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Australasian Drama StudiesThis article is a short reflective piece which explores a personal approach to using a Māori ritual called karakia. This reflection explores the importance of karakia as a culturally responsive theatre praxis and an act of decolonising and embodied love within the context of the rehearsal process in Aotearoa New Zealand. Told using a personal story of grief and loss, this reflection introduces the reader to: the whakapapa of karakia, and how karakia is used in Marae Theatre in Aotearoa New Zealand. It also provides examples of karakia used in theatre praxis and concludes with a challenge to the reader to explore their own biases before including karakia authentically into their own theatre praxis.
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Decolonisation, karakia, Māori theatre, rehearsal, praxis
This article describes The Waka of Love, a Theatre Marae-informed stage production situated within a Kaupapa Māori research project examining impacts of racism on mokopuna Māori in Aotearoa. Underpinned by ethical co-designing – an approach aligned with Indigenous rights that emphasises power-sharing, accountability and positive transformation – and through wānanga-based creative participatory inquiry grounded in Te Ao Māori, mokopuna Māori collaborated to address racism and its impacts on hauora. The Waka of Love serves to illustrate decolonial anti-racist praxis that challenges colonial knowledge systems through empowerment of mātauranga Māori and whakamoemoeā for mokopuna Māori. Central to The Waka of Love is that of aro ki te hā – the sacred reverence for the breath – fostering deep interconnectedness, compassion, empathy, and respect for oneself, one another, Papatūānuku, and the universe. The Waka of Love underscores decolonial anti-racist
efforts toward liberation, enabling the flourishing of mātauranga and hauora for mokopuna Māori, their whānau and communities.
Keywords
Love, Indigenous, Māori, decolonial, racism
This article discusses the unintended harm that Applied Theatre practitioners can inflict on their participants due to their unconscious biases and assumptions. The author argues that this is the result of ‘fake love’, wherein practitioners only centre the vulnerabilities and experiences of their participants while neglecting how they participate in broader systemic issues. The article proposes a shift from ‘fake love’ to ‘Critical Love’, which requires practitioners to engage in a critical and deep self-reflection on their own biases, privileges, and the power dynamics they bring to the room. The author provides examples of her own critical self-reflection and how these may affect participants, and she encourages practitioners to do the same. Through Critical Love, the article argues, practitioners can foster more authentic and empowering relationships with participants, which has the potential to drive real social change and justice within Applied Theatre practice and beyond.
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Critical Love, Applied Theatre, facilitation
In 2023, eight learning disabled performers from Different Light Theatre collaborated with eighteen drama school students from NASDA (National Academy of Singing and Dramatic Art) in Christchurch on a production of Faust.Us based on Marlowe’s
text. The framing principles of the process were intended to be whanaungatanga (kinship and belonging), kotahitanga (unity) and, particularly, manaakitanga (hospitality) in which the non-disabled staff and students would afford support for the learning disabled performers. However, the emotional and theatrical outcome of this process was a profound reversal of this ‘economy of affection’ in the collaboration and the performance. It was in fact the support of the learning disabled actors for their non-disabled colleagues that proved invaluable and unshakeable. While in inclusive theatre we might assume that the performance of compassion would be for the benefit of the learning disabled actors, this flipping of the script had real power to hit everyone in the guts.
Keywords
Learning disability, inclusion, radical compassion, manaakitanga
This talanoa (conversation) between final year PhD candidate Sepelini Mua’au (Levī-Saleīmoa & Matāutu Falelātai) and Nicola Hyland (Te Ati-Haunui-a-Pāpārangi/Ngāti Hauiti) explores the ‘why’ of Sepe’s project that centres around decolonising frameworks and Theatre in Aotearoa. Exploring the whakapapa of this research, Sepe speaks to his upbringing as a second-generation, New Zealand-born Samoan and delves into key moments in his creative journey as an actor, writer, director and theatre-maker. The talanoa questions historical institutions with colonial foundations to encourage conversations around decolonised ways of working as a BIPOC (Black, Indigenous, Person of Colour) creative in Aotearoa. What does approaching rehearsal spaces with alofa/aroha mean for BIPOC creatives? This talanoa acknowledges Sepe’s experiences within the Samoan concept of the vā, which centres around the formation and maintenance of meaningful relationships with people, and. in this instance, Sepe’s creative practice.
Keywords
Decolonial, BIPOC, actor training, Pasifika
The proliferation of the discourse of recognition in state politics is, as many anti-colonial scholars have argued, a form of governmentality in settler colonial nations. How does love among the colonised disrupt colonial recognition? What learnings do we gain when we theorise acts of decentering colonial recognition in terms of love? This article explores these questions through Anishinaabe artist Rebecca Belmore’s performance Vigil, and Métis playwright Marie Clements’ play The Unnatural and Accidental Women from northern Turtle Island (Canada). The article theorises love as an insurgence against what Dylan Robinson calls ‘perceptual logics of settler colonialism’.
Keywords
Recognition, Canada, love, MMIW (Missing and Murdered Indigenous Women), performance
The article explores how Aragalaya embodies Judith Butler’s concept of plural performativity as a call for justice and rejection of precarity. This unique Sri Lankan socio-political movement, often called ‘Adaraye Aragalaya’ (struggle for love), reflects its non-violent ethos and practice of inclusivity. In April 2022, groups of young people occupied the Galle Face promenade beside the Presidential Secretariat building in Colombo to demand that the Sri Lankan President, Gotabaya Rajapaksa, resign. Butler suggests that when masses occupy public spaces to protest, exercising their ‘plural and performative right to appear’, the gatherings embody ‘plural performativity’, and the bodies enact ‘political meanings’. The article features an
analysis of three artists’ performances: a trans woman, a man who carried a large wooden cross, demanding justice for the victims of the 2019 Easter bombings, and a performer who painted his body red to commemorate the 1983 Black July massacre victims.
Keywords
Sri Lanka, Aragalaya, plural performativity, Judith Butler, non-violent protest
The Healthy Conservatoires (UK), covering drama, music and dance training institutions, has included the spiritual (defined as ‘exploring beliefs, values and ethics and creating a sense of purpose and meaning in life’) as one of eight key dimensions in its online wellbeing framework. Yet few drama schools have formally incorporated considerations of moral and spiritual development as part of their curriculum. In 2020, interviews with nine professional actors documented the impacts of playing a villain or other amorally inclined characters. The study found that three factors can impact actors’ personal and relational wellbeing in enacting such characters: 1. the requirements of empathy in the creation and performance of character; 2. the potentiality of moral distress and injury in the creation and performance of character; and 3. the shaping of intrinsic and extrinsic values during professional identity formation. Love and compassion for human woundedness needs to be honoured in drama schools.
Keywords
Actor training, moral injury, spirituality, intrinsic values, wellbeing
Hine’s Monologue is a poroporoaki to her late husband Talite, as she comes to terms with his passing after the unfortunate collapse of their marriage. Despite enduring love, the obstacles they faced together in the form of personal challenges exacerbated by societal inequities and mandates from church authorities undermined their ability to live in love. Hine’s monologue is a call to whānau and community to better support young, brown couples and their families, and a reminder that the kupu aroha is both tūingoa (noun) and tūmahi (verb); in equal parts a nameable thing, a destination, an action, state, and condition. Hine’s monologue, performed by Erina Daniels and Emma Katene, was one of six monologues woven together under the title ONO and presented at both Tahi Festival 2023, Wellington and Koanga Festival 2023, Auckland.
Keywords
Aroha, Māui, Whānau, Church, Poroporoaki
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October 2017Editorial
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
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
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JASNA NOVAKOVIC, Unspoken by Rebecca Clarke;
HILARY HALBA Awhi Tapu by Albert Belz and The Prophet by Hone Kouka;
DAVID O'DONNELL, Baghdad Baby! by Dean Parker;
ALISON RICHARDS About Performance no 6, ed. Gay McAuley;
LISA WARRINGTON, Nola Millar: A Theatrical Life by Sarah Gaitanos; Just Who Does He Think He Is?: A Theatrical Life by George Webby;
MARY ELIZABETH ANDERSON, Anarchic Dance, eds Liz Aggiss and Bill Cowrie with Ian Bramley;
BREE HADLEY, And Then, You Act: Making Art in an Unpredictable World, by Anne Bogart;
MARK SETON, Jacques Copeau, by Mark Evans;
IAN MAXWELL, Encounters with Tadeusz Kantor, by Krzysztof Miklaszewski translated and edited by George Hyde.
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Australasian Drama StudiesTheatre Emotion & Interculturalism
Edited by Peta Tait and Jung-Soon Shim
A special focus issue of Australasian Drama Studies
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HILARY HALBA, Frangipani Perfume and Dianna Fuemana, Mapaki (Wellington: The Play Press, 2004); Oscar Kightley and Simon Small, Fresh Off the Boat (Wellington: The Play Press, 2005); Albert Wendt, The Songmaker’s Chair (Wellington: Huia, 2004) by Makerita Urale;
JERRY C. JAFFE, Noh Business (Berkeley: Atelos, 2005) by Murray Edmond;
PETA TAIT, The Dolls’ Revolution: Australian Theatre and the Cultural Imagination (Melbourne: Australian Scholarly, 2005) by Rachel Fensham and Denise Varney, with Maryrose Casey and Laura Ginters;
JULIAN MEYRICK, Not Wrong – Just Different: Observations on the Rise of Contemporary Theatre (Sydney: Currency Press, 2005) by Katherine Brisbane;
CAROLYN D’CRUZ, Beneath the Sequined Surface: An Insight into Sydney Drag (Sydney: Currency Press, 2006) by Carol Langley;
IAN MAXWELL, Electoral Guerilla Theatre: Radical Ridicule and Social Movements (New York and London: Routledge, 2005) by L. M. Bogad;
RONALDO MORELOS, The Aesthetics of the Oppressed (London and New York: Routledge, 2006) by Augusto Boal;
IAN GASKELL, A Boal Companion: Dialogues on Theatre and Cultural Politics (New York and London: Routledge, 2006) eds Jan Cohen-Cruz and Mandy Schutzman;
SALLY GARDNER, Exhausting Dance: Performance and the Politics of Movement (New York and London: Routledge, 2006) by Andre Lepecki;
IAN MAXWELL, The Path of the Actor (London and New York: Routledge, 2005) by Michael Chekhov, (edited by Andrei Kirillov and Bella Martin).
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JENNY DE REUCK, Prologues to Shakespeare’s Theatre: Performance and Liminality in Early Modern Drama by Douglas Bruster and Robert Weimann
JOHN JACOBS, Talking to the Audience: Shakespeare, Performance, Self by Bridget Escolme
BREE HADLEY, Circus Bodies: Cultural Identity in Aerial Performance by Peta Tait
JONATHAN MARSHALL, Into Performance: Japanese Women Artists in New York by Midori Yoshimoto
DAVID MOODY, Theatrical Events: Borders, Dynamics, Frames eds Vicky Ann Cremona et al
BARRY O’CONNOR, Trade Secrets: Australian Actors and Their Craft by Terence Crawford
JONATHAN DAWSON, Three Dollars: Screenplay by Robert Connolly and Elliot Perlman
Australasian Drama StudiesYoung People and Performance
Edited by Mary Ann Hunter and Geoffrey Milne
A special focus issue of Australasian Drama Studies
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MEREDITH ROGERS, Upstaged: Australian Women Dramatists in the Limelight at Last by Michelle Arrow
DAVID WATT, The Space Between: The Art of Puppetry and Visual Theatre in Australia by Peter J. Wilson and Geoffrey Milne
ALISON RICHARDS, Innovation in Australian Arts, Media and Design: Fresh Challenges for the Tertiary Sector ed. Rod Wissler et al
VERONICA KELLY, Writing and rewriting: National Theatre Histories ed. S.E. Wilmer
RACHEL FENSHAM, Virtual Theatres: An Introduction by Gabriella Giannachi
PENNY GAY, The Cambridge Companion to Victorian and Edwardian Theatre ed. Kerry Powell
PETER ECKERSALL, Eugenio Barba by Jane Turner and The Intercultural Performance Handbook by John Martin
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RICHARD FOTHERINGHAM, Shashibiya: Staging Shakespeare in China by Li Ruru
BRIDGET MARY AITCHISON, Merely Players? Actors’ Accounts of Performing Shakespeare by Jonathan Holmes and Inside the Royal Shakespeare Company: Creativity and Institution by Colin Chambers;
VICTOR EMELJANOW, Alice May, Gilbert and Sullivan’s First Prima Donna by Adrienne Simpson
HOWARD McNAUGHTON, Oscar Asche, Orientalism, and British Musical Comedy by Brian Singleton
RUSSELL FEWSTER, Konstantin Stanislavsky by Bella Martin and Vsevolod Meyerhold by Jonathon Pitches
ADRIAN KIERNANDER, Dodin and the Maly Drama Theatre: Process to Performance by Maria Shevtsova
MARYROSE CASEY, Theatre Australia (Un)limited: Australian Theatre Since the 1950s by Geoffrey Milne
WILLIAM PETERSON, Staging Nation: English Language Theatre in Malaysia and Singapore by Jacqueline Lo
GLEN D’CRUZ, Alternatives: Debating Theatre Culture in the Age of Con-Fusion ed. Peter Eckersall, Uchino Tadashi and Moriyama Naoto
Australasian Drama StudiesContemporary Music Theatre in Australia
Edited by Keith Gallasch and Laura Ginters
A special focus issue of Australasian Drama Studies
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PETER HOLBROOK, William Shakespeare, ‘The Merchant of Venice’ ed. Charles Edelman
LEAH MERCER, Selected Plays of Hélène Cixous ed. Eric Prenowitz
BRIAN SINGLETON, Antonin Artaud: A Critical Reader ed. Edward Scheer
PAUL MAKEHAM, The Twentieth-Century Performance Reader ed. Michael Huxley and Noel Witts
JONATHAN BOLLEN, Performance: Recasting the Political in Theatre and Beyond by Stephen Chinna
SUE RIDER, The Parsons Lectures: The Philip Parsons Memorial Lectures on the Performing Arts 1993-2003 ed. Katharine Brisbane and Don’t Tell Me, Show Me: Directors Talk About Acting by Adam Macaulay
HELENA GREHAN, Playing Australia: Australian Theatre and the International Stage ed. Elizabeth Schafer and Susan Bradley Smith.
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IAN MAXWELL, Performance and Evolution in the Age of Darwin: Out of the Natural Order by Jane R Goodall
SIMON DEVEREAUX, The Convict Theatres Early Australia, 1788-1840 by Robert Jordan
MIMI COLLIGAN, The Pollards: A Family and Its Child and Adult Opera Companies in New Zealand and Australia 1880-1910 by Peter Downes
HOWARD McNAUGHTON, Crucible of Cultures: Anglophone Drama at the Dawn of a New Millenium ed. Marc Maufort and Franca Bellarsi
DENISE VARNEY, Popular Theatre: A Sourcebook ed. joel Schechter
ANN WILSON, How Theatre Educates: Convergences & Counterpoints with Artists, Scholars and Advocates ed. Kathleen Gallagher and David Booth
JOANNE TOMPKINS, The Semiotics of Theatre and Drama, second edition by Keir Elam
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Australasian Drama StudiesPerforming Ireland
Edited by Brian Singleton and Anna McMullan
A special focus issue of Australasian Drama Studies
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NOTE from Helen Thompson
NADIA FLETCHER, The Jack Manning Trilogy by David Williamson
JONATHAN DAWSON, Dirty Deeds: Screenplay by David Caesar, and Rabbit-Proof Fence: Screenplay by Christine Olsen
DAVID CARNEGIE, Ben Jonson and Theatre: Performance, Practice and Theory by Richard Cave, Elizabeth Schafer, & Brian Wooland
CATHERINE NEWEY, Reflecting the Audience, London Theatregoing, 1840-1880 by Jim Davis & Victor Emeljanow
RICHARD FOTHERINGHAM, Dames, Principal Boys … and All That: A History of Pantomime in Australia by Viola Tait
MICHELE PIERSON, Why the French Love Jerry Lewis: From Cabaret to Early Cinema by Rae Beth Gordon
IAN MAXWELL, Re:Direction: A Theoretical and Practical Guide ed. Rebecca Schneider & Gabrielle Cody
JULIAN MEYRICK, Nowhere but Broadway by Jill Shearer and In-yer-face Theatre: British Drama Today by Aleks Sierz
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RONALDO MORELOS, Three Plays by Asian Australians ed. Don Batchelor
JONATHAN DAWSON, Lantana: Original Screenplay by Andrew Bovell
DAVID CARNEGIE, O Brave New World: Two Centuries of Shakespeare on the Australian Stage ed. John Golder & Richard Madelaine
PETER FITZPATRICK, Workers’ Playtime: Theatre and the Labour Movement Since 1970 by Alan Filewod & David Watt
RACHEL FENSHAM, Mapping Cultural Identity in Contemporary Australian Performance by Helena Grehan
VERONICA KELLY, Siting the Other: Re-visions of Marginality in Australian and English-Canadian Drama ed. Marc Maufort & Franca Bellarsi
KOH TAI ANN, Theatre and Politics in Contemporary Singapore by William Peterson
REBECCA SCHNEIDER, Body Show/s: Australian Viewings of Live Performance ed. Peta Tait
Australasian Drama StudiesDance and Physical Theatre
Edited by Adrian Kiernander
A special focus issue of Australasian Drama Studies
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BEN PAYNE, Blak Inside by John Harding
JONATHAN DAWSON, Blue Murder: The Screenplay by Ian David and Ned Kelly: The Screenplay by John Michael McDonagh
SUSAN LEVER, Grassroots: Series One by Geoffrey Atherton, Katherine Thomson and Michael Brindley
PETER FITZPATRICK, See How It Runs: Nimrod and the New Wave by Julian Meyrick
SIMON WOODS, The Art of Stillness by Paul Allain
BRIDGET MARY AITCHISON, To the Actor on the Technique of Acting by Michael Chekhov and Acting (Re)considered: A Theoretical and Practical Guide ed., Phillip B. Zarrilli
DAVID WATT, Performing Democracy: International Perspectives on Urban Community-Based Performance ed. Susan C. Haedicke and Tobin Nellhaus
Australasian Drama StudiesTwentieth Anniversary Edition
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WILLIAM PETERSON, The Singapore Trilogy by Robert Yeo
HELENA GREHAN, Postcolonial Plays: An Anthology by Helen Gilbert
PAUL GALLOWAY, Keep Everything You Love by David Brown;
JONATHAN DAWSON, Chopper: The Screenplay by Andrew Dominik
SUSAN LEVER, Top Shelf 1: Reading and Writing the Best in Australian TV Drama by Greg Haddrick; Top Shelf 2: Five Outstanding Television Screenplays by Greg Haddrick
NERIDA NEWBIGIN, Vasari on Theatre by Thomas A. Pallen
DAVID O’DONNELL, Playing Bit Parts in Shakespeare by M. M. Mahood
BRUCE PARR, The Changing Room: Sex, Drag and Theatre by Laurence Senelick
MURRAY BRAMWELL, As Many Lives As A Cat: The University of Adelaide Theatre Guild 1938-1998 by Kerrie Round, and The Pram Factory: The Australian Performing Group Recollected by Tim Robertson
Australasian Drama StudiesPerformance Studies in Australia
Edited by Gay McAuley, Glenn D’Cruz and Alison Richards
A special focus issue of Australasian Drama Studies
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TOM BURVILL, The Chekhov Theatre: A Century of the Plays in Performance by Laurence Senelick
REBECCA PELAN, The Politics of Irish Drama: Plays in Context from Boucicault to Friel by Nicholas Grene
JACQUELINE LO, The Politics of Cultural Practice: Thinking Through Theatre in an Age of Globalization by Rustom Bharucha
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GEOFFREY MILNE, Crazy Brave by Michael Gurr and A Beautiful Life by Michael Futcher and Helen Howard
DON BACHELOR, Georgia by Jill Shearer
JONATHAN DAWSON, Looking for Alibrandi: The Screenplay by Melina Marchetta
DENISE VARNEY, Feminist Theatre Practice: A Handbook by Elaine Aston
HAROLD LOVE, Visual Ephemera: Theatrical Art in Nineteenth-century Australia by Anita Calloway
IAN MAXWELL, Corpus Delecti: Performance Art of the Americas ed. Coco Fusco
BARBARA GARLICK, Defiance: Political Theatre in Brisbane 1930-1962 by Connie Healy
HOWARD McNAUGHTON, The Theatre of Form and the Production of Meaning: Contemporary Canadian Dramaturgies by Ric Knowles
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Australasian Drama StudiesDAVID WATT
Community theatre: a progress report
MARY ANN HUNTER
A Good Yarn and a yarn with Allen Lyne and Alan Holy
DEAN TUTTLE
Street Arts: counting the community
MARKO PAVLYSHYN
Culture and the émigré consciousness: Ukrainian theatre in Australia 1948-1969
GEOFFREY MILNE
Community theatre in Melbourne: The Bridge
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The Bridge by Vicky Reynolds
MARIA SHEVISOVA
Audiences for Filef Theatre Group’s L’Albero delle rose/The Tree of Roses and Storie in cantlere/Stories in Construction
TONY MITCHELL
Wogs still out of work: Australian television comedy in colonial discourse
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