Susanne Thurow Susanne Thurow i(15507474 works by)
Gender: Female
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1 Performing Arts and the Climate Emergency : Horizon-scanning the Futures of Practice and Scholarship. Susanne Thurow , Helena Grehan , Jane Davidson , 2023 single work criticism
— Appears in: Australasian Drama Studies , 1 October no. 83 2023; (p. 12-37) 'The following reflects a conversation between Dr Susanne Thurow (Deputy Director, iCinema Centre, University of New South Wales – scholar in Performance and Digital Media), Professor Helena Grehan (Murdoch University – scholar in Performance and Theatre Studies), and Professor Jane Davidson (The University of Melbourne – artist and scholar in Social Psychology of Music) that took place on 6 July 2023, via Microsoft Teams. Brought together by an interest in exploring the ways in which the performing arts may help to foster understanding and preparedness for the vast impacts of climate change, we canvassed developments that have been standing out to each of us, seen from our distinct disciplinary vantage points. While such discussion can by definition never be exhaustive, we are hoping that our conversation may inspire a strength-based reflection of the as yet untapped potential and opportunities that lie ahead in our challenging planetary future.' 

(Introduction)
1 1 y separately published work icon Performing Indigenous Identities on the Contemporary Australian Stage : Land, People, Culture Susanne Thurow , London New York (City) : Routledge , 2020 18706499 2020 multi chapter work criticism

'Over the past 50 years, Indigenous Australian theatre practice has emerged as a dynamic site for the discursive reflection of culture and tradition as well as colonial legacies, leveraging the power of storytelling to create and advocate contemporary fluid conceptions of Indigeneity.

'Performing Indigenous Identities on the Contemporary Australian Stage offers a window into the history and diversity of this vigorous practice. It introduces the reader to cornerstones of Indigenous Australian cultural frameworks and on this backdrop discusses a wealth of plays in light of their responses to contemporary Australian identity politics.

'The in-depth readings of two landmark theatre productions, Scott Rankin's Namatjira (2010) and Wesley Enoch & Anita Heiss' I Am Eora (2012), trace the artists' engagement with questions of community consolidation and national reconciliation, carefully considering the implications of their propositions for identity work arising from the translation of traditional ontologies into contemporary orientations. The analyses of the dramatic texts are incrementally enriched by a dense reflection of the production and reception contexts of the plays, providing an expanded framework for the critical consideration of contemporary postcolonial theatre practice that allows for a well-founded appreciation of the strengths yet also pointing to the limitations of current representative approaches on the Australian mainstage. This study will be of great interest to students and scholars of Postcolonial, Literary, Performance and Theatre Studies.' (Publication summary)
1 'Namatjira' : Beyond the Script - Visual and Performative Aesthetics as Conduits for the Communication of Western Aranda Ontology Susanne Thurow , 2018 single work criticism
— Appears in: Australasian Drama Studies , October no. 73 2018; (p. 130-159)

'This article explores the performative configuration and staging of a Western Aranda ‘place to stand’ in the inter-culturally produced biographical play Namatjira (2010–13; written by Scott Rankin with and for the Namatjira Family). The author leverages her comprehensive insight into the play’s devising and production processes, garnered from extended co-locations and touring with the producing company Big hART. She explores how both verbal and visual expression combine in the play to articulate a culturally coded Western Aranda worldview, ontology (theory of being-in-the-world) and identity. The critical elucidation of the postmodern frameworks that dominate the written script is juxtaposed with an analysis of the visual aesthetics of the play, which convey a distinctly Western Aranda perspective on Country, place-making and holding. The performative influence of these aesthetics is then illustrated in a comparison of three different stagings of Namatjira: a ‘default’ metropolitan staging; a full-scale open-air production for community on Country in the Hermannsburg Historic Precinct in 2012; and a staged play-reading at Parramatta Riverside Theatres in 2018 that aptly confirmed the significant bearing of visuality on the overall assertion of an Indigenous ‘place to stand’ in Namatjira.'  (Publication abstract)
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