Artículos de revistas: "Australian drama"

1

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

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

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2

Nobes, Karen y Susan Kerrigan. "White noise". Alphaville: Journal of Film and Screen Media, n.º 24 (20 de diciembre de 2022): 79–96. http://dx.doi.org/10.33178/alpha.24.05.

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

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3

Hassall, Linda. "Performance and the politics of distance: Exploring the psychology of identity and culture in politicized Australian performance landscapes". Applied Theatre Research 7, n.º 2 (1 de diciembre de 2019): 185–95. http://dx.doi.org/10.1386/atr_00015_1.

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

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4

Bainbridge, Jason. "‘Rafferty's Rules’: Australian Legal Dramas and the Representation of Law". Media International Australia 118, n.º 1 (febrero de 2006): 136–49. http://dx.doi.org/10.1177/1329878x0611800116.

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

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5

Tompkins, Joanne. "‘Homescapes’ and Identity Reformations in Australian Multicultural Drama". Theatre Research International 26, n.º 1 (marzo de 2001): 47–59. http://dx.doi.org/10.1017/s0307883301000050.

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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.

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6

Aisbett, Kate. "Production of Australian Children's Drama: Is There a Future?" Media International Australia 93, n.º 1 (noviembre de 1999): 41–50. http://dx.doi.org/10.1177/1329878x9909300106.

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

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7

Fitzpatrick, Peter. "After the Wave: Australian Drama since 1975". New Theatre Quarterly 2, n.º 5 (febrero de 1986): 54–67. http://dx.doi.org/10.1017/s0266464x00001913.

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

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8

O’Toole, John. "The basic principles of a socially just arts curriculum, and the place of drama". Australian Educational Researcher 48, n.º 5 (8 de octubre de 2021): 819–36. http://dx.doi.org/10.1007/s13384-021-00480-6.

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

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9

Fitzpatrick, Peter y Helen Thomson. "Developments in Recent Australian Drama". World Literature Today 67, n.º 3 (1993): 489. http://dx.doi.org/10.2307/40149341.

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10

Polley, Martin. "Review: Sport in Australian Drama". Literature & History 3, n.º 1 (marzo de 1994): 135–36. http://dx.doi.org/10.1177/030619739400300136.

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11

Docker, John. "Review: Sport in Australian Drama". Media Information Australia 65, n.º 1 (agosto de 1992): 104–5. http://dx.doi.org/10.1177/1329878x9206500120.

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12

Flaherty, Kate. "Cathcart vs Brooke: a Touring Actress and a Trial of Public Private Identity in the Australian Colonies". New Theatre Quarterly 33, n.º 1 (10 de enero de 2017): 47–58. http://dx.doi.org/10.1017/s0266464x16000622.

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In this article Kate Flaherty examines the sensational contractual dispute that arose between Gustavus Vaughan Brooke and Mary Fanny Cathcart during their Australian colonial tour in 1855. She follows Brooke's attempt to use his theatrical repertoire to achieve and consolidate a legal victory over Cathcart, but argues that this strategy ultimately backfired and elicited a form of judgement by the theatregoing public that countered the judgement handed down by the Supreme Court. Conversely, coverage of the case in Australian newspapers is identified as shaping reviews and sharpening the edge of the stage dramas. The article provides a focused instance of the complex interplay of dramatic works, cultural politics, gendered power, and publicity that characterized nineteenth-century theatrical touring. Kate Flaherty is a lecturer in English and Drama at the Australian National University, a member of the International Shakespeare Conference, and a Senior Fellow of the Higher Education Academy. She is author of Ours as We Play It: Australia Plays Shakespeare (University of Western Australia Press, 2011), as well as numerous essays on how Shakespeare's works play on the stage of public culture.

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13

Roy, David. "Mask Usage and Drama Teacher Understanding in Australia". Athens Journal of Education 9, n.º 3 (26 de julio de 2022): 393–412. http://dx.doi.org/10.30958/aje.9-3-3.

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This paper presents the research and findings of how some Australian teachers of Drama engage with masks in the classroom. It is part of a larger research project looking at the potential impacts for masks and education in the Australian curriculum. With masks both synonymous with Drama, and multiple resources available for teachers to engage with masks in the classroom, there was no empirical data on if and how teachers in Australia engaged with masks in the classroom. This research asked teachers to self-report on both their skill level in mask usage and to the extent that they engaged with masks in the teaching of Drama in the classroom. Findings note that whilst the majority of teachers did engage with masks; some quite extensively; many staff indicated their own limitations in training and in foundational theory. In addition, many staff used their own time and resources to upskill themselves, placing an importance of the potential for mask usage with children. This has implications for university education courses, as well opportunities for systems and professional development providers in supporting teachers of Drama in their skill base. Keywords: masks, drama, education, teachers

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14

Lipton, Martina. "Jessie Matthews’ Construction of a Star Persona on her Post-war Australian Tours". New Theatre Quarterly 31, n.º 2 (28 de abril de 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.

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15

Mencinsky, Nadia y Belinda Mullen. "Regulation of Children's Television in Australia: Past and Present". Media International Australia 93, n.º 1 (noviembre de 1999): 27–40. http://dx.doi.org/10.1177/1329878x9909300105.

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The provision of quality television programming made specifically for children has been a significant issue in Australia since television was introduced. From 1979, specific requirements have been in place to ensure children have access to a variety of quality television programs made specifically for them, including Australian drama and non-drama programs. This article traces the development of these requirements and how they have led to the current Children's Television Standards (CTS). The Children's Television Standards (CTS), administered by the Australian Broadcasting Authority (ABA), are widely regarded in Australia and overseas as a notable example — if not benchmark — for how to regulate children's television in the public interest. The article also examines some key trends in programming since 1979 and identifies areas of the standards which are problematic and/or might need to be revised to ensure the expected outcomes are still being achieved.

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16

Crimmins, Gail. "A Dramatisation of Research Outcomes: A Verbatim Drama Based on the Lived Experience of Women Casual Academics". Art/Research International: A Transdisciplinary Journal 1, n.º 1 (16 de julio de 2016): 121. http://dx.doi.org/10.18432/r27p4j.

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Within this article I offer a brief rationale for de-disciplining and re-disciplining research communication, present a drama script using the narrative experience of six women casual academics from across three Australian universities, and offer a succinct rationale for employing artistic forms of communication more generally, and drama more particularly, for re-presenting lived experience. The article predominantly focuses on the stories of women causal academics in Australian universities. It is their voices that are privileged and centralised. Women casual academics make up the majority of academics in Australia, yet they are currently ‘un-voiced’. This article therefore creates some space for the voices of women causal academics to be heard and known in a form that is congruent to their lived experience

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17

Tompkins, Joanne. "Teaching Canadian Plays in Australia". Canadian Theatre Review 105 (enero de 2001): 27–28. http://dx.doi.org/10.3138/ctr.105.006.

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It seems a little unusual even to me that my only experience of teaching Canadian drama has been in Australia, although teaching Canadian drama in Australia is perhaps easier than in practically any other country outside Canada. Both countries share a British imperial history as settler nations, a geography characterized by wide open (if apparently uninhabitable) spaces and a contemporary theatre history preoccupied intrinsically with nationalism in form and theme. Nevertheless, for all the similarities, the two countries are sufficiently divergent and distant from each other to require some justifications for including Canadian plays on an Australian syllabus.

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18

Alkroy, Amaal y Mona Mubdir. "TRAUMA AND FAMILY IN JACK DAVIS’S NO SUGAR". Kufa Journal of Arts 1, n.º 56 (1 de junio de 2023): 715–26. http://dx.doi.org/10.36317/kaj/2023/v1.i56.11643.

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The dramatic works of Jack Davis, the Aboriginal Australian playwright, are significant in themselves in demonstrating the politics of representation of family and trauma in Australian drama. Davis uses the strategy of showing the audience the Aboriginal reality rather than teaching them about the discriminations brought about by the coming of Europeans in Australia and their subsequent interference into Aboriginal society. This paper argues that Jack Davis’s No Sugar is a postcolonial play that demonstrates a dialectical relationship between the anxieties of trauma, displacement and the Aboriginal Australian family in period of the Stolen Generation.

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Krikowa, Natalie. "Where is Australia’s GLAAD? A case for establishing an Australian LGBTIQA+ Media Institute to improve diversity in screen media representation". Alphaville: Journal of Film and Screen Media, n.º 24 (20 de diciembre de 2022): 49–63. http://dx.doi.org/10.33178/alpha.24.03.

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As screen studies scholars have noted over the past two decades, media representation is critical in being able to see oneself as important to society. In 2016, Screen Australia released the “Seeing Ourselves: Reflections on Diversity in TV Drama” report on the diversity in Australian TV drama. “Seeing Ourselves” paints a critical picture of the lack of inclusive storytelling on Australian scripted TV, suggesting that lesbian, gay, bisexual, transgender, intersex, queer, asexual and other sexuality- and gender-diverse (LGBTIQA+) people were in fact not seeing themselves—that the representation was lacking diversity, inclusivity, authenticity and complexity. This article presents a case study of the GLAAD Media Institute and similar international organisations and imagines how a similar advisory and advocacy organisation could be established to support Australian screen practitioners and students in being more inclusive of LGBTIQA+ people in their screen stories. It highlights the necessity for, and benefit of, creating an independent organisation that could replicate GLAAD’s three pillars of training, consultation and research to improve the current lack of diversity—the ultimate goal of this organisation being to advocate for real and sustained impact, not just in Australian screen media, but in our local communities and society at large.

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20

Potter, Anna. "You've Been Pranked: Reality Tv, National Identity and the Privileged Status of Australian Children's Drama". Media International Australia 146, n.º 1 (febrero de 2013): 25–34. http://dx.doi.org/10.1177/1329878x1314600106.

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Australian children have always been considered a special television audience. In November 2009, Australia's public service broadcaster the ABC launched Australia's first dedicated free-to-air children's channel. Within a year of its launch, ABC3's most popular program was a local version of the transnational reality format, Prank Patrol. The popularity of reality television with children challenges policy settings, including the Children's Television Standards (CTS), that privilege drama in the expression of the goals of cultural nationalism. While public service broadcasting ideology is expressed and applied to Australian commercial free-to-air channels through the CTS, public service media compete with pay TV channels for the child audience using a range of genres. Thus contemporary Australian children's television is characterised by an abundance of supply, pan-platform delivery and a policy regime that has remained largely unchanged since the late 1970s.

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21

Wilson, Ann. "Editorial". Canadian Theatre Review 105 (enero de 2001): 3–4. http://dx.doi.org/10.3138/ctr.105.fm.

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The theme of this issue of Canadian Theatre Review was suggested by Marc Maufort, a professor at Université Libre de Bruxelles whose area of specialization is Canadian and Australian theatre. I want to thank Professor Maufort for reminding the editors that Canadian practitioners and their work have an impact beyond the boundaries of Canada. Professor Maufort’s own commitment to Canadian drama serves as a salient reminder that Canadian studies is an important part of the curricula of universities located in countries which were once the Commonwealth, and now, as the relationship between the imperial centre and its colonies is being rethought through postcolonial studies, drama written by Canadians is being positioned in site-specific ways. As Geeta Budhiraja’s commentary on two productions directed by Robert Fothergill, a Canadian playwright and academic, suggests, within the particular space of an academically sponsored institute, Canadian drama reads as “foreign,” so that the audience identifies with in it ways that resonate with its experience. Joanne Tompkins suggests that the classes in which she teaches Canadian drama in Australia, a settler colony like Canada, offer the discursive space to address commonality and difference between Australia and Canada.

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22

Carol, Denis. "Some Defining Characteristics of Australian Aboriginal Drama". Modern Drama 40, n.º 1 (marzo de 1997): 100–110. http://dx.doi.org/10.3138/md.40.1.100.

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23

Moran, Albert. "The International Face of Australian Television". Media International Australia 121, n.º 1 (noviembre de 2006): 174–87. http://dx.doi.org/10.1177/1329878x0612100119.

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Australian television has always been part of an international cultural system. Programming, personnel, material resources, ideas and knowledge are among the elements that, historically, have moved between an audiovisual space, both here and elsewhere. Media executive Reg Grundy has been an important figure in this system. Over nearly 40 years, he built a television empire of considerable international significance. After sketching out this career, the article proceeds to outlines three moments in his company's development. The first occurred in the 1960s and early 1970s when it imported and remade many successful television game shows from the United States. A second occasion occurred in the mid-1970s when Reg Grundy Enterprises imported a small team from the United Kingdom who were highly experienced in the production of daily drama serials. The third moment happened in the very early 1990s, when Grundy World Wide began adapting drama serials that it had originally devised and produced in Australia to be remade elsewhere. These three occasions were important points where the national met the international. Collectively, they highlight not only the outwardlooking dimension of Australian television, but the need for home-based media historians to make such a perception central to their investigations of a pre ‘media globalisation’ past.

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Karaolis, Olivia. "Puppets and inclusive practice: Engaging all learners through drama and puppetry in preschool contexts". Teachers and Curriculum 22, n.º 2 (3 de noviembre de 2022): 7–16. http://dx.doi.org/10.15663/tandc.v22i2.402.

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Inclusive practice in education is supported by a compelling body of research (Cologon, 2019; Graham, 2020; Raphael et al., 2019) policy recommendations (Department of Education, Employment and Workplace Relations [DEEWR], 2009; Te Tāhuhu o Te Mātauranga–Ministry of Education, 2017(Commonwealth of Australia. (2003)) and mandated by legislation such as the Disability Discrimination Act of 1992 (DDA) (Commonwealth of Australia, 2003). It is also reflected in the Australian and New Zealand Professional Teaching Standards (Australian Institute for Teaching and School Leadership, 2014; Teaching Council of Aotearoa New Zealand, 2017). Early Childhood Australia [ECA] (2016) states that “inclusion means that every child has access to, participates meaningfully in, and experiences positive outcomes from early childhood education and care programs” (p. 2). This paper explores what this means for early childhood educators and examines the concept of inclusion through the stories of two children and two puppets. A story that outlines how the perspectives of teachers shifted to create places of learning that were welcoming and more inclusive to every child.

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25

Burne, Philippa. "Creating Australian Television Drama: A Screenwriting History, Susan Lever (2020)". Journal of Screenwriting 12, n.º 2 (1 de junio de 2021): 243–45. http://dx.doi.org/10.1386/josc_00062_5.

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Tait, Peta. "Contemporary Politics and Empathetic Emotions: Company B's Antigone". New Theatre Quarterly 26, n.º 4 (noviembre de 2010): 351–60. http://dx.doi.org/10.1017/s0266464x10000655.

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Sydney-based Company B's 2008 season included The Burial at Thebes: Sophocles's Antigone in Irish poet Seamus Heaney's translation. This article shows how the production conveyed notions of war, social upheaval, displacement, and exile that are relevant to contemporary Australian spectators. With its ethnic and racial diversity, and one overt reference to the plight of indigenous people under colonial rule and its legacy, the production confirmed that the emotional resonances in this staging of Antigone reflect and yet transcend the contemporary Australian situation; and Peta Tait here argues that the production contributed to spectators' understanding of the emotions underlying contemporary political debates. Peta Tait is Professor of Theatre and Drama at La Trobe University. Her recent publications include Circus Bodies: Cultural Identity in Aerial Performance (Routledge, 2005) and Performing Emotions: Gender, Bodies, Spaces (Ashgate, 2002). She has published widely on theatre, drama, circus performance, and gender identity, and is co-editor (with Liz Schafer) of the anthology Australian Women's Drama: Texts and Feminisms (Currency Press, 1997).

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Jacobs, Rachael. "Cultural aspects of drama: the effect of Australian drama assessment policy on practice". Arts Education Policy Review 121, n.º 4 (19 de diciembre de 2019): 187–200. http://dx.doi.org/10.1080/10632913.2019.1704955.

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28

Brown, Colin Martin. "Phil’s Story. An Ethnographic Drama Relating one Man’s Experience of Australian Workplace Professional Age Discrimination". Masculinities & Social Change 3, n.º 3 (21 de octubre de 2014): 248–70. http://dx.doi.org/10.4471/mcs.2014.54.

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Phil’s story is based on one respondent’s interview which is embedded within my autoethnographic PhD thesis on Australian workplace age-discrimination. In using ethnographic convention to amplify this real-life drama, the paper uses first-person voice to extract and highlight the damage that workplace age discrimination is doing to the older professional Australian man. The paper focuses on ‘Phil’, a 58 year old indigenous Australian, former high level Government employee whose high-flying executive career is traumatically cut short. The downward spiral of his life resulted in him becoming just another run-of-the-mill contract worker. This story relates Phil’s anguish, shock, and disbelief at the treatment he received when he turned 50 and was made excess to current work requirements. His story is compelling and his voice essential to bring cognizance to the narrative of this ever present real-life workplace tragedy that has the potential to affect all Australians and all world inhabitants.

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Zernetska, O. "The Development of Australian Culture in the XX Century: Australian Film Industry". Problems of World History, n.º 11 (26 de marzo de 2020): 174–200. http://dx.doi.org/10.46869/2707-6776-2020-11-10.

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This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries. The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies. A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century. The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.

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30

Morley, Michael. "A Critical State: Theatre Reviewing in Australia". New Theatre Quarterly 2, n.º 5 (febrero de 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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31

Pero, Allan. "At Home in Exile". Canadian Theatre Review 140 (septiembre de 2009): 85–87. http://dx.doi.org/10.3138/ctr.140.015.

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This study attempts an important incursion into a dynamic and under-theorized dimension of drama and performance studies: the chiastic spaces of politics, memory and representation within and without the Australian stage. Tompkins’s task is to explore how contemporary drama and performance work toward a re-imagining or unsettling of the ways in which particular ideas of “Australia” have been mapped, constituted, defended and perpetuated by discourses of colonization and white privilege. As a result, she asks us, in her refinement of the concepts in Una Chaudhuri and Elinor Fuchs’s volume Land/ Scape/ Theater, to remain attentive to ideas of space, place and landscape as intellectually and politically contested sites. Such a request is germane to a Canadian context not only because we share with Australia a historical relation to the British Empire and Commonwealth but also because Australia has adopted and adapted Canada’s policy of multiculturalism to suit its own purposes. In this respect, Australia’s imbrications of the postcolonial have some uncanny similarities to those experienced here in Canada.

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32

van Vuuren, Kitty, Susan Ward y Rebecca Coyle. "Revisiting the Greening of Prime-Time Television Soap Operas". Media International Australia 146, n.º 1 (febrero de 2013): 35–47. http://dx.doi.org/10.1177/1329878x1314600107.

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In 1990, Christopher Rissel and William Douglas commenced a study of the depiction of environmental issues and behaviours on Australian prime-time television drama series. Their findings were discussed in an issue of Media International Australia in 1993. This article reports on a 2011–12 study that replicated key aspects of Rissel and Douglas's research. A collaborative research team focused on two long-running and high-rating Australian soap operas – Neighbours and Home and Away – recorded from June to August 2011. Using content analysis, the researchers investigated the frequency, attitudes to and role models for the representation of environmental issues and behaviours. This article discusses the findings in terms of contemporary television practices and industry, as well as the study's methodology.

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33

Wolny, Ryszard W. "Australian Modernist Theatre and Patrick White’s the Ham Funeral (1961 [1947])". European Journal of Multidisciplinary Studies 4, n.º 4 (21 de enero de 2017): 105. http://dx.doi.org/10.26417/ejms.v4i4.p105-109.

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For a considerable period of time, literary Modernism has been mainly associated with the study of the novel and poetry rather than drama perhaps due to New Criticism’s emphasis on the text and disregard of performance. This profound anti-theatrical thrust of Modernism has to be, most certainly, re-examined and reassessed, particularly within the context of Australian literature and, more specifically, Australian theatre. That Australian modernist theatre has been inconspicuous on the world stage seems to be an obvious and undisputable statement of facts. Yet, with Patrick White, English-born but Australian-bred 1976 Nobel Prize winner for literature, Australian low-brow uneasy mix of British vaudevilles, farces and Shakespeare, mingled with the local stories of bushranging and convictism, got to a new start. Patrick White’s literary output is immense and impressive, particularly in regards to his widely acclaimed and renowned novels; yet, as it seems, his contribution to Australian – least the world – drama is virtually unknown, especially in Europe. The aim of this paper is, therefore, to disclose those modernist elements in Patrick White’s play, The Ham Funeral, that would argue for the playwright to be counted as one of the world avant-garde modernist dramatists alongside Beckett and Ionesco.

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Latypov, B. N. "HISTORY OF THE FORMATION AUSTRALIAN ENCYCLOPAEDIA". Vestnik Bryanskogo gosudarstvennogo universiteta 02, n.º 06 (28 de junio de 2021): 83–90. http://dx.doi.org/10.22281/2413-9912-2021-05-02-83-90.

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This article is about the history of the origin and the period of preparation of the Australian encyclopaedia at the beginning of the XX century. The study based on various sources are attempt to explore the many years of experience of Australian encyclopedists in creating Australian encyclopaedia. During the study it was analyzed data of preparation the first and second editions. Under review of the first edition it was shown the editors job of Arthur Wilberforce Jose and Herbert James Carter. This study explored the experience of encyclopaedia and it was revealed that compilers of encyclopaedia paid special consideration to the choice criteria of biographies and dominating value were Australian origin, and also compilers showed that the Australian nation to be seen as being closely bound to nature. As a result of the conducted research it was shown the main sections of encyclopaedia, number of author’s articles and illustrations. Here are some examples of interesting articles about «drama», «pigs», «music», and «bread», which reflects the essence of the people of Australia. It was studied the labor activity of the second edition encyclopaedia’s editor in chief, Alec Chisholm, also revealed and reviewed the article «aborigines» which was widely acclaimed as the best ever published on the second edition. It is concluded that the formation of the Australian encyclopaedia associated with the emergence of statehood in the Commonwealth of Australia. The birth of a nation and the adoption of the Constitution led to the idea of creating a national Australian encyclopaedia.

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Dwyer, Tessa. "Prisons and picnics: tough talk and accent in Australian TV drama". Media International Australia 174, n.º 1 (30 de septiembre de 2019): 59–71. http://dx.doi.org/10.1177/1329878x19876328.

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Reflecting on the current TV landscape dominated by global streaming, Fremantle’s Jo Porter suggests that Australian TV is currently riding a high, with ‘quality’ dramas ‘cutting through’ and ‘getting noticed’ internationally. For Porter, this level of global visibility is occurring despite the barrier of its regional or ‘accented’ voice. However, in this article, I suggest that the global cache of certain Australian dramas may in fact be the product of accented storytelling rather than something to be conquered or overcome. In shaping this argument, I consider language politics and accent shifts in Australian TV history particularly in relation to exporting, format trade and remaking, exploring links between Grundy Television and Fremantle. By comparing language and accent in the cult classic Prisoner with Fremantle’s Wentworth and Picnic at Hanging Rock, I consider how the inclusion and exclusion of vernacular voice sheds light on industrial change and TV history.

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36

Quinones, Gloria, Avis Ridgway y Liang Li. "Developing a drama pedagogy for toddler education". Journal of Early Childhood Research 17, n.º 2 (14 de enero de 2019): 140–56. http://dx.doi.org/10.1177/1476718x18823235.

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This article examines how an educator develops a drama pedagogy through the course of her dramatic interactions with three toddlers. A cultural-historical approach was used to explore the concepts of dramatic interactions and dimensions of drama pedagogy. Visual research methodology involved video observations and a reflective interview with the educator. A case example uses an everyday moment that took place in an Australian childcare centre. This is discussed to show how drama pedagogy unfolds to support toddlers’ learning and development. The case example occurs in a special space known as the neighbourhood space. A drama pedagogy has been conceptualised through three dimensions: a space that has dramatic qualities, interactions and narratives. These foster an inquiry stance in toddlers. It is argued that drama pedagogy is an intentional pedagogical approach to engage toddlers in the neighbourhood space. This article gives focus to an educator who embraces a dramatic conversation style we call dialogue commentary.

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37

Humphreys, Sheridan. "Rethinking our protagonists: Absence on screen and meta-narratives of empire". Journal of Screenwriting 13, n.º 3 (1 de noviembre de 2022): 361–74. http://dx.doi.org/10.1386/josc_00106_1.

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In this article I argue that responsibility for diversity needs to be inbuilt at a much earlier stage in the screen drama production process – from the very moment, indeed, when protagonists and plotlines are first conceived. Genuine diversity is everyone’s responsibility, not just the ‘diversity manager’ or ‘diversity initiative’. This is an issue for screenwriters, for the education of screenwriters and it is something that screenwriting research needs to explore. My focus falls here on historical drama, for which I argue that inbuilt diversity is especially pressing. Populist ideas about the past impact the lives of ethnic minorities today, and are perpetuated by invisibility, which is then treated as evidence of that same invisibility. I explore how Britain’s relationship with colonial Australia is understood – and perpetuated – through the meta-narrative of Empire and culture and how this informs my approach to my own writing practice. This article is based on the papers presented at the 2017 Screenwriting Research Network (SRN) conference, University of Otago, Dunedin; the 2019 European Association of Studies of Australia (EASA) Conference in Toulon, and at the 2019 Australian Association of Writing Programs (AAWP) conference, University of Technology, Sydney.

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38

VARNEY, DENISE. "Caught in the Anthropocene: Theatres of Trees, Place and Politics". Theatre Research International 47, n.º 1 (18 de febrero de 2022): 7–27. http://dx.doi.org/10.1017/s030788332100047x.

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This article investigates live performance in the broad geo-historical context of the Anthropocene, a contested term in recent scholarship, but one that offers a breadth of focus on human relations with its coexistent non-human other. These interrelations are examined through a range of theatrical and non-theatrical genres and sites from the Australian parliament's coal theatrics to exemplary performances by Indigenous companies Bangarra Dance Theatre and Marrugeku. It sets the scene with a visit to the Curtain Tree in the rainforests of north Queensland, Australia, arguing that the vitality and display of its root system models a special kind of reciprocity between the performative elements of the environment and the environmental elements of theatre and performance. This is traced through recent short-run immersive works, Hanna Cormick's Mermaid (2020) and Melinda Hetzel and Company's Conservatory (2020), and a rereading of a canonical Australian drama, Summer of the Seventeenth Doll.

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39

윤혜미 y 이향근. "Overview and Analysis of Educational Contents of Australian Drama Curriculum". Korean Journal of Elementary Education 30, n.º 3 (septiembre de 2019): 259–73. http://dx.doi.org/10.20972/kjee.30.3.201909.259.

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40

Stinson, Madonna y John Nicholas Saunders. "Drama in the Australian national curriculum: decisions, tensions and uncertainties". Research in Drama Education: The Journal of Applied Theatre and Performance 21, n.º 1 (2 de enero de 2016): 93–104. http://dx.doi.org/10.1080/13569783.2015.1126173.

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Saunders, John Nicholas y Madonna Stinson. "Drama in the Australian national curriculum – the role of advocacy". NJ 40, n.º 2 (2 de julio de 2016): 113–26. http://dx.doi.org/10.1080/14452294.2016.1276737.

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42

Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia". New Theatre Quarterly 20, n.º 2 (21 de abril de 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.

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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).

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43

Loads, Matthew. "Transmedia Television Drama: Proliferation and Promotion of Extended Stories Online". Media International Australia 153, n.º 1 (noviembre de 2014): 41–52. http://dx.doi.org/10.1177/1329878x1415300106.

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This article reports on a study of additional transmedia content that is available online in relation to all Australian television drama productions and high rating international drama productions in a five-month period, between January and June 2012. In particular, it asks what additional material exists, and develops a typology of different types of content in order to further explain the current state of play in Australian production. The study examines extended storytelling texts developed specifically for the internet, like ‘webisodes’. It also considers other video and further content that can be based on extending the story world of a program. This article presents and examines the results of the study, arguing that this material can be seen to support the idea of an industry in transition. It finds that there are differences in approach to this type of content between public, free-to-air commercial and subscription broadcasters. Children's television programs are seen to offer the most sophisticated approach online at this time.

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44

Ali, Saira y Umi Khattab. "Trans-mediatized terrorism: The Sydney Lindt Café siege". Global Media and Communication 14, n.º 3 (28 de noviembre de 2018): 301–23. http://dx.doi.org/10.1177/1742766518811367.

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This article presents an empirical analysis of the Australian media representation of terrorism using the 2014 Sydney Lindt Café siege as a case in point to engage with the notion of moral panic. Deploying critical discourse analysis and case study as mixed methods, insights into trans-media narratives and aftermath of the terrifying siege are presented. While news media appeared to collaborate with the Australian right-wing government in the reporting of terrorism, social media posed challenges and raised security concerns for the state. Social media heightened the drama as sites were variously deployed by the perpetrator, activists and concerned members of the public. The amplified trans-media association of Muslims with terrorism in Australia and its national and global impact, in terms of the political exclusion of Muslims, are best described in this article in the form of an Islamophobic Moral Panic Model, invented for a rethink of the various stages of its occurrence, intensification and institutionalization.

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45

Courchesne, Jade. "Two Worlds Combined: How Cleverman (2016-2017) Reimagines Indigenous Storytelling". Film Matters 13, n.º 2 (1 de septiembre de 2022): 60–67. http://dx.doi.org/10.1386/fm_00227_7.

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This article discusses the Australian television drama, Cleverman, a show that blends together science fiction, conventions of the superhero genre, and influences from Indigenous storytelling to yield an honest critique of modern Australian politics. Tackling Australia’s documented history of Indigenous maltreatment while weaving in elements of the Dreaming, the article dissects how Cleverman depicts the legacy of intercultural and intergenerational trauma inflicted upon Indigenous populations, provoking a discourse on how government initiatives continue to have serious, negative repercussions on marginalized communities.

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46

Harvey, Kyle. "Casting, diversity and fluid identities in Australian television". Media International Australia 174, n.º 1 (24 de octubre de 2019): 86–96. http://dx.doi.org/10.1177/1329878x19882528.

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This article examines the practice and function of casting in the Australian television industry from the 1960s to the 1990s. It investigates the role of ethnicity and accents and the practice of casting actors of migrant backgrounds in Australian drama, variety and comedy. In an industry so often dominated by Anglo-Australian stories, faces and voices, the increasing presence of actors from non-English-speaking backgrounds and non-European ethnicities has been a key feature of the changing nature of Australian television production. By analysing ‘Showcast’ casting directories, supplemented with oral history interviews, this article suggests that actors have tended to adopt fluid or hybrid identities to navigate the casting process and find steady work in the television industry. The manipulation of identity, I argue, sits at the nexus of overlapping cultural spheres amid the challenging operation of multiculturalism in Australian media.

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KELLEHER, ROSEMARY. "Troubled Minds – the Lithium Revolution". International Psychogeriatrics 17, n.º 3 (septiembre de 2005): 531–32. http://dx.doi.org/10.1017/s1041610205002231.

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This 52-minute docu-drama about the seminal contribution to psychopharmacology by Dr. John F.J. Cade was warmly received by the community of mental health practitioners and consumers and other who attended its première at the Australian Centre for the Moving Image in Melbourne, on 5th October 2004.

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48

Matharu, K. "Using Indigenous Australian drama to break cultural barriers in healthcare relationships". Medical Humanities 35, n.º 1 (29 de mayo de 2009): 47–53. http://dx.doi.org/10.1136/jmh.2008.000364.

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Nicholls, Brett. "East West 101as edgy text: Television police drama and Australian multiculturalism". Continuum 25, n.º 4 (29 de julio de 2011): 573–82. http://dx.doi.org/10.1080/10304312.2011.578732.

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Lummis, Geoffrey W., Julia E. Morris y Christine Lovering. "Exploring the drama experiences of Western Australian pre-service primary teachers". NJ 39, n.º 1 (2 de enero de 2015): 19–30. http://dx.doi.org/10.1080/14452294.2015.1083515.

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Artículos de revistas sobre el tema "Australian drama"

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