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1
Kurz, Rosemarie. "SENIOR THEATRE AN IMPORTANT PART OF SENIOR CULTURE." Journal of Education Culture and Society 7, no. 1 (June 28, 2016): 152–64. http://dx.doi.org/10.15503/jecs20161.152-164.
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The third age is an opportunity and can be used wisely. Going to university, travelling, volunteering or joining a theater group could be possibilities. The article deals with Cultural Implications, and with senior theatre forging ahead in unexpected and adventurous directions. Last not least about the situation of Senior Theatre in Graz, Austria
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Golovlev, Alexander. "Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s." New Theatre Quarterly 35, no. 04 (October 8, 2019): 312–24. http://dx.doi.org/10.1017/s0266464x19000368.
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In this article Alexander Golovlev offers a comparative examination of the theatre policies of Fascist Italy and Stalinist Soviet Union. He argues that, although the two regimes shared parallel time frames and gravitated around similar institutional solutions, Italian Fascism was fundamentally different in its reluctance to destroy the privately based theatre structure in favour of a state theatre and to impose a unified style, while Stalin carried out an ambitious and violent campaign to instil Socialist Realism through continuous disciplining, repression, and institutional supervision. In pursuing a nearly identical goal of achieving full obedience, the regimes used different means, and obtained similarly mixed results. While the Italian experience ended with the defeat of Fascism, Soviet theatres underwent de-Stalinization in the post-war decades, indicating the potential for sluggish stability in such frameworks of cultural-political control. Alexander Golovlev is Research Fellow at the International Centre for the History and Sociology of World War II and Its Consequences, National Research University, Higher School of Economics / Fondation de la Maison des Sciences de l’Homme, and ATLAS Fellow, Centre d’histoire culturelle des sociétés contemporaines, Université de Versailles-Saint-Quentin-en-Yvelines/ Université Paris-Saclay. His most recent publications include ‘Sounds of Music from across the Sea: Musical Transnationality in Early Post-World-War-II Austria’, in Yearbook of Transnational History 1 (2018) and ‘Von der Seine an die Salzach: die Teilnahme vom Straßburger Domchor an den Salzburger Festspielen und die französische Musikdiplom atie in Österreich während der alliierten Besatzungs zeit’, Journal of Austrian Studies (2018). He is currently working on the political economy of the Bolshoi theatre under Stalinism.
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Goršič, Niko. "To the last breath." Maska 31, no. 181 (December 1, 2016): 146–49. http://dx.doi.org/10.1386/maska.31.181-182.146_7.
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While still a student of sociology, Damir Domitrović co-founded Club B-51 on Gerbičeva Street, a nexus of the subculture in Ljubljana. In 1991, during the beginnings of the wars in former Yugoslavia, he conceived the B-51 Cultural Society, then two years later started the EX PONTO festival as a sort of creative-spiritual meeting point of refugee artists from the Balkan Wars. In the 22 years since, it has grown into an important international festival of the performing arts. He supported the Rajvosa project, which was dedicated to the Bosnian minority community in Slovenia, was an instigator of the Kluže festival at the tri-border of Slovenia, Italy and Austria, and in 2005 co-founded the New European Theatre Action (NETA), the largest theatre network in South-Eastern Europe, which today encompasses 68 festivals and theatres in 20 countries.
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Saivetz, Deborah. "‘What Counts is the Landscape’: the Making of Pino DiBuduo's ‘Invisible Cities’." New Theatre Quarterly 16, no. 1 (February 2000): 50–64. http://dx.doi.org/10.1017/s0266464x00013452.
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In October 1998 the Italian director Pino DiBuduo visited the Newark, New Jersey, campus of Rutgers University on the occasion of the major international conference, ‘Arts Transforming the Urban Environment’ For the occasion, he transformed a bleakly concrete teaching block on the Newark campus into a site for the latest of his Invisible Cities projects. These had originated in his Teatro Potlach company's residency in the Italian village of Fara Sabina in 1991, where DiBudo's intention – as in a number of site-specific variations on Invisible Cities since – was to render ‘visible’ aspects of the everyday urban environment which we no longer have the imagination or the patience to ‘see’. While Deborah Saivetz looks also at this original Italian project, and at a later version in Klagenfurt, Austria, she concentrates here on the Newark production, whose development she recorded – in this opening article in her own and DiBuduo's words, and in the following piece through the experiences and recollections of the participants. Deborah Saivetz holds a doctorate in Performance Studies from Northwestern University, and is currently Assistant Professor of Theater in the Department of Visual and Performing Arts at the Newark campus of Rutgers University. Her directorial work includes productions for the New Jersey Shakespeare Festival, the Drama League of New York's Directors’ Project, New York's Alchemy Courthouse Theater, and the Parallax Theater Company in Chicago. She has also worked with JoAnne Akalaitis as assistant director on John Ford's ‘Tis Pity She's a Whore at Chicago's Goodman Theatre, and created original theatre pieces with Chicago's Industrial Theater and Oxygen Jukebox.
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Idziak-Smoczyńska, Urszula. "Wittgenstein and the Theatre of Confession." Wittgenstein-Studien 9, no. 1 (February 21, 2018): 31–49. http://dx.doi.org/10.1515/witt-2018-0004.
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Abstract:In this article we perform a juxtaposition of Wittgenstein’s confession with the art of drama. Our aim is to transpose the private language argument criticizing the ostensive definition of internal objects (beetle in a box thought experiment) onto confession and the art of drama performance. The play (possibly called “game”) of the actor is not an expression of his soul interior, but an autonomous necessity in the most decisive meaning – which means: the only thing to be done. Correspondingly, confession doesn’t express any interior misery – it is an acting (the double sense of this word will be further developed), the only possible acting within these conditions, the only possible response to one’s condition – a condition of mutilation where human misery appears very distinctly. Confession creates neither a relation of power (as Foucault was demonstrating in his late writings) nor a form of emotional exhibitionism but a language game consisting on words judging oneself, immune to interpretation, explanation, and vanity coming from their expression. Irreplaceable words become the agent of salvation.1 This article is the effect of great encounters that helped me – a non-Wittgensteinian – to “see” Wittgenstein perhaps more than understand his philosophy. I should first address many thanks to Dr. Ilse Somavilla who welcomed me on the beautiful roof of the Brenner Archives in Innsbruck together with its director Prof. Ulrike Tanzer (Thank you!). It is through Ilse Somavilla’s writings and archive editing work that I could engage myself and follow her on a path of reading Wittgenstein with a sensibility for religion and art. I owe also a lot of thankfulness to Prof. Alois Pichler for long lasting, repeated hospitality in the Wittgenstein Archives at the Bergen University and great patience for my plans of developing research plans about Wittgenstein in the Polish Galicia. The ability to visit these two places, Norway and Austria, have left inside myself a Wittgensteinian imagery that creates the scenography of my philosophical attempt inside this article. My research would not be possible without receiving the scholarship of the Republic of Austria OEAD for which I also express my deep gratitude. I am also very grateful to Kasia Mala for her linguistic revision of my article. And finally, what triggered this Winn-gensteinian performance were unforgettable dinners with Maja, my Mother Agata, and my son Światopełek – to say they were inspiring is not enough…
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MÜLLER-SCHÖLL, NIKOLAS. "Theatre of Potentiality. Communicability and the Political in Contemporary Performance Practice." Theatre Research International 29, no. 1 (March 2004): 42–56. http://dx.doi.org/10.1017/s030788330300124x.
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Much contemporary experimental theatre and many performance practitioners in Germany and Austria share an interest in what one might call the material conditions or the medium of their performances. The article discusses different examples where the sharing of space, language and time in performance and thereby the ‘communicability’ (W. Benjamin) of communication is explored. Directors and writers discussed include H.J. Kapp, W. Golonka, L. Chetouane, R. Pollesch, C. Bosse, J. Szeiler. It is argued that in these cases theatre is done in a political way, because it allows the experience of alterity and opens up a space of potentiality.
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Sonnleitner, Ute. "Moving German-Speaking Theatre: Artists and Movement 1850–1950." Journal of Migration History 2, no. 1 (March 22, 2016): 93–119. http://dx.doi.org/10.1163/23519924-00201004.
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This article presents the ‘movement of artists’ from 1850 to 1950, an aspect of migration which did not historically attract much attention. The mobility of actors and actresses, singers, and dancers was taken for granted. The public did not pay much attention to the ongoing migratory movements in the entertainment industry, despite their importance to the theatre and its members. Well-known ‘stars’ were admired as gods and goddesses of the stage, while wandering artists were considered drifters. The relevance of intersectional relations becomes apparent. Furthermore, this article analyses mechanisms of perception and representation, exemplifying structures using the example of the theatre season of 1882–1883 and the appearances of Sarah Bernhardt, Franziska Ellmenreich, and Josefine Gallmeyer in Graz (Styria, Austria).
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Zarrilli, Phillip B. "Embodying, Imagining, and Performing Displacement and Trauma in Central Europe Today." New Theatre Quarterly 24, no. 1 (January 30, 2008): 24–40. http://dx.doi.org/10.1017/s0266464x08000031.
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This article provides an illustrated description and analysis of Speaking Stones – a collaborative performance commissioned by Theatre Asou of Graz, Austria, with UK playwright Kaite O'Reilly and director Phillip Zarrilli as a response to the increasingly xenophobic and reactionary realities of the politics of central Europe. The account interrogates the question, the dramaturgical possibilities, and the performative premise which guided the creation of Speaking Stones. Phillip Zarrilli is internationally known for training actors through Asian martial arts and yoga, and as a director. In 2008 he is directing the premiere of Kaite O'Reilly's The Almond and the Seahorse for Sherman-Cymru Theatre and the Korean premiere of Sarah Kane's 4:48 Psychosis. He is also Professor of Performance Practice at the University of Exeter.
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Wilmer, Steve. "Greek Tragedy as a Window on the Dispossessed." New Theatre Quarterly 33, no. 3 (July 10, 2017): 277–87. http://dx.doi.org/10.1017/s0266464x17000318.
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In this article Steve Wilmer discusses adaptations of Greek tragedy that highlight the plight of the displaced and the dispossessed, including Janusz Glowacki's Antigone in New York, Marina Carr's Hecuba, and Elfriede Jelinek's Die Schutzbefohlenen, which is notably emblematic among appropriations of ancient Greek plays in referencing the problems facing refugees in Europe. He considers how this latter play has been directed in a variety of ways in Germany and Austria since 2013, and how in turn it has been reappropriated for new dramatic performances to further investigate the conditions of refugees. Some of these productions have caused political controversy and one of them has even been physically attacked by a right-wing group. Steve Wilmer is Professor Emeritus of Drama at Trinity College Dublin. He is the co-editor of ‘Theatre and Statelessness in Europe’ for Critical Stages (2016), Resisting Biopolitics: Philosophical, Political, and Performative Strategies (Routledge, 2016), and Deleuze and Beckett (Palgrave Macmillan, 2015). He also edited a special issue of Nordic Theatre Studies in 2015 titled ‘Theatre and the Nomadic Subject’.
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Mosusova, Nadezda. "Symbolism and theatre of masques: The deathly carnival of la belle époque." Muzikologija, no. 5 (2005): 85–99. http://dx.doi.org/10.2298/muz0505085m.
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The junction of the nineteenth and twentieth centuries in Europe sharpened the clash of artistic novelties in the Western and Slavonic worlds, caused by developed Symbolism and Expressionism. As an output of the former reappeared in the "Jahrhundertwende" the transformed characters of the Commedia dell'arte, flourished in art, literature and music in Italy France, Austria and Russia. Exponents of Italian Renaissance theatre Stravinsky's Petrushka (1911) and Sch?nberg's Pierrot lunaire (1912) turned soon to be main works of the Russian and Austrian expressionistic music style, inaugurated by Strauss's Salome, which won opera stages from the 1905 on. Influences of the latter were widespread and unexpected, reaching later the "remote" areas of the Austro-Hungarian Empire, as well as the Balkans (in 1907 the Canadian dancer Maud Allan performed The Vision of Salome in Belgrade - music Marcel Remy - making her debut in Vienna 1903). Compositions of Strauss and Sch?nberg (Erwartung included) reflected also the strong cult of death present in Vienna's Finde-si?cle Symbolism concerning among other works plays by Wedekind and Schnitzler (Veil of Pierrette was staged successfully in Russia, too), with prototypes in Schumann's Carnival and Masquerade by Lermontov (both works written in 1834!). It was not by chance that Schumann's piano suite became one of the first ballets of Diaghilev's Saisons Russes (1910) and Masquerade, performed with the incidental music by Alexander Glazunov, the last pre-revolutionary piece of Vsevolod Meyerhold (1917).
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Göksel, Eva, and Stefanie Giebert. "Notes on the third Drama in Education Days 2017." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 1 (January 1, 2017): 117–20. http://dx.doi.org/10.33178/scenario.11.1.10.
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After two successful conferences (2015 & 2016) at Reutlingen University, the third Drama in Education Days was held at Konstanz University of Applied Sciences, June 30th and July 1st, 2017. The bilingual (English/German) conference focuses on best practice and research in the field of drama and theatre in education in second and foreign language teaching, and is organised by Dr. Stefanie Giebert (Konstanz University of Applied Sciences, Germany) und MA Eva Göksel (Centre for Oral Communication, University of Teacher Education Zug, Switzerland). The two-day event caters to teachers, scholars, and performers working with drama and theatre in language education at all levels – primary through to tertiary. This year’s conference attracted 45 participants from 9 countries including Austria, Canada, France, Germany, Kirgizstan, Spain, Switzerland, the US, and the UK. The conference kicked off Thursday, June 29th, with a hands-on pre-conference workshop, during which Tomáš Andrášik (Masaryk University) demonstrated how improv theatre creates a positive classroom atmosphere and fosters communication skills. In the space of two hours, workshop participants tested out techniques to lower communicative anxiety and to develop public speaking skills. Exercises aimed at building self-confidence in speaking and listening and to empower spontaneous and authentic communication were also presented. ...
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Barker, Clive. "Maria Austria Pictorial: Mickery 1965–1987Amsterdam: International Theatre Bookshop, 1987. 402 p. £14.95. ISBN 90–6403–183–5." New Theatre Quarterly 5, no. 18 (May 1989): 201. http://dx.doi.org/10.1017/s0266464x0000316x.
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Aita, Sean. "Shakespeare in Styria." Scenario: A Journal of Performative Teaching, Learning, Research VII, no. 2 (July 1, 2013): 79–92. http://dx.doi.org/10.33178/scenario.7.2.6.
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This paper offers a professional theatre practitioner’s reflections on directing learners between ages of 16 and 21, and whose first language is not English, in a production of Shakespeare’s Twelfth Night in Murau, Austria, in July 2011. Drawing on links between the theatrical rehearsal and production process and John Biggs’ 3P learning model the author argues in support of performative approaches to L2 study. Suggesting that Shakespeare’s dramaturgy provides uniquely rich and varied pedagogical resources for the L2 learner, the paper presents a case for the use of theatrical performance by students as an element of ESL study.
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Tajtáková, Mária, Janka Kopaničová, and Zuzana Francová. "Cross-border Cultural Tourism in Europe: Drivers for Cross-border Travels for the Performing Arts." Studia commercialia Bratislavensia 3, no. 9 (January 1, 2010): 118–26. http://dx.doi.org/10.2478/v10151-010-0004-6.
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Cross-border Cultural Tourism in Europe: Drivers for Cross-border Travels for the Performing Arts The aim of this paper is to examine the drivers for cross-border tourist exchanges between the two closest capitals in Europe - Bratislava (Slovakia) and Vienna (Austria). We focus on the field of cultural tourism in view of the cross-border visits to two major performing arts institutions - the Slovak National Theatre in Bratislava and the Staatsoper in Vienna. The basic question raised by the study is: What makes tourists travel for the performing arts? The paper presents partial results of a bigger research analyzing intercultural differences in perception of cultural products among different audiences.
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Mueller, Wolfgang. "Stalin and Austria: New Evidence on Soviet Policy in a Secondary Theatre of the Cold War, 1938–53/55." Cold War History 6, no. 1 (February 2006): 63–84. http://dx.doi.org/10.1080/14682740500395444.
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Murphy, Harriet. "Theatre and Performance in Austria from Mozart to Jelinek: Austrian Studies 4. Edited by Ritchie Robertson and Edward Timms. Edinburgh: Edinburgh University Press, 1993. Pp. xii + 218. £30." Theatre Research International 19, no. 2 (1994): 170. http://dx.doi.org/10.1017/s0307883300019465.
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Evans, D. V. "Diffraction of waves by obstacles and inhomogeneities in fluids: a report on Euromech Colloquium 271." Journal of Fluid Mechanics 225 (April 1991): 687–90. http://dx.doi.org/10.1017/s0022112091002239.
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This first Euromech Colloquium to be held in Kiev attracted 74 participants including 19 from outside the USSR: from Austria, Bulgaria, France, Germany, Italy, Japan, Norway, Poland, Portugal and the United Kingdom. Despite unexpected absences or delays for some participants due to travel difficulties, a full programme of talks, each followed by a lively discussion, was maintained throughout the entire three and a half days of the Colloquium. In addition considerable space was set aside for posters, which ensured that the discussions were not confined to the lecture theatre. The colloquium was dominated by two major areas of interest: scattering of acoustic waves by elastic shells or bodies, and problems of surface gravity-wave diffraction. Also presented was a selection of widely varying topics within the general area of wave diffraction. A summary of the presented talks is given below.
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Temme, Arnaud J. A. M., Tobias Heckmann, and Piet Harlaar. "Silent play in a loud theatre — Dominantly time-dependent soil development in the geomorphically active proglacial area of the Gepatsch glacier, Austria." CATENA 147 (December 2016): 40–50. http://dx.doi.org/10.1016/j.catena.2016.06.042.
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Aita, Sean. "The Theatre in Language Learning (TiLL) Model." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 1 (January 1, 2009): 64–80. http://dx.doi.org/10.33178/scenario.3.1.6.
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This article presents an outline of the Theatre in Language Learning (TiLL) model for second language learners, pioneered since 1966 by Vienna’s English Theatre in partnership with the Austrian Bundesministerium für Unterricht, Kunst und Kultur (BMUKK), linking text study, classroom based role play and professional performance with preshow and in-performance student interaction. It offers a reflection on the dramaturgy and practice of the Englisches Theater geht in die Schulen programme and explores how the model may impact upon student motivation in light of Ema Ushioda’s qualitative research in this field. The article is written from the perspective of a professional theatre practitioner reflecting on the context of theatre as pedagogy within an L2 environment. This article presents an outline of the Theatre in Language Learning (TiLL) model for second language learners, pioneered since 1966 by Vienna’s English Theatre in partnership with the Austrian Bundesministerium für Unterricht, Kunst und Kultur (BMUKK), linking text study, classroom based role play and professional performance with preshow and in-performance student interaction. It offers a reflection on the dramaturgy and practice of the Englisches Theater geht in die Schulen programme and explores how the model may impact upon student motivation in light of Ema Ushioda’s qualitative research in this field. The article is written from the perspective of a professional theatre practitioner reflecting on the context of theatre as pedagogy within an L2 environment.
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Kolin, Philip C. "“Cruelty … and Sweaty Intimacy”: The Reception of the Spanish Premiere of A Streetcar Named Desire." Theatre Survey 35, no. 2 (November 1994): 45–56. http://dx.doi.org/10.1017/s0040557400002787.
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The circumstances surrounding the national premieres of Tennessee Williams's A Streetcar Named Desire reflect not only the play's vibrant theatre life but also the particular culture that responded to it, validating past or anticipating future critical interpretations. Within two years of the Broadway (and world) premiere of Streetcar in December 1947, the play had been staged in Austria, Belgium, Holland, France (adapted by Jean Cocteau), Italy (with sets by Franco Zeffirelli), England (directed by Sir Laurence Olivier), Switzerland (with a translation by poet Berthold Viertel), and Sweden (directed by Ingmar Bergman). In March of 1950, Streetcar premiered in U.S.-occupied Germany, at Pfozheim. The premiere of the play in some of the former Communist Bloc countries followed in the 1950s or early 1960s. Streetcar opened on the same day—December 21, 1957—at Torun and Wroclaw (Breslau in pre-War Germany), Poland, and in Warsaw the subsequent April of 1958. The Czechoslovakian premiere of Streetcar was in November 1960 in Moravia and its Hungarian debut occurred shortly after.
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Bjelajac, Mile. "The Austro-Hungarian creation of a “humanitarian” pretext for the planned invasion of Serbia in 1912-1913: Facts and counter-facts." Balcanica, no. 50 (2019): 131–56. http://dx.doi.org/10.2298/balc1950131b.
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This paper argues that reporting on the Balkan Wars by some of the Austro- Hungarian media and state officials on the ground was not impartial, but rather aimed to obtain international public support for the planned military intervention against Serbia in late 1912 and mid-1913. The primary task of the newly-established Albanische Korrespondenz B?ro or Budapest Korrespondenz B?ro was to disseminate horrifying news from the Balkan theatre of war, especially on the alleged Serbian misconduct, to the media in Europe and the United States of America. The famous New York Times, alongside other papers, put those Austrian-made reports on its front pages. Historians believe that influenced the Carnegie Endowment to start a comprehensive inquiry in the aftermath of the Balkan Wars. As early as the spring of 1913 the propagandist and journalist, Leo Freundlich, published in Vienna his still famous book Albania?s Golgotha: Indictment of the Exterminators of the Albanian People, calling out for someone to ?stop those barbarians?: ?Tens of thousands of defenceless people are being massacred, women are being raped, old people and children strangled, hundreds of villages burnt to the ground, priests slaughtered. And Europe remains silent!? Austria-Hungary mobilized its army, but its ally Germany pulled back. This paper offers facts listed in those reports as well as stories that circulated at the time, along with the Serbian primary sources intended for internal purposes and some narratives of foreign observers on the ground who were often annoyed with the Korrespondenz B?ro?s reporting or other papers of the kind. It suggests, however, that responsibility for the atrocities committed in the war still needs to be examined carefully, just like it was concluded long ago: ?The wrong they did leave a sinister blot upon their record, but it must be viewed in its just proportion.?
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Brigden, Cathy, and Lisa Milner. "Radical Theatre Mobility: Unity Theatre, UK, and the New Theatre, Australia." New Theatre Quarterly 31, no. 4 (October 9, 2015): 328–42. http://dx.doi.org/10.1017/s0266464x15000688.
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For two radical theatres formed in the 1930s, taking performances to their audiences was an important dimension of commitment to working-class politics and civic engagement. Separated by distance but joined ideologically, the New Theatre in Australia and Unity Theatre in the United Kingdom engaged in what they described as ‘mobile work’, as well as being ‘stage curtain’ companies. Based on archival research and drawing on mobility literature, Cathy Brigden and Lisa Milner examine in this article the rationale for mobile work, the range of spaces that were used both indoor (workplaces, halls, private homes) and outdoor (parks, street corners beaches), and its decline. Emerging from this analysis are parallels between the two theatres’ motivation for mobile work, their practice in these diverse performance spaces, and the factors leading to the decline. Cathy Brigden is an associate professor in the School of Management and Deputy Director, Centre for Sustainable Organizations and Work at RMIT University, Australia. Her current research interests include the historical experiences of women in trade unions, gender in performing arts industries, and union strategies and regulation. Lisa Milner is a lecturer in the School of Arts and Social Sciences at Southern Cross University, Coffs Harbour, Australia. Current research interests include a comparative study of workers’ theatre, representations of workers and trade unions on screen, and labour biography.
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Cohen, Matthew Isaac. "Look at the Clouds: Migration and West Sumatran ‘Popular’ Theatre." New Theatre Quarterly 19, no. 3 (August 2003): 214–29. http://dx.doi.org/10.1017/s0266464x03000125.
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The numerous interrelated ‘popular’ theatres of Indonesia provide important evidence for the study of artistic interaction and change. The West Sumatran Randai theatre emerged in a culturally hybrid space and has been a sensitive index to local, national, and international flows and conditions. Matthew Isaac Cohen traces the origins of Randai in the late-colonial period and discusses its associations with rantau – a time of temporary migration, traditionally associated with the rite of passage to adulthood, but increasingly a semi-permanent exile for many Sumatrans. He then traces how and why Randai has now become more than a local art form, having been exported out of the province of West Sumatra to be utilized as source material for modern theatre by Indonesian theatre makers in Jakarta and Australia. Matthew Isaac Cohen is a Lecturer in Theatre Studies at the University of Glasgow, a scholar of Indonesian theatre and performance, and a practising shadow puppeteer.
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Rieckmann, Jens, and W. E. Yates. "Schnitzler, Hofmannsthal and the Austrian Theatre." Rocky Mountain Review of Language and Literature 47, no. 4 (1993): 271. http://dx.doi.org/10.2307/1348326.
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Gallup, Stephen, and W. E. Yates. "Schnitzler, Hofmannsthal, and the Austrian Theatre." American Historical Review 99, no. 1 (February 1994): 259. http://dx.doi.org/10.2307/2166263.
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Roe, Ian F., and W. E. Yates. "Schnitzler, Hofmannsthal, and the Austrian Theatre." Modern Language Review 90, no. 1 (January 1995): 251. http://dx.doi.org/10.2307/3733366.
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Gombocz, Istvan, and W. E. Yates. "Schnitzler, Hofmannsthal, and the Austrian Theatre." German Quarterly 67, no. 1 (1994): 120. http://dx.doi.org/10.2307/408125.
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Anderson, Susan C., and W. E. Yates. "Schnitzler, Hofmannsthal, and the Austrian Theatre." German Studies Review 17, no. 1 (February 1994): 182. http://dx.doi.org/10.2307/1431329.
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Chun, Tarryn Li-Min. "Wang Chong and the Theatre of Immediacy: Technology, Performance, and Intimacy in Crisis." Theatre Survey 62, no. 3 (August 3, 2021): 295–321. http://dx.doi.org/10.1017/s0040557421000211.
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In early January 2020, when Chinese theatre director Wang Chong (b. 1982) arrived in New York to remount his production of Nick Payne's Constellations for the Public Theater's Under the Radar Festival, he couldn't have predicted that this would be the last time for months that he would watch his actors from the middle of a full house. By the time his work-in-progress solo show, Made in China 2.0, opened at the Asia TOPA Festival in Melbourne, Australia, at the end of that February, it was clear that there would be no live theatre in Wang's hometown of Beijing for some time. All of China was on lockdown as the disease now tragically familiar as COVID-19 swept the country. Then, as Wang returned to Beijing in early March, businesses around the globe were shuttering, theatres were going dark, and theatre artists were confronting an unprecedented challenge to their personal safety, livelihoods, and ability to make meaningful art. In short order, some well-resourced theatre institutions began to stream performance recordings and reconfigure their seasons for online platforms. Only a month after returning home, Wang Chong joined this mass online movement with his production of Samuel Beckett's Waiting for Godot, streamed live on 5–6 April 2020 as Dengdai Geduo.
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Lye, A., and R. Patrick. "Oxygen Contamination of the Nitrous Oxide Pipeline Supply." Anaesthesia and Intensive Care 26, no. 2 (April 1998): 207–9. http://dx.doi.org/10.1177/0310057x9802600215.
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Midogas® (CIG Australia) nitrous oxide/oxygen blenders are commonly used in delivery wards in Australia. In this case report we describe an incident where a small hole in the diaphragm of the oxygen failure alarm in a Midogas nitrous oxide/oxygen blender led to retrograde flow of oxygen contaminating the nitrous oxide pipeline supply to the operating theatres and the delivery ward. This caused a reduced level of nitrous oxide to the patient in theatre, but there was no adverse outcome. However, if the oxygen pipeline pressure had been lower than the nitrous oxide pipeline pressure, the contamination would have been reversed, potentially resulting in a hypoxic mixture being delivered to many patients. Suggestions are made as to a method of prevention of this problem.
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Thuswaldner, Gregor, Linda DeMerritt, and Margarete Lamb-Faffelberger. "Postwar Austrian Theater: Text and Performance." German Quarterly 76, no. 3 (2003): 351. http://dx.doi.org/10.2307/3252103.
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Schindler, Otto G. "Harlequin in Bohemia: Pantomime and Opéra Comique at Krumlov Castle under the Princes of Schwarzenberg." New Theatre Quarterly 19, no. 4 (October 8, 2003): 366–80. http://dx.doi.org/10.1017/s0266464x03000253.
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In this article Otto G. Schindler provides an overview of research into the Castle Theatre at Český Krumlov, where theatrical entertainments are first recorded in the late seventeenth century, and adds some contributions of his own. After a short period of renewed activity in the rebuilt theatre inaugurated in 1768, benign neglect has preserved for us intact an authentic monument of late baroque theatre building. In the Castle Theatre, Hanswurst, traditionally the sole comic performer, formed part of a commedia-derived comic ensemble, and pantomimes regularly accompanied birthday celebrations until the late eighteenth century, when major travelling companies were visitors to the theatre, and opéra comique was also in vogue. Otto G. Schindler was University Assistant, Lecturer, and Head Librarian at the Drama Department of the University of Vienna, and has been a Research Fellow at the State University of New York. He was active in the Theatre Collection of the Austrian National Library and the Institute for Audience Research at the Austrian Academy of Science, where he is a member of its Commission for Cultural Studies and Theatre History. He has published extensively on Austrian and Central European theatre history with special reference to early modern theatre companies and the reception of commedia dell'arte. The festschrift Theatre am Hof und für das Volk (Vienna: Boehlau, 2002) was recently published in his honour.
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Sisman, Elaine R. "Haydn's Theater Symphonies." Journal of the American Musicological Society 43, no. 2 (1990): 292–352. http://dx.doi.org/10.2307/831616.
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Although spoken plays in eighteenth-century Germany and Austria frequently included arias, the presence of instrumental music as overtures, entr'actes, and finales is less well documented. Few instrumental pieces appear to have been composed especially for particular plays before 1780. Haydn wrote one of the most celebrated of these pieces-music to Regnard's play Le distrait, performed in German as Der Zerstreute-and then arranged it as a symphony (no. 60, 1774). Theater journals of the 1770s listed Haydn as music director to theatrical troupes in residence at Eszterháza, notably that of Karl Wahr, known for performing serious plays and Shakespeare's tragedies; indeed, references in the same journals suggest that Haydn had even written music to Hamlet for Wahr. Yet no such music nor any other theater music by Haydn has been recovered. This study explores the hypothesis that Haydn's symphonies served as theater music and examines theories of theater symphonies, the flourishing of Hamlet on the Austrian stage in the 1770s, and the relevance of titles of Haydn's symphonies of the later 1760s and 1770s. The author proposes that much of Haydn's symphonic music of the period widely described as exemplifying the musical Sturm und Drang was either originally destined for the stage, or composed with a view to possible later use as overtures and entr'actes, and that important dramatic and rhetorical features of his style can be better understood in this light than in traditional ways.
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Burri, Michael. "Austrian Festival Missions after 1918: The Vienna Music Festival and the Long Shadow of Salzburg." Austrian History Yearbook 47 (April 2016): 147–66. http://dx.doi.org/10.1017/s0067237816000114.
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Rising from the ruins of a post-1918 Austria shed of its monarchical leadership and much of its former territory, the Salzburg Festival acquired a symbolic authority during the First Austrian Republic that continues to ensure its privileged place in Austrian politics and culture to this day. At the core of this privileged place are two signature legacies that, while grounded in the festival's prewar history, fortified a particular agenda of the Second Austrian Republic in defining Austrian history and national identity in the decades following World War II. The first, as expressed in 1919 by the festival's most articulate cofounder, Hugo von Hofmannsthal, is that with its Salzburg setting, the festival should be understood as situated in the “heart of the heart of Europe,” a place where the antitheses of Central European geography (German and Slavic, German and Italian), social class (commoner and elite), and aesthetic genre (dramatic theater and opera) encounter one another only to be dissolved through transcendence in an “organic unity.”
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Fitzgerald, Anneke, and Yong Wu. "Beyond clinical priority: what matters when making operational decisions about emergency surgical queues?" Australian Health Review 41, no. 4 (2017): 384. http://dx.doi.org/10.1071/ah16009.
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Objective This paper describes the perceptions of operating theatre staff in Australia and The Netherlands regarding the influence of logistical or operational reasons that may affect the scheduling of unplanned surgical cases. It is proposed that logistical or operational issues can influence the priority determination of queue position of surgical cases on the emergency waiting list. Methods A questionnaire was developed and conducted in 15 hospitals across The Netherlands and Australia, targeting anaesthetists, managers, nurses and surgeons. Statistical analyses revolved around these four professional groups. Six hypotheses were then developed and tested based on the responses collected from the participants. Results There were significant differences in perceptions of logistics delay factors across different professional groups when patients were waiting for unplanned surgery. There were also significant differences among different groups when setting logistical priority factors for planning and scheduling unplanned cases. The hypotheses tests confirm these differences, and the findings concur with the paradigmatic differences mentioned in the literature. These paradigmatic differences among the four professional groups may explain some of the tensions encountered when making decisions about scheduling emergency surgical queues, and therefore should be taken into consideration for management of operating theatres. Conclusions Queue positions of patients waiting for unplanned surgery, or emergency surgery, are determined by medical clinicians according to clinicians’ indication of clinical priority. However, operating theatre managers are important in facilitating smooth operations when planning for emergency surgeries. It is necessary for surgeons to understand the logistical challenges faced by managers when requesting logistical priorities for their operations. What is known about the topic? Tensions exist about the efficient use of operating theatres and negotiating individual surgeon’s demands, especially between surgeons and managers, because in many countries surgeons only work in the hospital and not for the hospital. What does this paper add? The present study examined the logistical effects on functionality and purports the notion that, while recognising the importance of clinical precedence, logistical factors influence queue order to ensure efficient use of operating theatre resources. What are the implications for practitioners? The results indicate that there are differences in the perceptions of healthcare professionals regarding the sequencing of emergency patients. These differences may lead to conflicts in the decision making process about triaging emergency or unplanned surgical cases. A clear understanding of the different perceptions of different functional groups may help address the conflicts that often arise in practice.
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Jurak, Mirko. "William Shakespeare and Slovene dramatists (I): A. T. Linhart's Miss Jenny Love." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 3–34. http://dx.doi.org/10.4312/an.42.1-2.3-34.
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One of the signs of the universality of William Shakespeare's plays is undoubtedly their influence on plays written by other playwrights throughout the world. This is also true of Slovene playwrights who have been attracted by Shakespeare's plays right from the beginning of their creativity in the second half of the eighteenth century, when Anton Tomaž Linhart (1756-1795) wrote his tragedy Miss Jenny Love.-However,-Slovene knowledge about-Shakespeare and his plays reaches back-into the seventeenth century, to the year 1698, when a group of Jesuit students in Ljubljana performed a version of the story of ''King Lear in Slovene. The Jesuits used Slovene in theatrical performances, which were intended for.the broadest circles of the population. The first complete religious play, written in Slovene, is Škofjeloški pasjon (The Passion Play from Škofja Loka), which was prepared by the Cistercian monk Father Romuald. Since 1721 this play was regularly performed at Škofja Loka for several decades, and at the end of the twentieth century its productions were revived again.In December 2009 two hundred and twenty years will have passed since the first production of Anton Tomaž Linhart's comedy Županova Micka (Molly, the Mayor's Daughter). It was first performed in Ljubljana by the Association of Friends of the Theatre on 28 December 1789, and it was printed in 1790 together with Linhart's second comedy, Ta veseli dan ali Matiček se ženi (This Happy Day, or Matiček Gets Married; which was also published in 1790, but not performed until 1848). These comedies represent the climax of Linhart's dramatic endeavours. Linhart's first published play was Miss Jenny Love (1780), which he wrote in German. In the first chapter of my study 1shall discuss the adaptation of Shakespeare's texts for the theatre, which was not practiced only in Austria and Germany, but since the 1660s also in England. Further on I discuss also Linhart's use of language as the "means of communication". In a brief presentation of Linhart's life and his literary creativity I shall suggest some reasons for his views on life, religion and philosophy. They can be seen in his translation of Alexander Pope's "Essay on Man" as well as his appreciation of Scottish poetry. The influence of German playwrights belonging to the Sturm and Drang movement (e.g. G. T. Lessing, J. F. Schiller, F. M. Klinger) has been frequently discussed by Slovene literary historians, and therefore it is mentioned here only in passing. Slovene critics have often ascribed a very important influence of English playwright George Lillo on Linhart' s tragedy Miss Jenny Love, but its echoes are much less visible than the impact of Shakespeare's great tragedies, particularly in the structure, character presentations and the figurative use of language in Linhart's tragedy. 1shall try to prove this influence in the final part of my study.Because my study is oriented towards British and Slovene readers, 1had to include some facts which may be well-known to one group or to another group of readers. Nevertheless I hope that they will all find in it enough evidence to agree with me that Shakespeare's influence on Linhart's play Miss Jenny Love was rather important.
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Hunter, Mary Ann. "Anxious Futures: Magpie2 and ‘New Generationalism’ in Australian Youth-Specific Theatre." Theatre Research International 26, no. 1 (March 2001): 71–81. http://dx.doi.org/10.1017/s0307883301000074.
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The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre for, by, and about young people outside the school context. Instead, ‘new generation’ approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural ‘generationalism’, particularly in larger arts organizations as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a ‘new generation’ approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.
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Gallasch, Keith. "Promise and Participation: Youth Theatre in Australia." New Theatre Quarterly 2, no. 5 (February 1986): 90–93. http://dx.doi.org/10.1017/s0266464x00001950.
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If theatre-in-education achieved its impact by taking theatre to the young in the 'seventies, then the developing youth theatre movement might be seen as part of the reaction to that initiative in the 'eighties. Here Keith Gallasch, artistic director of the State Theatre Company in South Australia, himself a writer, recalls his first involvement with youth theatre, and goes on to sketch some of its dilemmas and prospects.
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ECKERSALL, PETER. "Towards an Expanded Dramaturgical Practice: A Report on ‘The Dramaturgy and Cultural Intervention Project’." Theatre Research International 31, no. 3 (October 2006): 283–97. http://dx.doi.org/10.1017/s0307883306002240.
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This essay is a report on the Dramaturgy and Cultural Intervention Project (Dramaturgies), a forum for the investigation of issues in professional dramaturgical practice in Australia. It reviews the textual orientation of historical theatre practice in Australia before describing a series of events aiming to promote a wider and more culturally interactive understanding of dramaturgy. New forms of dramaturgy arising in response to the post-dramatic turn in theatre are discussed as a basis for exploring an expanded dramaturgical practice. Proposals for a politics of dramaturgy that revive theatre as a forum for social critique conclude the essay. While specific to one set of theatre interventions, it is intended that the proposals discussed herein have wider applications.
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Shabalina, O. "From universalism to the universatility. Bauhaus triad: subject, suit, dance." Culture of Ukraine, no. 72 (June 23, 2021): 156–65. http://dx.doi.org/10.31516/2410-5325.072.22.
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The relevance. The ХХ century universalism became the platform of the Bauhaus experiment. Author of different art forms took part in it. Today, universalism is transformed into universality. Over the course of a hundred years, the author’s thinking system has changed. The composition of the stage work was decided by using household stuff. Household object becomes worthy of the stage space and overlaps the person. The author of the ХХI century regains the right to be the main in interaction with the subject. This is the paradigm shift of the century.
The purpose of the study. Analysis of the transformation of the idea of universality of movement and subject-suit from “Triadical Ballet” and O. Schlemmer’s theatre workshop to modern experimental performance projects. Art analysis of the interaction of movement and subject in the stage space of O. Schlemmer, G. Bohner and contemporary authors.
The methodology: historical and comparative analysis.
The result of the study was the analysis of the the author-creator’s thinking system of plastic modern work.
The topicality of the study is the analysis of “Bauhaus tanzt II” (2018). Authors: M. Shurkal (Ukraine), A. Possarnig, P. Dominici (Austria).
The practical significance. The experience discussed in the article proves that without the past there is no future. We analyze the change of consciousness of the author-creator, which was visualized in the change of the technique of staged activity. We make a visual change of the way the subject is used on the stage as a scenery or prop, and as an acting character.
The conclusions. The mechanism of possible interaction of the object, costume, dance in the space of creative experiment gave universality to the Bauhaus triad.
We see the value of the transformation of the “Triadic Ballet” of the ХХ century in changing the author’s thinking system. At the beginning of the ХХ century, the author’s focus is on the suit object, which should be moved. Аt the beginning of the ХХI century the author’s focus is on the interaction of the human performer and the object-suit by exploring the possibility of variety and amplitude of the movement.
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D'Cruz, Glenn. "‘Class’ and Political Theatre: the Case of Melbourne Workers Theatre." New Theatre Quarterly 21, no. 3 (July 18, 2005): 207–17. http://dx.doi.org/10.1017/s0266464x05000114.
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Traditionally, class has been an important category of identity in discussions of political theatre. However, in recent years the concept has fallen out of favour, partly because of changes in the forces and relations of capitalist production. The conventional Marxist use of the term, which defined an individual's class position in relation to the position they occupied in the capitalist production process, seemed anachronistic in an era of globalization. Moreover, the rise of identity politics, queer theory, feminism, and post-colonialism have proffered alternative categories of identity that have displaced class as the primary marker of self. Glenn D'Cruz reconsiders the role of class in the cultural life of Australia by examining the recent work of Melbourne Workers Theatre, a theatre company devoted to promoting class-consciousness, in relation to John Frow's more recent re-conceptualization of class. He looks specifically at two of the company's plays, the award-winning Who's Afraid of the Working Class? and The Waiting Room, with reference to Frow's work on class, arguing that these productions articulate a more complex and sophisticated understanding of class and its relation to politics of race and gender today. Glenn D'Cruz teaches drama and cultural studies at Deakin University, Australia.
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George, David E. R. "Quantum Theatre – Potential Theatre: a New Paradigm?" New Theatre Quarterly 5, no. 18 (May 1989): 171–79. http://dx.doi.org/10.1017/s0266464x00003067.
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The ‘theatre of the world’, or Theatrum Mundi, offered a pervasive emblematic view of the relationship between God, as playwright and audience, and his terrestrial creation. Although this became peculiarly appropriate during the Renaissance period, views of the theatre as microcosmic of the larger world have persisted – whether in the consciously wrought imagery of modern sociology or the unconscious colloquial useage of theatrical terms to describe everyday behaviour. In the article which follows, David E. R. George suggests that the ‘view’ of the subatomic world presented by quantum theory makes for a paradigm which is no less compelling, according to which the sense of theatrical ‘potentiality’ which characterizen much contemporary experimental theatre is illuminated and paralleled by the refusal of scientific certainty that quantum theory confronts and accommodates. David George. whose ‘Letter to a Poor Actor’ appeared in NTQ 8 (1986), taught in the Universities of California at Berkeley, Gottingen, Malaysia, and Peking before taking up his present post at Murdoch University, Western Australia. His books include studies of Ibsen. German tragic theory, and Indian ritual dance–drama.
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Mitchell, Tony. "Doppio: a Trilingual Touring Theatre for Australia." New Theatre Quarterly 8, no. 29 (February 1992): 70–75. http://dx.doi.org/10.1017/s0266464x00006333.
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Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.
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Ley, Graham. "Sacred ‘Idiocy’ the Avant-Garde as Alternative Establishment." New Theatre Quarterly 7, no. 28 (November 1991): 348–52. http://dx.doi.org/10.1017/s0266464x00006047.
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Is there a postmodernist theatre – and if so, what was the modernist theatre? What qualifies as avant-garde – and for how long? And why does the ‘established’ alternative theatre lean so heavily on appropriation, whether of ancient myths or contemporary ideologies – such as postmodernism? Graham Ley uses analogies from dance and design to explore our perceptions of and attitudes towards those contemporary theatre practitioners who may once have broken boundaries, but now often head the queue for lavish corporate finance. Graham Ley has taught in universities in England, Australia, and New Zealand, and his Short Introduction to the Ancient Greek Theatre will shortly appear from the University of Chicago Press.
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Morley, Michael. "A Critical State: Theatre Reviewing in Australia." New Theatre Quarterly 2, no. 5 (February 1986): 94–96. http://dx.doi.org/10.1017/s0266464x00001962.
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As in most English-speaking nations, the success or otherwise of a production in Australia is heavily dependent upon its critical reception: yet, argues Michael Morley, much Australian reviewing is both ill-equipped and ill-informed for such a responsibility. Michael Morley is himself currently theatre critic of The National Times, and has also written for The Advertiser, Theatre Australia, and the Sydney Morning Herald. A Brecht-Weill scholar, who has worked as musical director on a number of productions in Sydney and Adelaide, Michael Morley is Professor of Drama at Flinders University in South Australia.
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Sribnyak, I. "The Cultural and Educational Group of Ukrainian Officers Held as Prisoners of War in Josefstadt Camp in Austria (August 1917 – February 1918)." Problems of World History, no. 2 (December 1, 2016): 187–202. http://dx.doi.org/10.46869/2707-6776-2016-2-11.
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The article examines some aspects of organizational and national-patriotic activities of Ukrainian officers – members of cultural and educational circle created in the camp for prisoners of war Josefstadt (Austria-Hungary) in the second half of 1917 – early 1918. It became possible after Ukrainization of the camp and transfer to it of those Ukrainian officers who have expressed their consent in their reports to the Austrian camp commandant. Removal from Josefstadt of Russian reactionary elements created an opportunity to intensify the national-patriotic work among prisoners of war and promote the Ukrainian statehood ideology among officers.The creation of the organization of Ukrainian officers held in the camp was made possible thanks to the arrival to the camp library of Ukrainian books and journals, creation of various educational courses, delivering of lectures, the work of amateur theater and national-patriotic actions.
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McConachie, Bruce. "Local Acts: Community-Based Performance in the United States." Theatre Survey 47, no. 1 (April 13, 2006): 140–42. http://dx.doi.org/10.1017/s0040557406350090.
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Theatre historians and practitioners in the academy have been slow to recognize the validity and significance of the community-based theatre movement in the United States. With the exception of a few books and articles, most of the scholarly literature on community-based theatre remains squirreled away in local reports, unpublished dissertations, and Web sites infrequently visited (at least by theatre academics). Perhaps this should not be surprising; compared to Australia, Latin America, and most of Europe, community-based theatre in the United States is scandalously underfunded and unknown. Among its many virtues, Jan Cohen-Cruz's Local Acts will raise the profile of community-based performance in the academy and perhaps spark more books in the field as well as courses and community-related projects in theatre and performance departments.
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Devlin, Eugene J. "The Imperial Play as Final Chapter in the Jesuit Theater in Austria." Comparative Drama 23, no. 2 (1989): 141–55. http://dx.doi.org/10.1353/cdr.1989.0029.
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Zieba, Marta. "Tourism flows and the demand for regional and city theatres in Austria." Journal of Cultural Economics 40, no. 2 (April 25, 2015): 191–221. http://dx.doi.org/10.1007/s10824-015-9250-9.
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Lipton, Martina. "Jessie Matthews’ Construction of a Star Persona on her Post-war Australian Tours." New Theatre Quarterly 31, no. 2 (April 28, 2015): 116–28. http://dx.doi.org/10.1017/s0266464x15000238.
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Jessie Matthews’ post-war tours to Australia were part of a sequence of commercially successful imported productions then heralded as a great boom era in Australian theatre. However, Matthews’ waning popularity in Britain since the 1940s meant that she was no longer recognizable as the screen darling of the 1930s. Indeed, the Australian press had to remind its readers of ‘evergreen Jessie’s’ succession of British film hits such as The Good Companions (1933) and Evergreen (1934). This article examines the critical and public reception of Matthews’ tours with a focus on the strategic management of her star persona, both on and off stage, including her public criticism of Australian theatre management and employment opportunities for Australian theatre performers. Martina Lipton is an Honorary Associate Lecturer at the University of Queensland and was recently the Research Fellow (Australia) on the Leverhulme Research Project ‘British-Australian Cultural Exchange: Live Performance 1880–1960’. Her publications include the chapter ‘Localism and British Modern Pantomime’ in A World of Popular Entertainments (Cambridge Scholars Publishing, 2012) and articles for Australasian Drama Studies, Contemporary Theatre Review, New Theatre Quarterly, and Popular Entertainment Studies.