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Artículos de revistas sobre el tema "Performing arts, Sydney NSW"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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1

Uddin, Khandakar y Awais Piracha. "Differential application of planning policy deepening the intracity divide: The case of greater Sydney, NSW, Australia". Spatium, n.º 44 (2020): 1–11. http://dx.doi.org/10.2298/spat2044001u.

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Urban planning policies in New South Wales (NSW), Australia are continuously being reformed, in order to make them more economic development friendly. These reforms are concerned with making development approvals easier and faster. The implementation of these reforms and their outcomes in Greater Sydney, NSW, vary according to the local socio-economic conditions. The affluent communities in Greater Sydney are very concerned about these reforms and actively resist their application in their areas. They are successful in avoiding the application of reformed urban planning policies. However, the lower socio-economic parts of Greater Sydney in the outer areas are not able to engage with these urban policy issues. The reformed urban policies are fully applied in the poorer areas, often resulting in excessive and poor-quality urban development. Past research on urban planning policy development, application and outcomes in Sydney has not investigated selective planning policy application and its differential outcomes. This paper analyses the selective application of some recent urban planning policy reforms as they relate to socio-economic division in Greater Sydney. The research argues that the selective application of urban planning policy in Greater Sydney is reinforcing socio-economic division there.

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Christoffersen, Erik Exe y Kathrine Winkelhorn. "Prologue". Peripeti 14, S6 (1 de enero de 2017): 6–9. http://dx.doi.org/10.7146/peri.v14is6.110655.

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Hotel Pro Forma is a Copenhagen-based international laboratory for performing arts – a small production company with substantial influence on the performing arts in Scandinavia and Europe. Since 1985 Hotel Pro Forma has staged more than 50 productions shown in more than 30 countries around the world from New York, Sydney to Taipei. Productions are developed through an intensive period of research, and different themes are taken from a wide-ranging field of interest. This special English issue presents selected Hotel Pro Forma productions. Most readers will probably not have seen the performances, which is why we have been at pains to describe the different productions. We have selected those we consider to have influenced the performing arts the most by expanding the medium of the performing arts. Further we wanted to include a number of photos for the reader to get a more precise impression of Hotel Pro Forma’s pioneering works. Some of the articles have previously been published in Danish in: Skønhedens Hotel, Hotel Pro Forma, Et laboratorium for scenekunst, Aarhus University Press, 2015.

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Devine, Kit. "Artistic License in Heritage Visualization: VR Sydney Cove circa 1800: SIGGRAPH Asia 2019 Featured Paper". Leonardo 53, n.º 4 (julio de 2020): 415–18. http://dx.doi.org/10.1162/leon_a_01928.

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Heritage visualizations are works of the cultural imaginary and this paper examines the artwork Artistic License: VR Sydney Cove circa 1800, which foregrounds the interpretive nature of heritage visualization. It is a reimagining in VR of A View of Sydney Cove, New South Wales, 1804, a contemporaneous print of Sydney Cove. Existing in the liminal space between accuracy and authenticity it is both art object and heritage visualization. The dual nature of this work supports engagement with wider audiences, fostering and broadening debate at individual, institutional, academic and societal levels about the nature and role of heritage.

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4

Tulloch, John, Tom Burvill y Andrew Hood. "Reinhabiting ‘The Cherry Orchard’: Class and History in Performing Chekhov". New Theatre Quarterly 13, n.º 52 (noviembre de 1997): 318–28. http://dx.doi.org/10.1017/s0266464x00011441.

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Chekhov's The Cherry Orchard is clearly ‘about’ the end of one social order – about time changing and time static. Yet different interpretive communities – academics in journal articles and students in their classrooms, newspaper reviewers, theatre writers like Trevor Griffiths and David Mamet, and theatre directors like Adrian Noble and Richard Eyre – ‘read’ Chekhov's representation of history and class change in different ways. The authors of this study have been exploring these different reading formations in a three-year project funded by the Australian Research Council, ‘Chekhov: in Criticism, Performance, and Reading’. Here – grounding their work in industry ‘readings’ via production study and interviews – they focus on production and performance of The Cherry Orchard, contrasting the Richard Eyre/Trevor Griffiths production of 1977 (reproduced in 1981 for BBC TV) with Adrian Noble's production at the Swan Theatre, Stratford, in 1995. In particular, they discuss the writing, directing, acting, and staging of Chekhov's ‘modernity’ in these productions, suggesting that whereas Noble referenced and yet simultaneously occluded class in his rehearsal style and staging, Griffiths and Eyre worked for a production which not only embodied the intra-class mobility of the Thatcher era in 1981, but also the ‘then’ of Chekhov's own particular engagement with modernity and environment. John Tulloch, Professor of Cultural Studies at Charles Sturt University, New South Wales, is author of Chekhov: a Structuralist Study. Tom Burvill is Associate Professor of Drama and Cultural Studies at Macquarie University, Sydney, where Andrew Hood is a PhD student working on reception cultures.

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Allatson, Paul y Andrea Connor. "Ibis and the city: bogan kitsch and the avian revisualization of Sydney". Visual Communication 19, n.º 3 (24 de mayo de 2020): 369–90. http://dx.doi.org/10.1177/1470357220912788.

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The Australian White Ibis (Ibis) ( Threskiornis molucca) is one of three endemic Ibis species in Australia. In a short time frame beginning in the 1970s, this species has moved from inland waterways to urban centres along the eastern and southeastern seaboards, Darwin and the Western Australian southwest. Today Ibis are at home in cities across the country, where they thrive on the food waste, water resources and nesting sites supplied by humans. In this article, the authors focus on Sydney to argue that the physical and cultural inroads of Ibis, and the birds’ urban homeliness, are resignifying urban surfaces and the multispecies ecologies in which contemporary Australians operate. They explore how the very physical and sensory presence of Ibis disrupts the assumptions of many urban Australians, and visitors from overseas, that cities are human-centric or human-dominant, non-hybrid assemblages. They also introduce to this discussion of disrupted human expectations a cultural parallel, namely, the recent rise of Ibis in popular culture as an icon-in-the-making of the nation and as a totem of the modern Australian city itself. This trend exemplifies an avian-led revisualization of urban spaces, and is notable for its visual appeals to Ibis kitsch, and to working class or ‘bogan’ sensibilities that assert their place alongside cosmopolitan visions of being Australian. Sometimes kitsch Ibis imagery erupts across the urban landscape, as occurs with many Ibis murals. At other times it infiltrates daily life on clothing, on football club, university and business logos, as tattoos on people’s skin, and as words in daily idiom, confirmed by terms such as ‘picnic pirates’, ‘tip turkeys’ and ‘bin chickens’. The article uses a visual vignette methodology to chart Ibis moves into Sydney and the realms of representation alike, and thus to reveal how new zoöpolitical entanglements are being made in the 21st century.

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Baker-Nauman, Lynn. "Prison Theatre and the Global Crisis of Incarceration, Ashley E. Lucas (2020)". Drama Therapy Review 8, n.º 1 (1 de abril de 2022): 143–45. http://dx.doi.org/10.1386/dtr_00099_5.

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Review of: Prison Theatre and the Global Crisis of Incarceration, Ashley E. Lucas (2020)London, New York, Oxford, New Delhi and Sydney: Methuen Drama and Bloomsbury, 320 pp.,ISBN 978-1-47250-841-6, h/bk, $63.00ISBN 978-1-40818-589-6, p/bk, $20.96ISBN 978-1-40818-591-9, e/bk, $18.86

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7

Forsyth, Hannah. "The energy of the city: Marshall Berman and New Year's Eve in Sydney". Continuum 22, n.º 2 (abril de 2008): 241–53. http://dx.doi.org/10.1080/10304310701775129.

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8

Syron, Liza-Mare. "‘Addressing a Great Silence’: Black Diggers and the Aboriginal Experience of War". New Theatre Quarterly 31, n.º 3 (9 de julio de 2015): 223–31. http://dx.doi.org/10.1017/s0266464x15000457.

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In 2014 Indigenous theatre director Wesley Enoch announced in an interview that ‘the aim of Indigenous theatre is to write into the public record neglected or forgotten stories’. He also spoke about the aims of a new Australian play, Black Diggers, as ‘honouring and preserving’ these stories. For Enoch, Black Diggers (re)addresses a great silence in Australia’s history, that of the Aboriginal experience of war. Also in 2014, the memorial sculpture Yininmadyemi Thou Didst Let Fall, commissioned by the City of Sydney Council, aimed to place in memoriam the story of forgotten Aboriginal soldiers who served during international conflicts, notably the two world wars. Both Black Diggers and the Yininmadyemi memorial sculpture are counter-hegemonic artefacts and a powerful commentary of a time of pseudo-nationalist memorialization. Both challenge the validity of many of Australia’s socio-political and historical accounts of war, including the frontier wars that took place between Aboriginal people and European settlers. Both unsettle Australia’s fascination with a memorialized past constructed from a culture of silence and forgetfulness. Liza-Mare Syron is a descendant of the Birripi people of the mid-north coast of New South Wales in Australia. An actor, director, dramaturg, and founding member of Moogahlin Performing Arts, a Sydney-based Aboriginal company, she is currently the Indigenous Research Fellow at the Department of Media, Music, Communication, and Cultural Studies at Macquarie University, Sydney. She has published widely on actor training, indigenous theatre practice, inter-cultural performance, and theatre and community development.

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Shevtsova, Maria. "The Sociology of the Theatre, Part Two: Theoretical Achievements". New Theatre Quarterly 5, n.º 18 (mayo de 1989): 180–94. http://dx.doi.org/10.1017/s0266464x00003079.

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In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explication of Elizabethan and Jacobean tragedy. Finally, she explores the implications and assumptions of the relatively new discipline of ‘theatrical anthropology’, in which theatre is taken to be the prototype of society. Now teaching in the Department of French Studies at the University of Sydney, Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed to Modern Drama, Theatre International, and Theatre Papers, as well as to the original Theatre Quarterly and other journals.

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Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia". Epidemiologia e Psichiatria Sociale 16, n.º 2 (junio de 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.

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SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Results - Earlier practices with regardto the artworks of captive patients of psychiatrists, psychotherapists, art therapists, occupational and diversional therapists, often emphasised diagnostic or interpretive purposes, or were used to gauge progress or exemplify particular syndromes. As artists and art historians began to take an interest in such artworks, they emphasised their expressive, communicative and aesthetic aspects, sometimes in relation to primitive art. These efforts to ascribe value to these works, while well-meaning, were sometimes patronising and vulnerable to perversion by totalitarian regimes, which portrayed them as degenerate art, often alongside the works of mainstream modernist artists. This has culminated in revelations that the most prominent European collection of psychiatric art still contains, and appears to have only started to acknowledge since these revelations, unattributed works by hospital patients who were exterminated in the so-called “euthanasia” program in the Nazi era. Conclusions - Terms like Psychiatric Art, Art Therapy, Art Brut and Outsider Art may be vulnerable to abuse and are a poor fit with the aspirations of artists living with severe mental illnesses, who are increasingly exercising their rights to live and work freely, without being captive, or having others controlling their lives, or mediating and interpreting their works. They sometimes do not mind living voluntarily marginal lives as artists, but they prefer to live as citizens, without being involuntarily marginalised by stigma. They also prefer to live with culturally valued roles which are recognised as legitimate in the community, where they are also more likely to heal and recover.Declaration of Interest: This paper was completed during a Visiting Fellowship, Department of Social Medicine, School of Public Health, & Department of Medical Anthropology, Faculty of Arts & Sciences, Harvard University, Cambridge, Mass, USA. A condensed version of this paper is published in “For Matthew & Others: Journeys with Schizophrenia”, Dysart, D, Fenner, F, Loxley, A, eds. Sydney, University of New South Wales Press in conjunction with Campbelltown Arts Centre & Joan Sutherland Performing Arts Centre, Penrith, 2006, to accompany with a large exhibition of the same name, with symposia & performances, atseveral public art galleries in Sydney & Melbourne, Australia. The author is also a printmaker, partly trained at Ruskin School, Oxford, Central St. Martin's School, London, and College of Fine Arts, University of New South Wales, Sydney.

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McAuley, Gay. "The Video Documentation of Theatrical Performance". New Theatre Quarterly 10, n.º 38 (mayo de 1994): 183–94. http://dx.doi.org/10.1017/s0266464x00000348.

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Video technology has been widely available for the last twenty years, and offers possibilities for the documentation of theatrical performance that no previous generation has possessed. What are we doing with these possibilities? Why is it that we are only now taking some timid first steps towards the establishment of national or regional video archives? This article reports some findings from ten years of experimentation with recording formats and analysis, and urges the need for action by theatre practitioners, funding authorities, and university researchers to ensure that the theatrical output of another generation is not lost. The author, Gay McAuley, teaches in French and Performance Studies and is Director of the Interdisciplinary Centre for Performance Studies at the University of Sydney. Her research in recent years has focused on the semiotics of performance and, in particular, the ways actors use text in the construction of performance. She is currently writing a book called Space in Performance.

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Barker, Kathleen. "A Provincial Tragedian Abroad". Theatre Research International 11, n.º 1 (1986): 31–48. http://dx.doi.org/10.1017/s0307883300011895.

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By the middle of the nineteenth century, it had become almost de rigueur for aspiring British entertainers to include at least one tour abroad in their career. Exchange – albeit initially a somewhat one-sided exchange – with North America dated back to the beginning of the century; as white settlement of Australasia developed, so from the third decade did theatre, and Gustavus Vaughan Brooke's success, particularly in Sydney, between 1855 and 1861, revealed a new opening for the more adventurous.

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Message, Kylie. "Reflecting on the New Museum Through an Antipodean Lens: The Museum of Sydney and ‘The Imaginary Museum’". Third Text 22, n.º 6 (noviembre de 2008): 755–68. http://dx.doi.org/10.1080/09528820802652557.

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14

Brannigan, Erin. "Dance and the Gallery: Curation as Revision". Dance Research Journal 47, n.º 1 (abril de 2015): 5–25. http://dx.doi.org/10.1017/s0149767715000054.

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… for several years now I've failed to find a solution to the London Tate Modern's demand for an exhibition of dance. … I never managed to find an adequate connection between the museum framework and dance. … We must try and solve this problem: dance is starting to be recognized as art. In the end it's as if you had to enter the museum to be legitimized! As a result, pressure to exhibit is growing.(Jérôme Bel n.d. 2014)13 Rooms, an exhibition curated by Hans Ulrich Obrist (Serpentine Gallery, London) and Klaus Biesenbach (MoMA, New York) and presented in Sydney in April 2013, included the work of choreographers and dancers as authors, performers, objects, and gallery guides. Described by its curators as an exhibition of “living sculptures” featuring “protagonists,” it raised many issues around dance-based knowledges, power relations between dance and the visual arts, art as commodity, and performer agency in performance-based works exhibited in galleries, particularly re-enacted durational works. During the course of the exhibition, a cast of around 100 performers, drawing on their own repository of physical training and “body-archive,” realized works by artists such as Marina Abramovic (Luminosity, 1997) and Joan Jonas (Mirror Check, 1970). These two works in particular required physical skills and training, and the performers were chosen on this basis. For both these pieces, the body-to-body transmission of the artists' intentions—which is so important in dance processes—was undertaken by the artists' representatives.

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Shevtsova, Maria. "The Sociology of the Theatre, Part One: Problems and Perspectives". New Theatre Quarterly 5, n.º 17 (febrero de 1989): 23–35. http://dx.doi.org/10.1017/s0266464x00015311.

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Although many disciplines have helpfully (and a few less helpfully) interacted with theatre studies over the past decade, progress has been notably slow in the discovery of a dialogue with sociology. Indeed, such progress as has been made has too often, argues Maria Shevtsova. resulted in perceptions and emphases which are not always sympathetic (or seemingly even relevant) to the interests of theatre workers. In this, the first of a three-part introduction to the sociology of theatre, Maria Shevtsova combines an objective analysis of progress to date with a study of the problems and misconceptions encountered along the way, and also proposes a possible methodology for correcting the present imbalance. In future instalments, she will look in particular at the ways in which theatre anthropology and theatre semiotics have helped and hindered this problematic relationship. Now teaching in the Department of French Studies at the University of Sydney, Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed to Modern Drama, Theatre International, and Theatre Papers, as well as to the original Theatre Quarterly and other journals.

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Parodi, Laura E. "Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, Ed. Keelan Overton (2020)". International Journal of Islamic Architecture 11, n.º 2 (1 de julio de 2022): 431–34. http://dx.doi.org/10.1386/ijia_00086_5.

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Review of: Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, Ed. Keelan Overton (2020) Bloomington: Indiana University Press, 468 pp., 144 colour illus., ISBN: 9780253048912, $36.00 (paperback) The Architecture of a Deccan Sultanate: Courtly Practice and Royal Authority in Late Medieval India, Pushkar Sohoni (2018; 2021) London and New York: I. B. Tauris, 2018, 320 pp., 121 b&w illus., ISBN: 9781784537944, £28.99 (hardback) London, Oxford, New York, New Delhi and Sydney: Bloomsbury, 2021, ISBN: 9780755606795, £28.99 (paperback)

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McAuley, Gay. "Towards an Ethnography of Rehearsal". New Theatre Quarterly 14, n.º 53 (febrero de 1998): 75–85. http://dx.doi.org/10.1017/s0266464x00011751.

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Twenty-five years ago, the original Theatre Quarterly pioneered the documentation of the rehearsal process in a series of ‘Production Casebooks’ which, in a wide variety of formats – dictated by the people and the facilities available for any particular production – delved pragmatically into then-uncharted territory. That such analyses are now more commonplace is thanks not only to the active participation of academics in the field of theatre studies, but also to what Gay McAuley here describes as the postmodern ‘shift in interest from the reified art object to the dynamic processes involved in its production and reception’. But the need to refine happenstance into methodology has served only to highlight the problems of observation, selection, and presentation involved – and of how to determine the degree of objectivity that is possible or desirable. The availability of video alongside audiotape and notebook provides an important additional tool – but presents its own problems of ‘editing’ and interpretation. Here, Gay McAuley, Director of the Centre for Performance Studies in the University of Sydney, compares the dilemma of the rehearsal recordist with that of the cultural anthropologist, and proposes the value of an ethnographic model in recognizing and starting to embrace if not always to overcome the difficulties which confront the involved observer. An earlier version of her paper was read at the IFTR/FIRT conference ‘Actor, Actress on Stage’, held in Montreal in June 1995.

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Varney, Denise. "‘Droughts and Flooding Rains’: Ecology and Australian Theatre in the 1950s". New Theatre Quarterly 38, n.º 4 (18 de octubre de 2022): 319–32. http://dx.doi.org/10.1017/s0266464x22000239.

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This article uses historical-ecological insights for a re-reading of two little-known mid-twentieth-century Australian plays, Oriel Gray’s The Torrents and Eunice Hanger’s Flood, which highlight developments relevant to the environmental disasters of today. In particular, the article focuses on the significance of key cultural assumptions embedded in the texts – and a revival of The Torrents in 2019 – including those to do with land use in a period of accelerating development. This approach offers new insights into the dominance of mining, irrigation, and dam-building activities within the Australian ethos, landscape, and economy. One of these insights is the framing of development as progressive. The article thus also examines how development projected as progressive takes place amid the continuing denial of prior occupation of the land by First Nations peoples and of knowledge systems developed over thousands of years. The intersectional settler-colonialist-ecocritical approach here seeks to capture the compounding ecosystem that is modern Australian theatre and its critique. The intention is not to apply revisionist critiques of 1950s plays but to explore the historical relationship between humans, colonialism, and the physical environment over time. Denise Varney is Professor of Theatre Studies in the School of Culture and Communication at the University of Melbourne. Her research is in modern and contemporary theatre and performance, with published work in the areas of ecocriticism, feminism, and Australian theatre. Her most recent book is Patrick White’s Theatre: Australian Modernism on Stage 1960–2018 (Sydney University Press, 2021).

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Mindrup, Matthew. "The architect’s task: the use of models as structural expressionism". Architectural Research Quarterly 25, n.º 1 (marzo de 2021): 4–16. http://dx.doi.org/10.1017/s1359135521000051.

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In the above cited quote, Kevin Roche, a principal associate at Eero Saarinen’s architectural practice in 1957, recalls an early morning discussion about the design of the Trans World Airlines’ (TWA) Flight Center. Roche’s story about Saarinen reminds us that at the beginning of an architectural project, a solution may come from any variety of sources, not least of all from everyday objects. This was certainly the case for Saarinen, who found the seed for his design of the structural shells of the TWA Flight Center in the rind of a grapefruit. Despite its seeming novelty, Saarinen is not unique in his approach to the generation of architectural form with models; the Greek-French composer, architect and engineer Iannis Xenakis, who while working with Le Corbusier in 1957, used strings and thick wire to design the hyperbolic shell for their Philips Pavilion at the 1958 Brussels Expo. That a model will play a defining role in an architect’s approach to structural design is also demonstrated by the ‘spherical solution’ that Jørn Utzon discovered while stacking models of his Sydney Opera House’s shell roofs. These explorations with the expression of structure emerged at a time when a new generation of designers, including Eduardo Torroja, Pier Luigi Nervi and Felix Candela, had realised a handful of buildings using models to study and test structural form.

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Minton, Gretchen E. y Mikey Gray. "The Ecological Resonance of Imogen’s Journey in Montana’s Parks". New Theatre Quarterly 38, n.º 4 (18 de octubre de 2022): 299–318. http://dx.doi.org/10.1017/s0266464x22000227.

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In this article Gretchen Minton and Mikey Gray discuss an adaptation of Shakespeare’s tragicomedy Cymbeline that toured Montana and surrounding states in the summer of 2021. Minton’s sections describe the eco-feminist aims of this production, which was part of an international project called ‘Cymbeline in the Anthropocene’, showing how the costumes, set design, and especially the emphasis upon the female characters created generative ways of thinking about the relationship between the human and the more-than-human worlds. Gray’s first-person narrative at the end of each section reflects upon her role of Imogen as she participated in an extensive summer tour across the Intermountain West and engaged with audience members about their own relationship to both theatre and the natural world. This is a story of transformation through environmentally inflected Shakespeare performance during the time of a global pandemic.Gretchen E. Minton is Professor of English at Montana State University, Bozeman, and editor of several early modern plays, including Timon of Athens, Troilus and Cressida, Twelfth Night, and The Revenger’s Tragedy. She is the dramaturg and script adaptor for Montana Shakespeare in the Parks and the co-founder of Montana InSite Theatre. Her directorial projects include A Doll’s House, Timon of Anaconda (see NTQ 145, February 2021), Shakespeare’s Walking Story, and Shakespeare for the Birds. Mikey Gray received her BA in Theatre and Performance from Bard College, New York, with a conservatory semester at NIDA (National Institute of Dramatic Art) in Sydney. She has performed in four productions with Montana Shakespeare in the Parks, while other actor engagements include Chicago Shakespeare Theater, American Conservatory Theater, Strawdog Theater Company, The Passage Theatre, and McCarter Theatre Center.

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Burton, Christine. "How a Museum Dies: The Case of New Entry Failure of a Sydney Museum". Museum Management and Curatorship 22, n.º 2 (junio de 2007): 109–29. http://dx.doi.org/10.1080/09647770701470302.

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Booth, Michael R. "The Australian Stage: A Documentary History. Edited by Harold Love. Sydney: New South Wales University Press, 1984. Pp. xix + 383 + illus. $29.95." Theatre Research International 11, n.º 3 (1986): 259–60. http://dx.doi.org/10.1017/s0307883300012463.

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Fotheringham, Richard. "See How It Runs: Nimrod and the New Wave. By Julian Meyrick. Sydney: Currency Press, 2002. Pp. viii + 312. AU$39.95 Pb". Theatre Research International 28, n.º 2 (26 de junio de 2003): 218–19. http://dx.doi.org/10.1017/s0307883303291094.

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Arrighi, Gillian. "Make It Australian: The Australian Performing Group, the Pram Factory and New Wave Theatre. By Gabrielle Wolf. Sydney: Currency Press, 2008. Pp. xvi + 288 + 24 illus. AUS$32.95 Pb." Theatre Research International 34, n.º 1 (marzo de 2009): 91–92. http://dx.doi.org/10.1017/s0307883308004318.

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James, Louis. "English Theatre in Transition, 1881–1914. By James Woodfield. London and Sydney, Croom Helm; Totowa, New Jersey, Barnes and Noble. Pp. 213. £15.95." Theatre Research International 10, n.º 2 (1985): 183–85. http://dx.doi.org/10.1017/s0307883300010786.

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Hammond, Brean S. "Dramatic Form In Shakespeare And The Jacobeans. By Leo Salingar. Cambridge, London, New York, New Rochelle, Melbourne, Sydney: Cambridge University Press, 1986. Pp. x + 292. £27.50." Theatre Research International 12, n.º 3 (1987): 263–65. http://dx.doi.org/10.1017/s0307883300013730.

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Dewald, Jonathan. "Sydney Anglo, The Martial Arts of Renaissance Europe. New Haven and London: Yale University Press, 2000. xii + 28 color illus + 384 pp. $45. ISBN: 0-300-08352-1." Renaissance Quarterly 54, n.º 3 (2001): 972–73. http://dx.doi.org/10.2307/1261950.

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WERRY, MARGARET. "South Pacific Brownface: Racial Imposture, Global Markets, and National Theatre in Tapu (1903)". Theatre Research International 45, n.º 2 (24 de junio de 2020): 104–23. http://dx.doi.org/10.1017/s0307883320000048.

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New Zealand critics and audiences in 1903 hailed Tapu (by Alfred Hill and Arthur Adams) as the harbinger of a new ‘national drama’. They thought that the comic opera captured the national essence and would broadcast the nation's advantages to a global audience. Yet the production never made it beyond Sydney, and has since disappeared from the historical record. My analysis of the script and critical reception shows that Tapu faltered in its confused adoption of a wide array of techniques of racial mimicry (borrowed from metropolitan theatres) to represent indigenous Māori and white visitors, but not the native-born settler population. The story of Tapu's failure, I argue, reveals something about the transnational conditions for the constitution of a national public sphere, and the indispensability of race as a supplement to that nation. It attunes us to the force of performance genre and repertoire as vehicles of racial information and affect, pointing to the ways in which conformity, rather than invention, was the ticket to success in the emergent global culture industries. If popular performance, and specifically racial mimicry, operated as a public experiment with the racial properties of citizenship – as a generation of scholarship on race and performance has argued – to what extent was that experiment controlled by the conventions of the global commodity market? This essay reaches insights that will be of interest to scholars of (trans)national performance history, settler whiteness and global indigeneity, and is germane to disciplinary debates on minstrelsy, ethnological show business, and cultural appropriation.

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29

Leggett, Mike. "Interzone: Media Arts in Australia by Darren Tofts. Craftsman House, Sydney, Australia. New Art Series, Series Editor: Ashley Crawford. 145 pp., illus. Paper. ISBN: 0-9757303-8-X." Leonardo 39, n.º 5 (octubre de 2006): 487–88. http://dx.doi.org/10.1162/leon.2006.39.5.487.

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30

Blake, Ann. "O Brave New World: Two Centuries of Shakespeare on the Australian Stage. Edited by John Golder and Richard Madelaine. Sydney: Currency Press, 2001. Pp. xiv + 256 + illus. AUS$ 39.95 Pb." Theatre Research International 27, n.º 2 (18 de junio de 2002): 213–26. http://dx.doi.org/10.1017/s0307883302220283.

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31

Johnson, Virgil C. "BOOK REVIEW: Anita Callaway.VISUAL EPHEMERA: THEATRICAL ART IN NINETEENTH CENTURY AUSTRALIA. Sydney: University of New South Wales Press, 2000." Victorian Studies 44, n.º 4 (julio de 2002): 704–6. http://dx.doi.org/10.2979/vic.2002.44.4.704.

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32

de Cardi, B. "Bahrain through the Ages: the Archaeology. Edited by Shaikha Haya Ali Al Khalifa and Michael Rice. 24.5×19 cm. Pp. 526, 168 ills. London, New York, Sydney and Henley: KPI, 1986. ISBN 07103-0112-X. Price not stated." Antiquaries Journal 67, n.º 1 (marzo de 1987): 144–45. http://dx.doi.org/10.1017/s0003581500026469.

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33

Blackmore, Howard L. "Gunfounding and Gunfounders. A Directory of Cannon Founders from Earliest Times to 1830. By A. N. Kennard. 25.5×19 cm. Pp. 176, 4 pls. London, New York and Sydney: Arms and Armour Press, 1986. ISBN 0-85368-840-0. £19.95." Antiquaries Journal 67, n.º 1 (marzo de 1987): 199. http://dx.doi.org/10.1017/s0003581500026950.

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34

Van Bremen, Riet. "S. Dixon, The Roman Mother. London and Sydney: Croom Helm, 1988. Pp. xviii + 286, 8 pls. ISBN 0-7099-4511-6. £25.00. - T. Wiedemann, Adults and Children in the Roman Empire. London: Routledge, 1989. Pp. xii + 221, 12 pls. ISBN 0-415-00336-9. £30.00. - B. Rawson (Ed.), The Family in Ancient Rome: New Perspectives. London and Sydney: Croom Helm, 1986. Pp. viii + 279. ISBN 0-7099-4202-8. £18.95." Journal of Roman Studies 81 (noviembre de 1991): 178–80. http://dx.doi.org/10.2307/300500.

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35

Kaji-O'Grady, Sandra. "Melbourne Versus Sydney". Architectural Theory Review 11, n.º 1 (abril de 2006): 60–72. http://dx.doi.org/10.1080/13264820609478556.

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36

Brejzek, Thea y Lawrence Wallen. "Artist's pages: Cronulla NSW 2230 Australia : A Fotonovela". Performance Research 18, n.º 3 (junio de 2013): 59–62. http://dx.doi.org/10.1080/13528165.2013.818315.

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37

Bucher, Jesse. "Theatre and Performance in Alternative Histories of Steve Biko's Death in Detention". Theatre Survey 61, n.º 2 (17 de marzo de 2020): 182–202. http://dx.doi.org/10.1017/s0040557420000058.

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I still thought [Biko] was shamming. I had had experience before with this tendency.—Colonel Goosen, 1977 inquestThere was also a BBC reconstruction of the inquest with a well-known actor who played Sydney Kentridge—which I said that he wasn't as good as Sydney Kentridge, they should have had Sydney play himself.—George Bizos, 13 May 2008

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38

Pam, Max. "Luna Park, Sydney, 1978". Continuum 14, n.º 3 (noviembre de 2000): 258. http://dx.doi.org/10.1080/713657729.

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39

Heales, Robyn S. "Shakespeare in Sydney". Shakespeare Quarterly 37, n.º 1 (1986): 106. http://dx.doi.org/10.2307/2870198.

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40

Drew, Philip. "Romanticism Revisited: Jørn Utzon's Sydney Opera House". Architectural Theory Review 12, n.º 2 (diciembre de 2007): 121–45. http://dx.doi.org/10.1080/13264820701730868.

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41

Hedditch, Robin. "SYDNEY SQUARE: Treasuring the Shards of the Past". Architectural Theory Review 4, n.º 2 (noviembre de 1999): 15–39. http://dx.doi.org/10.1080/13264829909478368.

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42

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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43

Margalit, Harry. "MODERNISM SUNDERED: Intellectual Currents in Architecture in 1950s Sydney". Architectural Theory Review 8, n.º 2 (noviembre de 2003): 113–23. http://dx.doi.org/10.1080/13264820309478488.

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44

Marcalit, Harry. "PLANNING, ANXIETY AND IMPERIAL IDENTITY IN EARLY TWENTIETH CENTURY SYDNEY". Architectural Theory Review 4, n.º 1 (abril de 1999): 51–60. http://dx.doi.org/10.1080/13264829909478359.

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45

Chen-Yu, Chiu, Philip Goad y Peter Myers. "The metaphorical expression of Nature in Jørn Utzon's design for the Sydney Opera House". Architectural Research Quarterly 19, n.º 4 (diciembre de 2015): 381–96. http://dx.doi.org/10.1017/s1359135515000603.

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Both before and after his forced resignation from the charge of the Sydney Opera House (1956–66)in 1966, Danish Architect Jørn Utzon (1918–2008) has cited Chinese architecture as one of the most important inspirational sources of his unfinished masterpiece. However, the significance of Chinese building culture has largely been overlooked in historical accounts of Utzon's Opera House design. This is despite ample evidences suggesting several direct analogies of Chinese architecture in Utzon's design proposals. The evidence also indicates that one of the key Chinese sources for Utzon comes from the written works of Finland-born and Sweden-based art historian Osvald Sirén 喜龍仁 (1879–1966). Accordingly, this paper aims to identify Utzon's perception of Chinese architecture from Sirén's interpretation of this subject, and Utzon's eventual reinterpretation of this notion in his design of the Sydney Opera House.The article poses four questions. First, what were the socio-political contexts both of Sirén and Utzon's approach to Chinese architecture? Second, how did Sirén interpret Chinese architecture in his scholarly work? Third, what was the interrelationship between Sirén and Utzon? And fourth, how did Utzon reinterpret Sirén's concept in his design for the Sydney Opera House? To respond to these questions, the authors surveyed the literature associated with Sirén and Utzon, reviewed their private collections, and undertook interviews with their friends, colleagues and followers. On this basis, the authors constructed a series of ideological analogies between Sirén and Utzon's work, with particular emphasis on Utzon's design for the Sydney Opera House.

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46

St Leon, Mark Valentine. "Presence, Prestige and Patronage: Circus Proprietors and Country Pastors in Australia, 1847–1942". Alternative Spirituality and Religion Review 12, n.º 1 (2021): 39–73. http://dx.doi.org/10.5840/asrr2021122179.

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Christianity and circus entered the Australian landscape within a few decades of each other. Christianity arrived with the First Fleet in 1788. Five years later, Australia’s first church was opened. In 1832, the first display of the circus arts was given by a ropewalker on the stage of Sydney’s Theatre Royal. Fifteen years later, Australia’s first circus was opened in Launceston. Nevertheless, Australia’s historians have tended to overlook both the nation’s religious history and its annals of popular entertainment. In their new antipodean setting, what did Christianity and circus offer each other? To what extent did each accommodate the other in terms of thought and behaviour? In raising these questions, this article suggests the need to remove the margins between the mainstreams of Australian religious and social histories. For the argument of this article: 1) the term “religion” will refer to Christianity, specifically its Roman Catholic and principal Protestant manifestations introduced in Australia, Anglican, Presbyterian and Methodist; and 2) the term “circus” will refer to the form of popular entertainment, a major branch of the performing arts and a sub-branch of theatre, as devised by Astley in London from 1768, and first displayed in the Australia in 1847.

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47

Cochrane, John. "A specialist partnership frustrated: Utzon and Symonds at Sydney". Architectural Research Quarterly 3, n.º 2 (junio de 1999): 165–74. http://dx.doi.org/10.1017/s1359135500001949.

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The resignation of the Sydney Opera House architect, Jørn Utzon, marked the culmination of an increasingly frustrating phase of the project. Utzon had intended a partnership between designer, consultant, contractor and subcontractor to develop technical design solutions which would not have been possible under normal competitive tendering. The government rejected this. Here are examined the issues which underpinned the relationship between the architect seeking technical perfection and the manufacturing engineer seeking the fullest artistic expression of his product.

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48

Eastman, Susan Tyler y Andrew C. Billings. "Promotion’s Limited Impact in the 2000 Sydney Olympics". Television & New Media 5, n.º 4 (noviembre de 2004): 339–58. http://dx.doi.org/10.1177/1527476403255818.

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49

Kauffman, Jordan. "Review: Sketches of Frank Gehry by Sydney Pollack". Journal of the Society of Architectural Historians 71, n.º 2 (1 de junio de 2012): 244–45. http://dx.doi.org/10.1525/jsah.2012.71.2.244.

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50

Zweig, Ellen. "Mendicant Erotics [Sydney]: A Performance for Radio". TDR (1988-) 40, n.º 3 (1996): 121. http://dx.doi.org/10.2307/1146555.

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