 October 2017
Contents
Editorial
Denise Varney and Sandra D’Urso
Before The Ham Funeral: ‘The YOUNG MAN Appears’ – John Tasker Returns Home
Laura Ginters
Modernist Drama Decried: Patrick White, Spoiled Identity, and Failure as a ‘Logic of Use’
Julian Meyrick
Robyn Nevin, Patrick White and the Art of the Modern in Australian Theatre
Anne Pender
Making Room for Modernism: The 1979 Sydney Theatre Company Production of Patrick White’s A Cheery Soul
Andrew Fuhrmann
Mayakovsky’s Hammer: Experimental Theatre as Romantic Modernism, Sydney, 1968–1970
Ian Maxwell
Eleanor Roosevelt: Theatrical Emotion for Political Benefit
Peta Tait
Recompositions: Images of Patrick White in William Yang’s My Generation
Edward Scheer and Helena Grehan
From Grotowski to Betty Can Jump
Kerry Dwyer
Transmitting Embodiment: Grotowski to Body Weather
Nicola Heywood
Reviews
RINA KIM,
Disability, Public Space Performance and Spectatorship: Unconscious Performers, by Bree Hadley;
ROBERT REID,
The Mill: Experiments in Theatre and Community, by Meredith Rogers;
PETA TAIT,
Performing Neurology: The Dramaturgy of Dr Jean-Martin Charcot, by Jonathan Marshall;
DAVID O’DONNELL,
Stanislavsky in the World: The System and Its Transformations Across Continents, by Jonathan Pitches and Stefan Aquilina;
LISA WARRINGTON,
Talanoa: Four Pacific Plays and Black Faggot and Other Plays, by Victor Rodger;
RAND HAZOU,
Theatre of Real People: Diverse Encounters at Berlin’s Hebbel am Ufer and Beyond, by Ulrike Garde and Meg Mumford
Contributors
|
