By Richard Fotheringham, James Smith
Even if catching Australian theatre through the 2000s or catching up now, this quantity presents the reader with an summary of the last decade. It unearths how Australian theatre keeps to mirror the most important political and social matters of our time. each one contribution explores an enormous zone of Australian functionality in order that the amount offers an important heritage and insightful research for present theatre perform. The contributions conceal political theatre, Indigenous theatre, playwrights all in favour of cultural identification, key Shakespearean productions, the influence of investment and humanities coverage on theatre, dramaturgy and leading edge tasks, prime administrators on practice session techniques, theatre for adolescents, neighborhood theatre together with the Northern Territory, and actual theatre and Circus oz.. The ebook confirms the consolidation of past creative fulfillment over the last decade and identifies the emergence of recent traits and artistic practices.
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Additional resources for Catching Australian Theatre in the 2000s
Kantor also makes an explicit connection between his work as an actor and as a director: I trained by observing. Observing, trying, failing, observing, trying, failing, observing, trying, sleeping a little bit, getting a bit closer. I’ve had the opportunity by working not merely as an assistant director but as an actor for people as well. To observe really great people. That would be Barrie Kosky evidently, because I’ve worked with him ten times in different guises; Neil Armfield, although I was never his assistant, I used to hang around when I was at Belvoir [directing my own shows], just gleaning things.
Second National Puppetry and Animatronics Summit, hosted by Terrapin Puppet Theatre (Hobart: Salamanca Arts Centre, June 2006). I was surprised to see Red Stitch’s promotion; a mixed, almost all foreign repertoire had been strongly out of favour for decades! Not Yet It’s Difficult, Stalker, Brink Productions, JUTE, Windmill and Monkey Baa were all elevated from their previous “program” (annual) status. Suitcase Royale website. 2010). This is not to ignore the Geelong-based Back to Back Theatre; it is not a “regional theatre” company in the sense meant here.
Little has changed since. Few of Thomson’s older generation have maintained influence since the 1990s. The leading writers for mainstream theatres have been MurraySmith, with eight new plays and numerous revivals; Rayson, with five premières, many revivals and remounts; and Thomson, also five. Jenny Kemp continues to be an influential presence, though mainly as a director. Writers like Melissa Reeves, Patricia Cornelius, Andrea Lemon, Pat Rix, Lally Katz and Fiona Sprott and, to a lesser extent, Hilary Bell and Peta Murray, have all had numerous works performed but mostly outside the “major organisations” sector.