Relevant bibliographies by topics / Australian drama

Academic literature on the topic 'Australian drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Australian drama.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Australian drama"

1

Roy, James. "Sharing Cultures: an ABC/CBC Radio Drama Exchange." Canadian Theatre Review 85 (December 1995): 15–18. http://dx.doi.org/10.3138/ctr.85.003.

Full text
Abstract:
On an unseasonably hot day of 28° C late in September, 1994, the National Executive Producer of Radio Drama for the Australian Broadcasting Corporation arrived in Toronto. I could not help pointing out that his first visit to Canada was beginning with superb weather. David Britton was here to direct Judith Thompson’s new radio drama, Stop Talking Like That, the Canadian half of a double co-commission project that cbc Radio Drama had initiated with its counterpart at abc. On the way in from the airport he informed me gently that Perth, where he lives in Western Australia, had already experienced several days of more than 30°C, although September is their seasonal equivalent of March. Even though Canada is regularly beat out by the glorious Australian climate, this friendly rivalry over the weather has continued to be a theme scattered through the discussions of radio dramas and air dates in the frequent fax and telephone contacts since our first meeting.
APA, Harvard, Vancouver, ISO, and other styles
2

Nobes, Karen, and Susan Kerrigan. "White noise." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 79–96. http://dx.doi.org/10.33178/alpha.24.05.

Full text
Abstract:
First Nations content on commercial Australian television drama is rare and First Nations content makers rarely produce the content we see. Despite a lack of presence on commercial drama platforms there has been, and continues to be, a rich array of First Nations content on Australian public broadcast networks. Content analysis by Screen Australia, the Federal Government agency charged with supporting Australian screen development, production and promotion, aggregates information across the commercial and non-commercial (public broadcasting) platforms which dilutes the non-commercial output. The research presented in this article focused on the systemic processes of commercial Australian television drama production to provide a detailed analysis of the disparity of First Nations content between commercial and non-commercial television. The study engaged with First Nations and non-Indigenous Australian writers, directors, producers, casting agents, casting directors, heads of production, executive producers, broadcast journalists, former channel managers and independent production company executive directors—all exemplars in their fields—to interrogate production processes, script to screen, contributing to inclusion or exclusion of First Nations content in commercial television drama. Our engagement with industry revealed barriers to the inclusion of First Nations stories, and First Nations storytelling, occurring across multiple stages of commercial Australian television drama production.
APA, Harvard, Vancouver, ISO, and other styles
3

Hassall, Linda. "Performance and the politics of distance: Exploring the psychology of identity and culture in politicized Australian performance landscapes." Applied Theatre Research 7, no. 2 (December 1, 2019): 185–95. http://dx.doi.org/10.1386/atr_00015_1.

Full text
Abstract:
Abstract The politics of distance in Australia has shaped our history and informed the psychological landscape of Australian cultural identity since settlement and colonization. Distance is a subjective space for Australians, and as a result the national subjectivity can cause significant problems for immigrants, asylum seekers, refugees and exiles from 'other' homelands who experience a disjunction of place and culture, and seek sanctuary. Drawing on current post-colonial Australian anxieties, this research investigates Australian concepts of distance alongside what has become a politically contested Australian racial and cultural agenda. Analysing these issues through the lens of Australian Gothic drama, the article also integrates examples from Hassall's performance research, Salvation (2013), to support the discussion.
APA, Harvard, Vancouver, ISO, and other styles
4

Bainbridge, Jason. "‘Rafferty's Rules’: Australian Legal Dramas and the Representation of Law." Media International Australia 118, no. 1 (February 2006): 136–49. http://dx.doi.org/10.1177/1329878x0611800116.

Full text
Abstract:
This paper explores the problems involved in representing the Australian legal system on film and television, how these problems are addressed, and what commentary these texts are making about the practice of law in Australia. It is suggested that the formal and dress requirements of the Australian legal system make the trial process a ritual based around the reification of the lawyer and the stigmatisation of the accused — in short, a degradation ceremony — and that Australian legal dramas reflect this. But because of this lack of dynamism in the courtroom, Australian legal dramas must seek alternative sits of drama — often domestic, and invariably outside the courtroom. In this way, they present a more holistic view of the lawyer/judge's life, reinterpreting court proceedings (and the institution of law itself) as a repressed set-up by actively displacing dramatic tension outside the courtroom, thus denying the courtroom the centrality it occupies in American representations and, by extension, American culture.
APA, Harvard, Vancouver, ISO, and other styles
5

Tompkins, Joanne. "‘Homescapes’ and Identity Reformations in Australian Multicultural Drama." Theatre Research International 26, no. 1 (March 2001): 47–59. http://dx.doi.org/10.1017/s0307883301000050.

Full text
Abstract:
A consideration of identity formation in contemporary Australian multicultural theatre is offered through a re-assessment of the unsettled (and unsettling) constructions of Australia as ‘home’ in the work of three playwrights. William Yang's Sadness disrupts a localized perception of home, space, and cultural communities to amalgamate two disparate communities (the queer/homosexual community in Sydney and the Asian-Australian, or ‘Austasian’ community) into a reconfigured Australian identity. Janis Balodis's The Ghosts Trilogy uses many actors who play across the unsettled lines of history, amid numerous voices, homes, and homelands that indicate the enormity of what ‘Australia’ comes to signify. Noëlle Janaczewska's The History of Water constructs a way of locating the self by means of a metaphoric home as each character establishes herself on a psychic plane rather than choosing the strictly physical locations to which she has access. In their interrogations of home and homeland, these plays challenge assumptions regarding identity, disrupt notions of the ultimate ownership of land/culture by anyone, and problematize the idea of settlement as it is currently articulated in Australia.
APA, Harvard, Vancouver, ISO, and other styles
6

Aisbett, Kate. "Production of Australian Children's Drama: Is There a Future?" Media International Australia 93, no. 1 (November 1999): 41–50. http://dx.doi.org/10.1177/1329878x9909300106.

Full text
Abstract:
To mark the twentieth anniversary of the introduction of the children's programs classification scheme (1979–99), the Australian Broadcasting Authority, the Australian Children's Television Foundation and the Australian Film Finance Corporation commissioned a joint research project on C classification programs. The research investigated trends in programming over the 20 years of the classification scheme and current issues related to the financing of children's programs. This paper explores current developments in the production and broadcast of children's television in Australia and the place of regulation in facilitating the community's desire for quality Australian children's programs.
APA, Harvard, Vancouver, ISO, and other styles
7

Fitzpatrick, Peter. "After the Wave: Australian Drama since 1975." New Theatre Quarterly 2, no. 5 (February 1986): 54–67. http://dx.doi.org/10.1017/s0266464x00001913.

Full text
Abstract:
THE PUBLICATION of Theatre Quarterly's feature on Australian theatre in its Summer 1977 number seemed at the time one of a number of tokens of the coming of age of ‘the new Australian drama’. It is probably a truer sign of maturity that the present revisiting of the subject offers a form of international recognition which, though still very welcome, seems now a less important and alluring prospect. Australia's cultural cringe – the over-dependence on the models and approval of the parent country which was one of our more notorious legacies of colonialism – is not as noticeable in the theatre these days as it was even in the mood of heady self-conscious nationalism of the early 'seventies.
APA, Harvard, Vancouver, ISO, and other styles
8

O’Toole, John. "The basic principles of a socially just arts curriculum, and the place of drama." Australian Educational Researcher 48, no. 5 (October 8, 2021): 819–36. http://dx.doi.org/10.1007/s13384-021-00480-6.

Full text
Abstract:
AbstractThis paper provides a descriptive historical analysis of the planning and writing of the Australian Curriculum: The Arts which occurred from 2009 to 2013. This process involved extensive consultation across a range of stakeholders, including curriculum research, background reading and analysis that preceded the Australian Curriculum, Assessment and Reporting Authority’s writing process. The curriculum itself was underpinned by a range of democratic principles, including the importance of developing a socially just curriculum. This necessitated extensive discussion which interrogated the terms excellence and equity to ensure a high-quality arts education was accessible for all students, regardless of their background. The implementation of these principles is then explored through the perspective of the Drama writing team, including the importance of the subject Drama in developing a sense of inquiry and empathy in students by exploring their own and others’ stories and points of view. The final curriculum document for the Arts, and specifically for Drama exemplifies the importance of these social justice principles in responding to the Melbourne Declaration on Educational Goals for Young Australians (2008) which advocates for equity and excellence in Australian schooling and for all young Australians to become successful learners, confident and creative individuals and active and informed citizens.
APA, Harvard, Vancouver, ISO, and other styles
9

Fitzpatrick, Peter, and Helen Thomson. "Developments in Recent Australian Drama." World Literature Today 67, no. 3 (1993): 489. http://dx.doi.org/10.2307/40149341.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Polley, Martin. "Review: Sport in Australian Drama." Literature & History 3, no. 1 (March 1994): 135–36. http://dx.doi.org/10.1177/030619739400300136.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Australian drama"

1

Az-Zubaidy, Thamir Rashid Shayyal. "Multiculturalism in contemporary Australian drama." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/43029.

Full text
Abstract:
This thesis investigates the representation of Australia's cultural diversity in contemporary Australian drama from 1990 to 2014. It traces Australian governments' reports and statements of the policy of multiculturalism from 1977 to 2017 and critiques their promulgation of Australian multiculturalism as mainly aligning with the dominant culture. Through its analysis of nine plays by eleven playwrights from diverse cultural backgrounds, plays which reflect Australia's linguistic and cultural diversity, this thesis contends that literary writing - and drama in particular - opens a space for alternative models of multiculturalism. Through its exploration of the journey motif in most of those plays, the thesis challenges the assumption that themes of displacement, alienation and belonging are restricted to works by playwrights from migrant backgrounds. In this sense, it argues that multicultural writing is not restricted to works by writers from migrant backgrounds or dealing with the issues of migration. Through its engagement with the relationship between form and content in these plays, and the role of form in conveying the fluidity of Australian identity, the thesis contributes to scholarship on postcolonial drama. It also argues that resistant postcolonial writing is not restricted to Aboriginal writing but can incorporate works by white and migrant Australians as well.
APA, Harvard, Vancouver, ISO, and other styles
2

Lyssa, Alison. "Performing Australia's black and white history acts of danger in four Australian plays of the early 21st century /." Thesis, Electronic version, 2006. http://hdl.handle.net/1959.14/714.

Full text
Abstract:
Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006.
Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006. Bibliography: p. 199-210.
APA, Harvard, Vancouver, ISO, and other styles
3

May, Harvey Brian. "Australian Multicultural Policy and Television Drama in Comparative Contexts." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15835/1/Harvey_May_Thesis.pdf.

Full text
Abstract:
This thesis examines changes which have occurred since the late 1980s and early 1990s with respect to the representation of cultural diversity on Australian popular drama programming. The thesis finds that a significant number of actors of diverse cultural and linguistic background have negotiated the television industry employment process to obtain acting roles in a lead capacity. The majority of these actors are from the second generation of immigrants, who increasingly make up a significant component of Australia's multicultural population. The way in which these actors are portrayed on-screen has also shifted from one of a 'performed' ethnicity, to an 'everyday' portrayal. The thesis develops an analysis which connects the development and broad political support for multicultural policy as expressed in the National Agenda for a Multicultural Australia to the changes in both employment and representation practices in popular television programming in the late 1990s and early 2000s. The thesis addresses multicultural debates by arguing for a mainstreaming position. The thesis makes detailed comparison of cultural diversity and television in the jurisdictions of the United States, the United Kingdom and New Zealand to support the broad argument that cultural diversity policy measures produce observable outcomes in television programming.
APA, Harvard, Vancouver, ISO, and other styles
4

May, Harvey Brian. "Australian Multicultural Policy and Television Drama in Comparative Contexts." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15835/.

Full text
Abstract:
This thesis examines changes which have occurred since the late 1980s and early 1990s with respect to the representation of cultural diversity on Australian popular drama programming. The thesis finds that a significant number of actors of diverse cultural and linguistic background have negotiated the television industry employment process to obtain acting roles in a lead capacity. The majority of these actors are from the second generation of immigrants, who increasingly make up a significant component of Australia's multicultural population. The way in which these actors are portrayed on-screen has also shifted from one of a 'performed' ethnicity, to an 'everyday' portrayal. The thesis develops an analysis which connects the development and broad political support for multicultural policy as expressed in the National Agenda for a Multicultural Australia to the changes in both employment and representation practices in popular television programming in the late 1990s and early 2000s. The thesis addresses multicultural debates by arguing for a mainstreaming position. The thesis makes detailed comparison of cultural diversity and television in the jurisdictions of the United States, the United Kingdom and New Zealand to support the broad argument that cultural diversity policy measures produce observable outcomes in television programming.
APA, Harvard, Vancouver, ISO, and other styles
5

Dorian, Jennifer. "Constructions of Australianness in contemporary Australian drama : Blue heelers & Heartbreak High." Thesis, Queensland University of Technology, 1999.

Find full text
Abstract:
This thesis will examine how Australianness is constructed in two contemporary Australian television dramas - Heartbreak High and Blue Heelers. Founded on the critical tradition of "Cultural Studies", this work will employ text analysis to deconstruct these dramas and examine the ways in which they manifest Australian cultural identity. However, this thesis recognises that Australianness is not a constant, tangible phenomenon, but rather a series of constructions, each purporting to be "real". Hence I will be acknowledging that there is not one, singular national identity from which to draw representations, but many different, conflicting cultural identities. Each program constructs a very different view of Australian life and culture. Heartbreak High follows the lives of a group of high school students amidst a multicultural, urban environment and is aimed primarily at a teen audience. On the other hand, Blue Heelers appeals to an older, more conservative audience with its focus on a small police station in rural Victoria. Some of the issues to be addressed in the main body of the text include the programs constructions of "Australian" characteristics such as mateship and egalitarianism, and whether these dramas perpetuate the cultural division between rural and urban Australia. Overall this thesis aims to provide a thorough examination of the images of Australia these two programs construct and to question their origin, meaning and relevance tocontemporary Australian society.
APA, Harvard, Vancouver, ISO, and other styles
6

Potter, Anna. "Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16016/1/Anna_Potter_Thesis.pdf.

Full text
Abstract:
When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters. It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which is unable to fully fund its program output from local markets. Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets. With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through their gate keeping roles. My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached. The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers. Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels. If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.
APA, Harvard, Vancouver, ISO, and other styles
7

Potter, Anna. "Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16016/.

Full text
Abstract:
When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters. It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which is unable to fully fund its program output from local markets. Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets. With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through their gate keeping roles. My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached. The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers. Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels. If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.
APA, Harvard, Vancouver, ISO, and other styles
8

Davis, Laurel F. "Voyage to Terra Australis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1648.

Full text
Abstract:
This thesis in Writing is composed of two parts, a creative work for stage, and an essay that both informs the writing of the drama and reflects upon it. The creative work, entitled Ann Flinders Remembers, a musical drama based on the life and journals of Matthew Flinders, navigator and cartographer, and his wife, Ann Flinders. The drama consists of lyrics, letters, extracts, dialogue, monologue, and stage directions, the story told from the point of view of Ann Flinders remembering, and by the all-knowing Chorus, of early Greek theatre. The essay, entitled 'Reflections on and of the Pastoral', traces the genre from the early Greek plays through to more recent theatre, and precedes the creative work to show how I came to the point of writing a musical drama based on the Pastoral genre, and what literature and theory might have been an influence. In the essay, I challenge some widely held conceptions of the Pastoral, at the same time re-acquainting myself with the techniques used by dramatists throughout history. Such a course enables me to reveal the habit of mind that lies at the source of the ancient genre.
APA, Harvard, Vancouver, ISO, and other styles
9

Syron, Liza-Mare. "Ephemera Aboriginality, reconciliation, urban perspectives ; Artistic practice in contemporary Aboriginal theatre /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060220.155544/index.html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Makeham, Paul B. ""Across the long, dry stage": Discourses of Landscape in Australian Drama." Thesis, University of Newcastle, NSW, Australia, 1996. https://eprints.qut.edu.au/8980/1/c8980.pdf.

Full text
Abstract:
This thesis is concerned with the representation of landscape in nine Australian plays. The introduction examines the functions and effects of landscape discourses within Australian culture generally, and on the stage in particular. The introduction is followed by three chapters, each of which examines three plays. In the sequence in which they are discussed, the plays are: 'At Dusk' (1937) by Millicent Armstrong; 'Pioneers' (1919) by Katharine Susannah Prichard; 'The Drovers' (1919) by Louis Esson; 'The Fields of Heaven' (1982) by Dorothy Hewett; 'Too Young For Ghosts' (1985) by Janis Balodis; 'Inside the Island' (1980) by Louis Nowra; 'Bran Nue Dae' (1990) by Jimmy Chi and Kuckles; 'The Kid' (1983) by Michael Gow; and 'Aftershocks' (1991) by Paul Brown and the Workers' Cultural Action Committee. The readings proposed here proceed on the understanding that landscapes are systems of representation rather than topographical entities. Landscapes are thus conceivable as textual formations, constituted of discourses and inscribed with a variety of ideologies. 'Discourse' here refers both to the spoken (dialogic) and the visual (scenic) modes of dramatic expression. A wide range of thematic concerns and dramaturgical forms is encompassed by these nine plays; accordingly, a variety of reading strategies is applied to them. In each of the plays examined, landscape and character are shown in a dynamic, mutually determining relationship, even in those realist works in which landscape is rendered as 'background' to the primary sites of interpersonal action. The thesis traces a movement from early realist one-act plays set in bush landscapes, to more recent, non-realist works of full-length set partially or wholly in cities. This structure might be characterised as a movement from the landscapes of 'nature' to the cityscapes of 'culture'.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Australian drama"

1

Peter, Holloway, ed. Contemporary Australian drama. Sydney: Currency Press, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Radic, Leonard. Contemporary Australian drama. Blackheath, N.S.W: Brandl & Schlesinger, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Carroll, Dennis. Australian contemporary drama. Sydney: Currency Press, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Wesley, Enoch, Huggins Jackie, Dickinson Mike 1942-, Newcastle Anthony 1964-, McDonald Nadine 1973-, Collie Therese 1953-, and Kooemba Jdarra (Theatrical company), eds. Only gammon: Three plays from Kooemba Jdarra. Fortitude Valley [Qld.]: Playlab Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

1953-, Tait Peta, and Schafer Elizabeth, eds. Australian women's drama: Texts and feminisms. Sydney: Currency Press, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Moran, Albert. Australian television drama series: 1956-1981. North Ryde, NSW: AFTRS, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Webby, Elizabeth. Modern Australian plays. South Melbourne, Australia: Sydney University Press in association with Oxford University Press Australia, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Webby, Elizabeth. Modern Australian plays. [Sydney]: Sydney University Press in association with Oxford University Press Australia, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Susan, Pfisterer, ed. Tremendous worlds: Australian women's drama 1890-1960. Sydney: Currency Press, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Fitzgerald, Ross, and Ken Spillman. Australia's game: Stories, essays, verse & drama inspired by the Australian game of football. Richmond, Vic: Slattery Media Group, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Australian drama"

1

Dolgopolov, Greg. "New Australian Crime Drama." In Australian Genre Film, 74–89. Title: Australian genre film / edited by Kelly McWilliam and Mark David Ryan.Description: New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429469121-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Varney, Denise, Peter Eckersall, Chris Hudson, and Barbara Hatley. "Modern Australian Drama: Haunted by the Past." In Theatre and Performance in the Asia-Pacific, 17–32. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137367891_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Maloney, Noel, and Philippa Burne. "So Much Drama, So Little Time: Writers’ Rooms in Australian Television Drama Production." In Script Development, 185–204. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-48713-3_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Sharp, Cassandra. "Crime drama and national identity on Australian television, 1960–2019." In Law, Lawyers and Justice, 20–41. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429288128-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Matthews, Tony, Clare Newton, Mirko Guaralda, and Severine Mayere. "Vertical Schools as Community Hubs." In Schools as Community Hubs, 217–32. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-9972-7_15.

Full text
Abstract:
AbstractVertical schools are an emerging form of school design in Australia. Hundreds of vertical schools, usually between four and seventeen stories, will be required in coming decades to respond to increasing student numbers in Australian cities. Locations will be in inner urban areas, where population densities are high and land availability is limited. School facilities for traditional academic programs, plus infrastructure for drama, music, exercise, sport, socialising, craft, play, and food preparation/dining, may all be useful to both students and groups from beyond the immediate school population, aiding the development of school-community connections. This chapter examines Australian vertical schools relative to more established European precedents. It traces community connections that can be discovered from visual analysis of plans and occupied buildings to investigate which spaces have potential for community use. How and why communities use different types of school spaces is explored. Consideration is given to the private, privileged, and public spaces of vertical schools. Questions are asked about whether schools operate as open or closed facilities and about how schools with more porous boundaries address children’s’ safety. The comparison of three Australian vertical schools with seven European examples provides helpful lessons to better understand opportunities for further improvement and innovation.
APA, Harvard, Vancouver, ISO, and other styles
6

Pender, Anne, Tiffany Knight, Sarah Peters, and Mark Seton. "Wellbeing for Student Actors: #MeToo and New Initiatives in the Australian Tertiary Drama Curriculum." In New Research and Possibilities in Wellbeing Education, 91–112. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-5609-8_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Sallis, Richard Johnson, and Jane Bird. "Australian Women in Science: A Model for a Research-Based Theatre Project in Secondary School Classrooms." In Science and Drama: Contemporary and Creative Approaches to Teaching and Learning, 243–58. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84401-1_15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Williams, Margaret. "Australia." In Post-Colonial English Drama, 17–34. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22436-4_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Monaghan, Paul. "Greek Drama in Australia." In A Handbook to the Reception of Greek Drama, 422–45. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch22.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bearne, Eve, David Reedy, Paul Gardner, and Yvonne Sawers. "Storytelling, drama and role play." In Teaching Primary English in Australia, 65–90. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003265016-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Australian drama"

1

"Delivering Drama for Extreme Screen." In SMPTE Australia Conference. IEEE, 2015. http://dx.doi.org/10.5594/m001745.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Aesthetika, Nur Maghfirah, Yani Kanda, and Poppy Febriana. "Kim Hyesan Drama YouTube Channel as a Reference Job in Australia." In 2nd Jogjakarta Communication Conference (JCC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200818.056.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Richards, Deborah, and Nicolas Szilas. "Challenging reality using techniques from interactive drama to support social simulations in virtual worlds." In The 8th Australasian Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2336727.2336739.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Telford, Elsie, Akari Nakai Kidd, and Ursula de Jong. "Beyond the 1968 Battle between Housing Commission, Victoria, and the Residential Associations: Uncovering the Ultra Positions of Melbourne Social Housing." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4022pplql.

Full text
Abstract:
In 1968, the Housing Commission, Victoria, built a series of high-rise towers in response to an identified metropolitan planning issue: urban sprawl and the outward growth of metropolitan Melbourne. This “solution” precipitated a crisis in urban identity. The construction of the first of a series of these modern high-rise towers at Debney Park Estate, Carlton and Park Towers, South Melbourne displaced significant immigrant communities. This became the impetus for the formation of Residential Associations who perceived this project a major threat to existing cultural values pertaining to social and built heritage. This paper examines the extremely polarising events and the positions of both the Housing Commission and the Residential Associations over the course of fifteen years from 1968. The research is grounded in an historical review of government papers and statements surrounding the social housing towers, as well as scholarly articles, including information gathered by Renate Howe and the Urban Activists Project (UAP, 2003-2004). The historical review contextualises the dramatically vocal and well-publicised positions of the Residential Associations and the Housing Commission by reference to the wider social circumstances and the views of displaced community groups. Looking beyond the drama of the heated debate sparked by this crisis, the paper exposes nuances within the positions, investigates the specifics of the lesser known opinions of displaced residents and seeks to re-evaluate the influence of the towers on the establishment of an inner urban community identity.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Australian drama"

1

Lotz, Amanda, Anna Potter, Marion McCutcheon, Kevin Sanson, and Oliver Eklund. Australian Television Drama Index, 1999-2019. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.212330.

Full text
Abstract:
This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Australian drama' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography