed territorial formations and too little to the experience of flow in and between these formations. As Friederike Ziegler and Tim Schwanen put it, 'cultural sociologists and cultural geographers have too long tended to examine social life without due recognition of the crucial role of the systematic movement of people for work and family life, for leisure and pleasure, or for politics and protest'.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - 5 short blasts
    • Abstract: Flynn, Madeleine; Humphrey, Tim
      5 Short Blasts is an encounter with a city on the water for a flotilla of boats and radio broadcast.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Unsteady belongings: Rethinking the experience of nation
           through movement
    • Abstract: Shih Pearson, Justine
      The new mobilities paradigm identified by Mimi Sheller and John Urry in 2006 was in part a descriptive response to a contemporary world 'on the move', but it was also a critique of what the authors saw as a 'sedentarist' social science that posed stasis as normal and 'treats as abnormal distance, change and placelessness'. This interest in mobile or fluid ways of conceptualising place and subject formation follows the postcolonial revision of our understanding of culture itself in the 1990s, in which contested and unstable identities and attachments to place and people were under examination. However, these discussions posed the concept of movement as largely abstract, as a hermeneutic for dismantling prevailing structures of thinking.

      In this article, I take the idea of a world 'on the move' and fluid concepts of culture, and put them up against the resistantly fixed and stable ways in which nation is employed. Following previous work in 2012, in which I sought to extend our understanding about the mobility of culture in embodied terms (i.e., as experienced or enacted), this article turns its attention to the key term 'movement' to focus on the kinaesthetics of national and transnational belonging. Performance, I argue, proposes a fundamental concern with the material body in movement and in space; it therefore allows for particular theoretical and methodological insights into the study of the embodied experience of belonging. It is perhaps the very disciplinary tincture needed to counter the 'sedentarist' social science that Urry and Sheller critique.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Migrant mobilities: Cruel optimism and the case of A.J. D'Cruz
    • Abstract: D'Cruz, Glenn
      Migrants are mobile by definition. They literally uproot themselves and move to sometimes-distant lands for a variety of reasons. Some move away from real or imagined threats to their very existence. Others seek a better quality of life. And some adventurous souls are inhabited by a restless wanderlust - a desire to roll the dice and see what happens. Such mobility requires fortitude and faith. Migrants move through space and, if they have an aspirational disposition, they attempt to accumulate symbolic capital to move up those social and economic hierarchies that bestow status and prestige within their adopted homes. The migrant journey to Australia often ends with the realisation that one has to make and remake one's identity, and perform a series of adjustments - adjustments in terms of comportment, dress, accent and disposition. This article is a critical reflection on a multimedia presentation that tells a story about the author's father, A.J. D'Cruz. It draws on historical archives and the material remnants of A.J. D'Cruz's relatively short life (letters, photographs, sound recordings, 8mm films). It also provides a singular account of the performance practices involved in becoming a 'New Australian'. Combining personal anecdotes and philosophical ruminations on history, technology, and cultural identity, the article interrogates and performs a series of migrant mobilities.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - 14 thoughts about the Ghan - in the shape of a train
    • Abstract: Rogers, Meredith
      The material train...

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Here/now: 8 plays by award-winning NZ playwrights [Book Review]
    • Abstract: Hyland, Nicola
      Review(s) of: Here/now: 8 plays by award-winning NZ playwrights, by David O'donnell (ed.), wellington: playmarket, 2015.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - I shudder to think: Performance as philosophy [Book Review]
    • Abstract: Marshall, Jonathan W
      Review(s) of: I shudder to think: Performance as philosophy, by Margaret Cameron, Brisbane: Ladyfinger, 2016.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - 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
    • Abstract: Davies, Paul
      According to Peter Brook's famous dictum, it requires more than just an empty space, an actor and someone watching to constitute an 'act of theatre' (The Empty Space). The actor must also walk across the space. Setting aside questions of why she is walking or where (the narrative factor), it is motion in theatre practice that remains the connecting spark. And that for site-specific theatre especially, it is mobility - either of audience, performers or stage - that 'ignites' into being the dramatic space in which events may occur. De Certeau also finds that space is 'composed of intersections of mobile elements' and is 'in a sense actuated by the ensemble of movements within it'. Space is 'like a word when it is spoken' (Everyday Life). Lefebvre, taking his cue from the astrophysics of Fred Hoyle, similarly argues that space may be created 'by the energy deployed within it' (Production of Space).

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Imagined landscapes: Geovisualizing Australian spatial
           narratives [Book Review]
    • Abstract: Woollard, Jane
      Review(s) of: Imagined landscapes: Geovisualizing Australian spatial narratives, by Jane Stadler, Peta Mitchell and Stephen Carleton, Bloomington, Indiana: Indiana University Press, 2016.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - Despatch [Book Review]
    • Abstract: Willis, Emma
      Review(s) of: Despatch, by Angie Farrow, Wellington: Steele Roberts, 2015.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 69 - The Fitzgerald brothers' circus: Spectacle, identity and
           nationhood at the Australian Circus [Book Review]
    • Abstract: Warrington, Lisa
      Review(s) of: The Fitzgerald brothers' circus: Spectacle, identity and nationhood at the Australian Circus, by Gillian Arrighi, Melbourne: Australian Scholarly Publishing, 2015.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Reinterpreting passion: A study of Habib Tanvir's theatre
    • Abstract:
      This article examines the theatre of Habib Tanvir, a playwright, actor and director from India, and through this analysis demonstrates the emergence of the new definition of 'passion as resistence' in the 1970s in India. Although the idea of 'passion as resistance' arose during the colonial period as Indian writers assimilate this meaning. In his postcolonial theatre, Tanvir presented the viewpoint of the people against the established urban definition of acting that privileged the 'voice of the Artist' over the 'voice of the people' (to borrow the terminology from Rustom Bharucha), as well as the 'vachik abhinaya' (acting through speech) over the angik abhinaya (acting through bodily movements).

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Applied theatre techniques for community workers - towards a
           performative and anti-oppressive ethical approach
    • Abstract: Lathouras, Athena; Loth, Jo; Ross, Dyann
      What can Applied Theatre (AT) techniques in the tradition of Augusto Boal and community development (CD) goals in the liberatory educational tradition of Paolo Freire learn from each other' Specifically, can access to performance skills and processes intended as a 'poetics of the oppressed' enrich participation address discrimination, disadvantage and other forms of oppression' If so, can these 'borrowings' from AT enable empowerment of practitioners in how they think about and undertake their CD work in contemporary social services contexts' What are the possible limitations and challenges of adopting AT in this field of practice' Is it possible that this marrying of AT techniques and CD processes and goals might support Mouffe's call for an agonistic confrontation approach to the status quo' Such efforts may thereby 'contribute to a revitalization and deepending of democracy' where dominant power relations can be challenged through 'counter-hegemonic projects ... through a process of disarticulation of existing practices and creation of new discourses'.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Acting in verbatim theatre: An Australian case study
    • Abstract: Peters, Sarah
      Bald heads and blue stars is a verbatim play that explores the female experience of Alopecia; an autoimmune condition that results in varying degrees of hair loss. Writing and performing in bald heads and blue stars was integral to my practice-led PhD research into the process, form and impact of creating verbatim theatre. In this article, I focus explicitly on the rehearsal process of our 2014 season of bald heads & blue stars with Artsworx at the University of Southern Queensland (USQ). I explore some of the challenges faced by the cast, describing various strategies which we employed in rehearsal, and articulating what I learned about rhythm, breath and audience positioning through rehearsing and performing this verbatim play. I begin with an introduction to the context and methodology of my research, followed by an overview of the bald heads & blue stars narrative.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Real men at play: Massive company's the brave
    • Abstract: Hazou, Rand
      This article explores notions of 'the real', 'the authentic', and 'the masculine' at play in The Brave (2013), a performance devised by eight male members of the Auckland-based Massive Company. Directed by Sam Scott and Carla Martell, the performance explores some of the many pressures that young men face today in Aotearoa/New Zealand. The performance highlights the pressure that some younger New Zealand-born Pasifica men can experience when faced with the social expectations to act or behave like a 'real' Samoan or Tongan, for example. Underscoring the performance is a critique of particular essentialist, static and authentic notions of maleness and masculinity. However, at the same time, the devising process that Massive Company enlists also seems paradoxically to employ a notion of authenticity that is tied to ideas of 'the real'. When devising work, the company often works 'from the real', exploring the actual stories of members of the cast and workshopping these experiences into performance. This article considers the distinctions at play in Massive's working methods and explores how ideas of authenticity and 'the real' are informed by key clowning concepts through the influence of Philippe Gaulier. Ultimately this article considers how The Brave might play with, and subvert, a static and essentialist notion of authenticity in particular reference to how male identity and masculinity are conceived.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Performing digital: Multiple perspectives on a living archive
           [Book Review]
    • Abstract: Hazou, Rand T
      Review(s) of: Performing digital: Multiple perspectives on a living archive, by David Carlin and Laurene Vaughan (Eds), Farnham, England; Burlington, USA: Ashgate, 2015.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Children of the poor; Stage adventures: Eight classroom plays
           [Book Review]
    • Abstract: Palmer, Kerryn
      Review(s) of: Children of the poor, by Mervyn Thompson, (Wellington, NZ: Playmarket, 2015; and Stage adventures: Eight classroom plays, by David O'Donnell (ed.), Wellington, NZ: Playmarket, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Blackta [Book Review]
    • Abstract: Valentine, DB
      Review(s) of: Blackta, by Nathaniel Martello-White, London: Methuen Drama, 2012.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Othello: Language and writing [Book Review]
    • Abstract: Dwivedi, Amitabh Vikram
      Review(s) of: Othello: Language and writing, by Laurie Maguire, London: Bloomsbury, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Theatre and migration [Book Review]
    • Abstract: De Rossi, Josey
      Review(s) of: Theatre and migration, by Emma Cox (Foreword by Peter Sellars), Basingstoke, Uk: Palgrave Macmillan, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Theatre and time [Book Review]
    • Abstract: De Rossi, Josey
      Review(s) of: Theatre and time, by David Wiles, Basingstoke, UK: Palgrave MacMillan, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - The plays of Bruce Mason: A survey [Book Review]
    • Abstract: Wenley, James
      Review(s) of: The plays of Bruce Mason: A survey, by John Smythe, Wellington, NZ: Playmarket and Victoria University Press, 2015.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Theatre animals: Sumner Locke Elliott's invisible circus
    • Abstract: Pender, Anne
      Sumner Locke Elliott is remembered in Australia primarily for his novels and their popular screen adaptations. He is also known for his play 'Rusty Bugles' first produced in 1948. In the USA, he is know for his television writing. In spite of Locke Elliott's immense achievements as a writer who successfully wrote in so many genres and quickly adapted his craft to the rapidly expanding medium of television, there is little scholarship about his contribution to drama on stage, radio or television, with the exception of commentary on Rusty Bugles. Moreover the network in which he worked from 1934 until 1948 has also suffered critical neglect.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - The sacrifice of oriel gray (1920-2003): Australian playwright
    • Abstract: Moss, Merrilee
      Between 1943 and 1960, Australian playwright Oriel Gray had more than fourteen theatre scripts produced in almost every capital city of Australia. She was arguably the first playwright-in-residence in Australia's history and one of only a few Australian playwrights to make her living from her work. She wrote numerous radio plays for 2KY in the 1940s and many more for the then Australian Broadcasting Commission (ABC) in the 1950s. She was well respected and well reviewed. She won many playwriting awards, including the Wagga Wagga play competition prize in 1946 for My Life Is My Affair, the J.C. Williamson Guild competition prize in 1960 for Burst of Summer and the 1955 Playwrights Advisory Board's (PAB) prize for the best Australian play with her script The 'Torrents'.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Top girls 'down under'
    • Abstract: Decent, Campion
      This article considers two new productions of Caryl Churchill's Top Girls staged at Melbourne Theatre Company (MTC) and the State Theatre Company of South Australia (STCSA) in 2012. These productions revive a play that might be said to belong to a historical set of circumstances pertaining to the 1980s in the United Kingdom. Yet this article argues that these productions facilitate the play's ability to speak to a contemporary set of circumstances in twenty-century Australia. The circulation of the play in production in 2012 sees a number of second-wave feminist 'ghosts' attach and detach themselves in reception. As might be expected, these include notions of bourgeois feminism, Capitalist economy, and the figure of Margaret Thatcher. Perhaps more surprisingly, the reception of both productions becomes entangled in the question of the play's relevance and a renewed debate about the lack of creative leadership opportunities for women in Australian theatre.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - What a body can do [Book Review]
    • Abstract: Gutteridge, Tom
      Review(s) of: What a body can do, by Ben Spatz, Oxford and New York: Routledge, 2015.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Contributors
    • PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Editorial note
    • Abstract: Rogers, Meredith
      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 68 - Screening live performance: Australia's major theatre companies
           in the age of digital transmission
    • Abstract: Fotheringham, Richard
      This article is in four parts. First, I discuss the emerging worldwide phenomenon of commercial cinema screenings of live stage performances. Second, I chart some attempts by Australia's major performing arts organisations to do likewise. Third, I examine more closely one simultaneous satellite relay screening to nine regional cities: a performance of a Queensland Theatre Company (QTC) production of Tom Wright's Black Diggers, directed by Wesley Enoch, on Wednesday 8 October 2014. Finally, I attempt some brief thoughts on where this new area of work could be heading.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - The theatre of dreams: Hypnotism and the science of historical
           action
    • Abstract: Lawrence-King, Andrew
      Something special was happening around the year 1600. In London, audiences thronged to the Globe Theatre to hear words and music that evoked a 'demi-paradise', the 'havoc ... of war', 'the vasty fields of France' or a 'vision' of 'cloud-capp'd towers'. Piecing out the imperfections of a bare stage with their thoughts, spectators with their 'imaginary puissance' saw kings, kingdoms and horses: actors used 'imaginary forces' to work their new techniques of Personation.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Music, silence and the single note in the creation of meaning
           in theatre
    • Abstract: Popov, Bagryana
      In this article, I would like to talk about sound and silence and the ways in which they create meaning, as part of the fabric of elements in theatre. I will talk about the choices that we, the artists, make in the process in order to articulate and shape meaning through sound. I argue that music essentially contributes to the shaping of meaning, and that it does this in conversation with the performers - it is relational.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Not just 'evocative': The function of music in theatre
    • Abstract: Baston, Kim
      Music is ubiquitous within theatre production, but its effect is curiously under-theorised in theatre and performance studies. Descriptive terms like 'evocative', 'atmospheric' or 'haunting' are frequently used, but, even when these indicate a positive response, they are inadequate descriptions. This article, therefore, proposes a framework for analysing the function of music in theatre. By focusing on function, rather than on musicological analysis, the framework provides a discourse that can be used by non-musicians. In other words, to describe what music does, rather than what it is.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Editorial
    • Abstract: Baston, Kim; Rogers, Meredith
      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Contributors
    • PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Remaking Pacific pasts: History, memory, and identity in
           contemporary theater from Oceania, Pacific Islands monograph series 28
           [Book Review]
    • Abstract: Hyland, Nicola
      Review(s) of: Remaking pacific pasts: History, memory, and identity in contemporary theater from Oceania, Pacific Islands monograph series 28, by Diana Looser, Honolulu: University of Hawai'i press, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - David N. Martin and the post-war 'acts and actors' of
           Australian variety
    • Abstract: Kelly, Veronica
      The variety firm of Tivoli Australia Pty Ltd dominated the industry from the late nineteenth century up to its closure in 1966, in lively competition and collaboration with many other variety firms. While its own management consciously professionalised their operations in accord with international post-war organisational principles, it also seeded the new thrusting breed of international commercial entrepreneurs who would replace it. The Tivoli's great assets were its long-standing institutional prestige and iconic status as Australia's major variety house; its chain of theatre buildings built or acquired in the capital cities; and a managerial culture which increasingly stressed the international, the excellent and the 'family' audience. Of particular interest are the decades after World War II, which comprise Australian variety's loss of the large and predominantly masculinised audience of American and Australian servicemen; the international competition for acts caused by the renewed availability of communications and travel; the introduction of television in Australia for the 1956 Melbourne Olympics; and television's successorship as one of the nation's dominant popular entertainment media. Whereas neither film nor radio had made much of a sustained impression on live variety attendance, the advent of television would help to turn the Tivoli's residual nineteenth-century assets and skill sets into potential weak spots.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Sound (image, text): Audiovisual relationships in M+M
    • Abstract: Schlusser, Daniel; Verhagen, Darrin; Paul, James
      M+M was produced for the 2013 Melbourne International Festival of the Arts as a co-production between the Festival, Theatre Works and Daniel Schlusser Ensemble.1 Billed as a 'free adaptation' of Mikhail Bulgakov's novel The Master and Margarita, it would be more accurately described as an autonomous theatre creation that was built around motifs, characters and the action of the novel, infused with the distinctive humour and anarchy of Bulgakov but also creating its own narrative possibilities. Set in the confines of a prison or asylum, fracturing the source materials across performers, binding the character of Margarita with the punk-protesters Pussy Riot and the Christ-story, the production could be read as examining political tyranny in Russia both past and present, or more broadly as an examination of the role of resistance, unconditional love, sacrifice, and individual acts of artistic creation as a ritualistic defence of the polis.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Jethro Woodward in interview with Kim Baston
    • Abstract: Woodward, Jethro; Baston, Kim
      Kim Baston (KB): Can we start with your background'

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Music and sound design: A round table discussion
    • Abstract: Liebzeit, Anna; Ryall, Kelly; Moorhead, Ian; Baston, Kim
      Kim Baston (KB): I thought we'd just start with how you came to do what you do. What brought you into theatrical performance, and why'

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - The Routledge Companion to Puppetry and Material Performance
           [Book Review]
    • Abstract: Mazer, Sharon
      Review(s) of: The routledge companion to puppetry and material performance, by Dassia N. Posner, Claudia Orenstein and John Bell (eds), London and New York: Routledge, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Bertolt Brecht: A literary life [Book Review]
    • Abstract:
      Review(s) of: Bertolt brecht: A literary life, by Stephen Parker, London: Bloomsbury, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - The politics of interweaving performance cultures: Beyond
           postcolonialism [Book Review]
    • Abstract: Hamilton, Margaret
      Review(s) of: The politics of interweaving performance cultures: Beyond postcolonialism, by Erika Fischer-Lichte, Torsten Jost and Saskya Iris Jain (eds), New York: Routledge, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Reading and performing abjection: Staging joyce, a professional
           reflection
    • Abstract: Devlin-Glass, Frances
      As one who has mounted theatrical Bloomsdays since 1994, I well understand that the issue of Joyce's radicalism on the subject of the body is a recurring crux for dramaturg, director and actors, not so much on moral grounds, as on the grounds of playability and sometimes taste. It is one thing to read with a startled chuckle a febrile passage which transgresses norms, or to enjoy hyperbole in context, but embodied enactment is an entirely different matter, because the limits of what Joyce was prepared to essay in fiction are so extreme, so strangely and transgressively unfamiliar, despite the passing of close to a century since publication. It is the difference between reading in private and reading a staged and necessarily embodied and visual event that is the focus of this article. What performing Joyce's bodies has revealed to me is his particular, unsentimental and secular take on bodies as both comic and sublime, even sacred - concepts that are rarely yoked together. Resisting the impulse to sanitise Joyce and censor him takes one into the territory of outrageous, often non-naturalistic, comedy, but also into a paradoxical notion of the body as sacred, and the gendered body as potentially subversive, via the by-ways of theatricality, censorship and taste.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Women on the early modern stage [Book Review]
    • Abstract: Kamaralli, Anna
      Review(s) of: Women on the early modern stage, by Frances E. Dolan, Lucy Munro, Brian Gibbons and Arthur F. Kinney (eds), London: Bloomsbury - New Mermaids Anthologies, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - Engine; House on fire [Book Review]
    • Abstract: Moss, Merrilee
      Review(s) of: Engine, by Janis Balodis, Strawberry Hills, NSW: Currency press, 2011; and House on fire, by Debra Oswald, Strawberry Hills, NSW: Currency press, 2011.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 67 - The curious incident of the dog in the night-time [Book Review]
    • Abstract: Fargher, Catherine
      Review(s) of: The curious incident of the dog in the night-time, by Simon Stephens, London: Bloomsbury/Methuen Drama, 2012.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Australian gothic drama: Mapping a nation's trauma from
           convicts to the stolen generation
    • Abstract: Carleton, Stephen
      Marvin Carlson tells us that theatre is the most haunted of artistic mediums. 'All plays in general', he writes, 'might be called Ghosts [after Ibsen], since ... one of the universals of performance, both East and West, is its ghostliness, its sense of return, the uncanny but inescapable impression imposed upon its spectators that "we are seeing what we saw before"'.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Editorial
    • Abstract: Meyrick, Julian; Rogers, Meredith
      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Theatre's heterotopias: Performance and the cultural politics
           of space [Book Review]
    • Abstract: McKinnon, James
      Review(s) of: Theatre's heterotopias: Performance and the cultural politics of space, by Joanne Tompkins, (Palgrave, 2014)

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - The grotesque and the gothic in Peter King's 'John Gabriel
           Borkman': A reflection from the inside
    • Abstract: Daly, Jim
      Look down. Russell Walsh's half-kneeling black-trousered leg, the leg of his character Foldal. His black shoe. Step over his calf. Right hand by my side. Face audience. Put left foot down next to the left of his leg. Swivel hips and head slightly to right. Bend towards Russell's right ear and say ... say... Say what' Say what' What do I say' 'Line!' I say quietly, tersely, to the stage-manager sitting an arm's length away. The SM has no script! A waiting. Murmured discussion. The audience freezes. Like me. More waiting. Minutes pass. 'No point in freezing', I tell myself. I relax. Russell waits. Three other actors on stage wait. A stir in the audience. Four audience members leave, walking across stage, past the actors to the exit door. Conversation outside. A fiasco. A shattering of illusion is a death. We continue.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Radical adaptation: Hypertextuality, feminism and motherhood in
           The Rabble's 'Frankenstein' (after Mary Shelley)
    • Abstract: French, Sarah
      In 2013 adaptation was perhaps the most contested and controversial topic in Australian theatre. A series of heated debates erupted in the media following two provocative articles by Rosemary Neill published in The Australian in late May, which suggested that as a result of the recent adaptation 'fad', the voices of Australian playwrights were being 'swept off the stage'. As these articles highlight, there is a cultural trend towards adaptation on the Australian stages. A range of leading independent theatre companies including 'The Rabble', 'The Hayloft Project', 'The Daniel Schlusser Ensemble', and 'Fraught Outfit' work largely, or solely, in the area of adaptation. Meanwhile, adaptations of the classics have become increasingly more prominent on the main stages at Melbourne Theatre Company (MTC) and Sydney Theatre Company (STC), especially from a series of young directors. The articles in The Australian incited extensive arguments in the press, social media, online forums and public panel discussions that revealed a great deal of cultural anxiety surrounding the issues of intellectual property, the perceived 'death of the author' and the shifting focus of Australian theatre.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Patrick White and aesthetic modernism in mid-century Australia
    • Abstract: Varney, Denise; D'Urso, Sandra
      The question of aesthetic modernism and its moorings in a number of social, economic, political and sexual configurations and imaginings around space, time and technological progress is at the centre of a resurgent interest in modernism and modernity over the last two decades. Interest in aesthetic modernism as a mode of critique aimed at conservative tides in culture, politics and the economy gains new relevance in the context of contemporary Australia. This article considers the Australian context in which one of the foremost proponents of aesthetic modernism in drama is Patrick White. We begin by examining the continuing relevance of White's drama by discussing the key modernist tropes that operate transversally across two of his plays, 'The Ham Funeral' and 'Signal Driver'. White's critique of postwar Australian culture forms the central tenet of his modernist playwriting aesthetics. It is further articulated in a 1958 provocation, in which he refers to Australian modernity as being embedded in anti-intellectualism, 'the march of material ugliness' and 'the exaltation of the average'. In this article, we argue that White's modernist drama chronicles twentieth-century social, economic and political formations of nation, and its effects on subjectivity and interpersonal relations. His plays pose a number of challenges to a twentieth-century configuration of nation, to the ideals of modernity that helped to shape it, and these continue into the twenty-first century. We propose that to re-examine modernist aesthetics in Australian drama reconnects us with smart and pleasurable ways of staging and rebutting rampant modernity as a mode of social, sexual and artistic governance that remains uncannily pertinent today.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Andrew Bovell's 'When the rain stops falling': Theatre in the
           age of 'hyperobjects'
    • Abstract: Ahmadi, Mohebat
      Hyperobjects don't just burn a hole in the world, they burn a hole in your mind.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - 'A thousand hills': Responding to the ethical nightmare
    • Abstract: Willis, Emma
      Based on real events, 'A Thousand Hills', first performed in 2011, told the stories of Francois Byamana, a Rwandan refugee from the 1994 genocide, New Zealand Red Cross worker Bob Askew, and the friendship that developed between them from their meeting in an aid camp across the country's border. The play's director, Margaret-Mary Hollins, first met Byamana while working as a tutor for MIXIT, an Auckland youth arts project with participants from refugee, migrant and local backgrounds.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - The Castanet Club: History, provenance and influence
    • Abstract: Crawford, Terence
      This article focuses on The Castanet Club, a performance troupe that began in Newcastle in 1982, and over the next nine years 'turned the Australian cabaret scene on its head'. It won awards at festivals in Adelaide and Edinburgh, had significant success in Melbourne, became the 'dag-darlings' of Sydney theatre, and the subject of a feature film, released in 1991.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Community engagement or community conversation':
           'Boomtown', a large-scale regional, outdoor community theatrical event
    • Abstract: Carter, Danielle; Heim, Caroline
      On 18 July 2013, three hundred local members of Gladstone, Queensland, erupted into song and dance, performing the fraught history of their community harbourside through tugboat ballets, taiko drumming, German bell-ringing and BMX bike-riding. Over 20,000 people attended the four performances of Boomtown, a Queensland Music Festival event. This was the largest regional, outdoor community-engaged musical performance staged in Australia. The narrative moved beyond the dominant, pejorative view of Gladstone as an industrial town to include the community members' sense of purpose and aspirations. It was a celebratory, contentious and ambitious project that sought to disrupt the traditional conventions of performance-making through working in artistically democratic ways.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Performing haunting histories: A psychogeographical reading of
           two site-specific performance projects on Rottnest Island
    • Abstract: Bottcher, Hannah; Ludewig, Alexandra
      In August 2013, two site-specific performances on Rottnest Island challenged the audience's sense of place by transforming a holiday destination into both a theatre of memory and a theatre of psychogeography. 'Open House' and 'After Dark', devised by playwrights Julia Jarel and Helen Munt, in close collaboration with the Rottnest Island Authority, were presented in the tradition of site-specific theatre. The productions re-enacted memories and events, not as historical truth and factual evidence, but as a means of shifting perspectives and unearthing responses, allowing the audience to experience past, present and future possibilities of the island. The roving performances explored hidden spaces and forgotten times, transforming and challenging the cultural and political views of the audience and their understanding of the history of the island.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Performing cultural heritage: Authenticity and the spirit of
           rebellion
    • Abstract: Campbell, Angela
      In his keynote speech at the 2014 National Play Festival, playwright Andrew Bovell described the troubled relationship between Australia's past and its representation:

      [T]he 'History Wars' is one of our great national themes, one of the most volatile fault lines in our society. At one end of the argument the story is told of a peaceful and gradual settlement, a noble and benign act of nation building and at the other end, a story of violent occupation and resistance culminating in massacre and genocide.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Performativity and event in 1960s Japan: City, body, memory
           [Book Review]
    • Abstract: Thomas, Karen Kartomi
      Review(s) of: Performativity and event in 1960s Japan: City, body, memory, by Peter Eckersall, (Basingstoke, UK; Palgrave Macmillan, 2013)

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Don't mention Casablanca [Book Review]
    • Abstract: Halba, Hilary
      Review(s) of: Don't mention Casablanca, by Michelanne Forster, NZ: Whitireia Publishing, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Shafana and Aunt Sarrinah: Soft revolution [Book Review]
    • Abstract: Peters, Sarah
      Review(s) of: Shafana and Aunt Sarrinah: Soft revolution, by Alana Valentine, Sydney: Currency, 2013.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
  • Issue 66 - Women in Shakespeare: A dictionary [Book Review]
    • Abstract: Reid, Lindsay Ann
      Review(s) of: Women in Shakespeare: A dictionary, by Alison Findlay, London, Bloomsbury, 2014.

      PubDate: Thu, 2 Nov 2017 11:47:34 GMT
       
 
 
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