Academic literature on the topic 'Theatre – Australia – History'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Theatre – Australia – History.'
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 "Theatre – Australia – History"
1
Kaiser, Max, and Lisa Milner. "“Part of What We Thought and Felt”: Antifascism, Antisemitism and Jewish Connections with the New Theatre." Labour History 120, no. 1 (May 1, 2021): 95–116. http://dx.doi.org/10.3828/jlh.2021.6.
Full textAbstract:
For much of the twentieth century, the six branches of the New Theatre in Australia presented left-wing theatre within a culture that was largely resistant to their ideas. Their orientation was explicitly pro-working class, their support base including the Communist Party and left-wing trade unions. Like radical theatres in other nations, including the Unity Theatre in Britain, the New Theatre had strong connections to Jewish culture and theatre enterprises, and featured Jewish writers, actors, values and themes. Left-wing, anti-fascist scripts written by Jews in Australia as well as Britain and the USA were often staged. This article discusses the New Theatre’s concerns with antisemitism and Jewish politics focussing on selected plays by Laurence Collinson, David Martin and Oriel Gray. These plays provide us with an ideal prism through which to analyse Jewish left-wing and anti-fascist ideas as they were refracted through a transnational left-wing theatre movement.
2
Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.
Full textAbstract:
A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).
3
Wilson, Pat H. "Singing Our Songs: Celebrating Australian Music Theatre repertoire." Australian Voice 22 (2021): 9–15. http://dx.doi.org/10.56307/bxzp3343.
Full textAbstract:
Although live theatrical performances combining music, spoken dialogue, songs, acting and dance have existed since ancient times, modern Western musical theatre (colloquially, “musicals”) emerged in the 19th century. There is an increasing interest in analysing, understanding and researching American musicals. British and European music theatre is also gathering a stronger profile academically. However, it is less well-known that Australia has a large and richly varied music theatre history. Singing teachers, vocal coaches and singers working in music theatre constantly seek to expand repertoire, especially solo material suitable for use in auditions. Lack of research attention and a dearth of readily available published scores have resulted in few performances of solo songs from the growing canon of Australian music theatre. A serious investigation, interrogating suitability and availability of the scores of Australian music theatre works, is long overdue. This paper seeks, in some small way, to commence the process.
4
Sone, Yuji. "Tolerance and History: Theatre of the Australia–Japan Relationship." Contemporary Theatre Review 26, no. 4 (October 2016): 444–56. http://dx.doi.org/10.1080/10486801.2016.1216406.
Full text
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 textAbstract:
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.
6
St Leon, Mark Valentine. "Presence, Prestige and Patronage: Circus Proprietors and Country Pastors in Australia, 1847–1942." Alternative Spirituality and Religion Review 12, no. 1 (2021): 39–73. http://dx.doi.org/10.5840/asrr2021122179.
Full textAbstract:
Christianity and circus entered the Australian landscape within a few decades of each other. Christianity arrived with the First Fleet in 1788. Five years later, Australia’s first church was opened. In 1832, the first display of the circus arts was given by a ropewalker on the stage of Sydney’s Theatre Royal. Fifteen years later, Australia’s first circus was opened in Launceston. Nevertheless, Australia’s historians have tended to overlook both the nation’s religious history and its annals of popular entertainment. In their new antipodean setting, what did Christianity and circus offer each other? To what extent did each accommodate the other in terms of thought and behaviour? In raising these questions, this article suggests the need to remove the margins between the mainstreams of Australian religious and social histories. For the argument of this article: 1) the term “religion” will refer to Christianity, specifically its Roman Catholic and principal Protestant manifestations introduced in Australia, Anglican, Presbyterian and Methodist; and 2) the term “circus” will refer to the form of popular entertainment, a major branch of the performing arts and a sub-branch of theatre, as devised by Astley in London from 1768, and first displayed in the Australia in 1847.
7
Wake, Caroline. "Headphone Verbatim Theatre: Methods, Histories, Genres, Theories." New Theatre Quarterly 29, no. 4 (November 2013): 321–35. http://dx.doi.org/10.1017/s0266464x13000651.
Full textAbstract:
Created in an American rehearsal room, exported to an English workshop, and developed in Australia, among other places, ‘headphone verbatim theatre’ – also called ‘recorded delivery’ – is a truly global genre. In this article Caroline Wake focuses on the work of two pioneering practitioners, Briton Alecky Blythe and Australian Roslyn Oades, in order to trace the form's history as well as its methods, genres, and theories. In doing so, she considers how audio technology has evolved over the past decade and how the display or disguise of headphones has affected both the production and reception of the form. She identifies three dominant genres of headphone verbatim theatre (the social crisis play, the social justice play, and the social portrait play, as well as three main performance modes – the epic, the naturalistic, and the mixed. The epic has been the most successful thus far, but the naturalistic and mixed modes are, in turn, begetting new ones. Finally, she suggests that in the same way that headphones have rejuvenated verbatim theatre, they might also reinvigorate the discourse on it by offering the opportunity to go beyond the politics of voice and visibility and to turn, instead, to listening. Caroline Wake is a Postdoctoral Research Fellow in the Centre for Modernism Studies in Australia at the University of New South Wales. Her research examines cultural responses to and representations of refugees and asylum-seekers as well as the role of testimony in law, performance, and visual culture. Her work has previously appeared in journals such as Text & Performance Quarterly, Modern Drama, and History & Memory. She is the co-editor, with Bryoni Trezise, of Visions and Revisions: Performance, Memory, Trauma (Museum Tusculanum Press, 2013).
8
FLEMING, JOSEPHINE, ROBYN EWING, MICHAEL ANDERSON, and HELEN KLIEVE. "Reimagining the Wheel: The Implications of Cultural Diversity for Mainstream Theatre Programming in Australia." Theatre Research International 39, no. 2 (June 4, 2014): 133–48. http://dx.doi.org/10.1017/s0307883314000054.
Full textAbstract:
Profound demographic shifts in Australia's population are raising fundamental questions about how we reimagine the practices of our mainstream cultural institutions. The ability and the willingness of these institutions to reconceptualize their work in ways that encompass a diversity of traditions and tastes are critical. The paper draws on Pierre Bourdieu's notions of distinctions and taste to examine the influence of cultural identification on the choices that young people make about attending live theatre. The paper includes findings from a large Australian study, TheatreSpace, which examined why young people chose to engage or not to engage with theatre. In New South Wales nearly 40 per cent of the 726 young participants spoke a language other than English at home. Most were attending with their schools, many with no history of family attendance. This paper highlights significant issues about cultural relevance, accessibility and the often unintended challenges and confrontations that theatre can present to young first-generation Australians.
9
McIntyre, John Alexander. "New Education beyond the school: Rosemarie Benjamin’s Theatre for Children, 1937-1957." History of Education Review 47, no. 2 (October 1, 2018): 217–28. http://dx.doi.org/10.1108/her-11-2017-0021.
Full textAbstract:
Purpose The purpose of this paper is to examine the work of Rosemary Benjamin’s Theatre for Children in Sydney as a compelling narrative of the New Education in Australia in the late 1930s, an historical moment when theatre for children emerged as a cultural experiment rich in educational ideas. Design/methodology/approach Contemporary sources and archival records are explored through several interpretive frames to develop a historical account of Benjamin’s Theatre for Children from 1937 to 1957. Findings Benjamin’s concept of children’s theatre was shaped by English progressive education as much as the Soviet model she extolled. She pursued her project in Sydney from 1937 because she found there a convivial European emigré community who encouraged her enterprise. They understood her Freudian ideas, which commended the use of the symbolic resources of myth and fairy tales to help children deal with difficult unconscious material. Benjamin also analysed audience reactions applying child study principles, evidence of the influence of Susan Isaacs and the New Education Fellowship. More successful as a Publicist than a Producer, Benjamin was able to mobilise support for her educational cause among performers, parents, cultural figures and educational authorities. Her contribution was to pave the way for those who would succeed with different models of theatre for children. Originality/value This is the first study to employ archival sources to document the history of the Theatre for Children, Sydney and address its neglect as a theatre project combining educational and theatrical values.
10
Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
Full textAbstract:
The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
Dissertations / Theses on the topic "Theatre – Australia – History"
1
Shorter, Mark Travers. "Variety theatre, performance art and the carnivalesque." Phd thesis, Sydney College of the Arts, 2011. http://hdl.handle.net/2123/12477.
Full text
2
Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.
Full textAbstract:
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
3
Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.
Full textAbstract:
Doctor of Philosophy'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
4
Sobb, Ah Kin Camilla. "A Chance Gathering of Strays: the Australian theatre family." Thesis, The University of Sydney, 2010. http://hdl.handle.net/2123/8200.
Full text
5
Tuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.
Full textAbstract:
Shakespeare has been performed on Australian stages for over two hundred years, yet despite this fact, in Australia we still treat Shakespeare as a revered idol. It seems that, as a nation of second-class convicts, consciously or not, we regard Shakespeare as a product of our aristocratic founders. However deeply buried the belief may be, we still think that the British perform Shakespeare ‘the right way’. As a result, when staging his plays today, our productions suffer from a cultural cringe.
This research sought to combat these inhibiting ideologies and endeavoured to find a way in which Australians might claim ownership over Shakespeare in contemporary productions of his plays. The methodology used to undertake this investigation was practice-led research, with the central practice being theatre directing. The questions the research posed were: can Australian directors in the 21st century navigate and reshape Shakespeare's works in productions that give actors and audiences ownership over Shakespeare? And, what role can irreverence play in this quest for ownership? In order to answer these questions, a strong reference point was required, to understand what Shakespeare, with no strings attached to tradition and scholarly reverence, looked and felt like. Taiwan became an ideal reference point, as the country is a site for unrestrained and strongly localised performances of the Shakespearean tradition. The company at the forefront of such Taiwanese productions is Contemporary Legend Theatre (CLT). Wu Hsing-kuo, the Artistic Director of CLT, creates jingju (Beijing opera) adaptations of Shakespeare’s plays, the most renowned of which is his solo King Lear, titled Li Er zaici.
The intention of the practice-led research was to use the ideas gathered from an interview with Wu and through watching a performance of Li Er zaici, to form an approach to directing Shakespeare in Australia today, which was free from the restrictions commonly encountered by Australians. The practical project involved trialling this approach in a series of workshops and rehearsals with eight actors over eight weeks, which ultimately resulted in a performance of an adaptation of Romeo and Juliet.
Wu’s approach generated a sense of ownership over Shakespeare amongst the actors and widened their dominant, narrow concept of Shakespeare performances in Australia to incorporate a wealth of new possibilities. Yet, from this practical experiment, the strength and depth of the inhibiting ideologies surrounding Shakespeare in Australia was made apparent, as even when consciously seeking to remove them, they formed unconscious impediments. Despite the initial intention, a sense of veneration towards Shakespeare’s text entered the rehearsal process for Romeo and Juliet. This practice-led research revealed that as Australians we have an almost inescapable attachment to Shakespeare’s text, which ultimately begs the contrary question: in order to stage an irreverent and owned production of Shakespeare in Australia, how much of Shakespeare and his traditions must we abandon?
6
Jordan, Noel. "'Controversial art' : investigating the work of director Rosemary Myers." Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1160.
Full textAbstract:
Arena Theatre Company’s Eat Your Young is examined as an intrinsic case study. The aim is to investigate the role of a director in the creation of an original multi-media theatre production designed for young people. The study explores the current social, political and cultural position of young people and argues that they are viewed and portrayed as a marginalised “other”. The history of Arena Theatre Company is documented in relation to the development of Theatre in Education from its British roots to the Company’s current emphasis on contemporary artists exploring the possibilities of multi-art form technology. The development of multi-media usage in theatre over the past century is outlined in order to gain an understanding of Arena’s place within this technological experimentation. Utilising ethnographic methodology, including participant observation, “unstructured” interactive interviews and the construction of participant monologues, the creative rehearsal and planning process of Eat Your Young is chartered over a five month period. The outcomes of the study confirm the literature relating to the qualities of a good director: they are leadership, vision and the ability to collaborate. The metaphor chief architect is coined to describe the central figure of the director, Rosemary Myers. The case study discusses the development of a Company culture where artists work in an intensive social and interactive environment and it identifies the unique pressures and individual responsibility of the role of director.
7
Conte, Susannah. "The Fifth Sparrow: In Memory of Mollie Skinner." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2080.
Full textAbstract:
This thesis offers a case study in adapting Australian literary biography to the theatre, specifically in the form of a one woman show or monologue performance. The thesis consists of a novel play script, together with exegetical writing which outlines the source materials used and the process and themes under consideration. These themes include those of family (specifically a difficult relationship with her mother), love (including a lesbian affair), life as an aspiring writer, and the protagonist’s difficult to shake sense of damage, pain and struggle. The play offers a portrait of West Australian writer Mollie Skinner (1876- 1955). Sources included her autobiography (both the original manuscript and that edited and published by Mary Durack), Mollie’s novels and her letters—particularly her extensive correspondence with the British author D.H. Lawrence, who she met in WA—and secondary writings. Skinner’s writing has been described as akin to an “untended garden,” rich in imagery, but scattered and often difficult to follow. In recognition of this, my play takes the form of a series of vignettes and images, a succession of heightened moments, choreographed with sound and movement elements for dramatic impact. Mollie’s life thereby emerges as one marked by pain and suffering, yet suffused with rich language and visions. Although Mollie was more than just a friend of D.H. Lawrence, it is nevertheless clear that the better known author offered her support and encouragement that few others did. Together with her Sybil these two figures emerge as Mollie’s only true loves and companions, figures physically separated from her, yet who enabled her life and many of her joys. Skinner emerges then as a modest but indomitable spirt, poised on the veranda, looking at the world through her failing eyesight; touched by the beauty of it all.
The aim of the play is thus to do justice to the spirit of Skinner, without presenting an exhaustive account of her entire life, and in doing so, to present her story to a new generation of West Australians.
8
Beaton, Hilary. "Millennium bridge: a contemporary Australian history." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16435/1/Hilary_Beaton_-_Millennium_Bridge.pdf.
Full textAbstract:
The script, Millennium Bridge, is an investigation into the passions and fears that are shaping contemporary Australia today. Charting the political climate of the past decade, at the play's centre a man is building a bridge from Australia to Asia. The central dramatic question being asked is "In an environment where the emphasis on economic prosperity overrides that of human rights and freedom of speech--what will be the consequences for the Australian people?" The accompanying analysis of the ten-year period it took to write Millennium Bridge illuminates the significance of institutional issues on a play and playwright's development. Written from the perspective of a mid-career playwright, the paper argues that the professional and personal circumstances within which a work of art is created (and their effect on the playwright's confidence and financial capacities) are a significant determinant of the productivity of playwrights.
9
Beaton, Hilary. "Millennium bridge: a contemporary Australian history." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16435/.
Full textAbstract:
The script, Millennium Bridge, is an investigation into the passions and fears that are shaping contemporary Australia today. Charting the political climate of the past decade, at the play's centre a man is building a bridge from Australia to Asia. The central dramatic question being asked is "In an environment where the emphasis on economic prosperity overrides that of human rights and freedom of speech--what will be the consequences for the Australian people?" The accompanying analysis of the ten-year period it took to write Millennium Bridge illuminates the significance of institutional issues on a play and playwright's development. Written from the perspective of a mid-career playwright, the paper argues that the professional and personal circumstances within which a work of art is created (and their effect on the playwright's confidence and financial capacities) are a significant determinant of the productivity of playwrights.
10
Parsons, Julie. "Undressing and redressing the harlequin: An Australian designer's perspective." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/125.
Full textAbstract:
In undressing and redressing the Harlequin from an Australian designer’s perspective, the question is why has the Harlequin costume endured for over 500 years and in locations far away from its country of origin? Why do we associate its lozenge pattern with energetic joyous mischief? What are the Harlequin costume codes and how have they been manifested in Australia? The thesis components are divided as follows: The Designer’s Notebook is a pictorial and historical review of the iconic costume, which is made up of a complex patchwork of triangles where colour placements form a diamond pattern called a lozenge. The Harlequin, a stock character from commedia dell’arte, who emerged in Italy and France during the 1500s, wears the lozenge costume. The notebook traces possible connections and reasons for the emergence of both the costume and the Harlequin figure prior to his catalyzation as a character in commedia dell’arte. Having arrived at the manifestation of Harlequin and his lozenge costume, the focus moves to the forms of expression in which he has participated and the mutations which have occurred in the costume. Harlequin High Jinks Down Under is concerned with the manifestation of both the harlequinesque figure and its associated costume codes in circus and the harlequinades in Australia from the 1850s, when a kind of Australian larrikinism began to develop as the national identity. From this unique environment a century later sprang the satirist, Dame Edna Everage and the social and political comic, Joel Salom, associated with Circus OZ. On the international front, these Australian performers have joined comic book characters in keeping the harlequinesque costume codes alive, but something deeper is happening with the Harlequin and his lozenge attire. For instance, some philosophers have come to accept Harlequin as a visual code for the union of multi-nationalities. The Research additionally explores the enduring contribution of the lozenge code not only through the historical tracing of harlequinesque imagery but also through the designing of a 2 square meter art–piece created at an international residency in Vietnam to reflect the energetic universality of the lozenge form. Here Harlequin’s liminality is explored. Finally two new costume designs have been created for the Australian performers, Everage and Salom, to further the design of the harlequinesque into an imagined future.
Books on the topic "Theatre – Australia – History"
1
Milne, Geoffrey. Theatre Australia (un)limited: Australian theatre since the 1950s. Amsterdam: Rodopi, 2004.
Find full text
2
Theatre Australia (un)limited: Australian theatre since the 1950s. Amsterdam: Rodopi, 2004.
Find full text
3
Vella, Maeve. Theatre of the impossible: Puppet theatre in Australia. Roseville, N.S.W: Craftsman House, 1989.
Find full text
4
Transfigured stages: Major practitioners and theatre aesthetics in Australia. Amsterdam: Rodopi, 2011.
Find full text
5
Hough, David. A dream of passion: The centennial history of His Majesty's Theatre. Perth, W.A: His Majesty's Theatre Foundation, 2004.
Find full text
6
Peter, Ward. A singular act: Twenty five years of the State Theatre Company of South Australia. Adelaide, S. Aust: State Theatre Co., 1992.
Find full text
7
A Singular Act: Twenty Five Years of the State Theatre Company of South Australia. Adelaide, Australia: State Theatre Company, Australia, 1992.
Find full text
8
Zable, Arnold. Wanderers and dreamers: Tales of the David Herman Theatre. South Melbourne: Hyland House, 1998.
Find full text
9
Unsettling space: Contestations in contemporary Australian theatre. Basingstoke: Palgrave Macmillan, 2006.
Find full text
10
Steven, Gration, and Peelgrane Nicky, eds. Commedia Oz: Playing Commedia in contemporary Australia. Strawberry Hills, NSW: Currency Press, 2008.
Find full textBook chapters on the topic "Theatre – Australia – History"
1
"Protesting Colonial Australia: Convict Theatre and Kelly Ballads." In The Routledge History of Social Protest in Popular Music, 379–90. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-35.
Full text
2
Allen, Julie K. "Asta Co.: The Politics of Early Danish Film Stardom." In A History of Danish Cinema, 30–40. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474461122.003.0003.
Full textAbstract:
Danish cinema’s international prestige in the silent era was attained not only though the business nous of Nordisk Films Kompagni, but also through the efforts of four screen stars in particular: Asta Nielsen, Olaf Fønss, Clara Wieth Pontoppidan, and Valdemar Psilander. Although Asta Nielsen’s name is the most widely recognised today, all four actors were among the most famous and beloved screen personalities of their time, both at home and as far afield as Australia, Brazil and Russia. Tracing the transition from theatre stage to film set of the four stars, this chapter explores the tensions between the cultural kudos of theatre and the monetary rewards and excitement of the new medium of film. It also examines how global stardom functioned in the 1910s, as a high-stakes endeavour requiring ambition, resilience, stamina, courage, and acting talent.
3
Brisbane, Katharine. "Theatre from 1950." In The Cambridge History of Australian Literature, 391–418. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521881654.020.
Full text
4
Casey, Maryrose. "Nuwhju and the Archive: Recuperating the History of Aboriginal Australian Performance Practice." In The Methuen Drama Handbook of Theatre History and Historiography. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350034327.0013.
Full text
5
"WILD WEST SHOWS AND WILD AUSTRALIA." In A Cultural History of the Bushranger Legend in Theatres and Cinemas, 1828–2017, 51–66. Anthem Press, 2019. http://dx.doi.org/10.2307/j.ctvbqs5r1.8.
Full textReports on the topic "Theatre – Australia – History"
1
Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.
Full textAbstract:
In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.