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AbstractHistoryArchive Description
'The theatre has given us mutilation, Titus Andronicus comes to mind, and cannibalism in Thyestes and Sweeney Todd, but as far as I am aware there is no dramatic genre based on organ donorship. After Tommy Murphy’s Mark Colvin’s Kidney, this may well change.' (Introduction)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Imagined Lives
2022
single work
criticism
— Appears in: Contemporary Australian Playwriting : Re-visioning the Nation on the Mainstage 2022;'This chapter considers contemporary re-visions of biographical theatre and maps a movement on the Australian mainstage between 2007 and 2020 away from a reliance on the verifiable facts of a subject’s life to a more theatrical embrace of its affective contours. Each of the case studies theatricalises the life of its subject, from Patricia Highsmith in Joanna Murray-Smith’s Switzerland (2014), through Lindy Chamberlain-Creighton in Letters to Lindy (2016) by Alana Valentine, to Mark Colvin and Mary-Ellen Field in Tommy Murphy’s Mark Colvin’s Kidney (2017). In the following duologue, Murphy and Valentine discuss the burden of truth that falls on the playwright and how they have negotiated the truth claims across their body of biographical theatre works.' (Publication abstract)
-
Imagined Lives
2022
single work
criticism
— Appears in: Contemporary Australian Playwriting : Re-visioning the Nation on the Mainstage 2022;'This chapter considers contemporary re-visions of biographical theatre and maps a movement on the Australian mainstage between 2007 and 2020 away from a reliance on the verifiable facts of a subject’s life to a more theatrical embrace of its affective contours. Each of the case studies theatricalises the life of its subject, from Patricia Highsmith in Joanna Murray-Smith’s Switzerland (2014), through Lindy Chamberlain-Creighton in Letters to Lindy (2016) by Alana Valentine, to Mark Colvin and Mary-Ellen Field in Tommy Murphy’s Mark Colvin’s Kidney (2017). In the following duologue, Murphy and Valentine discuss the burden of truth that falls on the playwright and how they have negotiated the truth claims across their body of biographical theatre works.' (Publication abstract)
ABR : Arts
