y separately published work icon Australasian Drama Studies periodical issue   peer reviewed assertion
Issue Details: First known date: 2021... no. 78 May 2021 of Australasian Drama Studies est. 1982 Australasian Drama Studies
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AbstractHistoryArchive Description

'As I write to introduce Issue 78 of this journal, it is difficult to ignore the momentous changes that have impacted both theatres and theatre scholarship in the past year. In April 2020, only weeks after the global pandemic exploded, I described the times as being `extraordinarily bleak'. Over the last twelve months, theatres, live performance and face-to-face teaching in the discipline shut down across the globe, for extended periods of time, in order to contain contagion between what Stanton B. Garner describes as 'the medium's intermingling bodies'. Much performance, teaching, research and many conferences moved to online platforms with varying degrees of success. A year on, as the pandemic recedes in Australasia at least, and theatres and campuses begin to open up again, the impact is becoming evident. Ristani (in the quote above) points to a history of resilience, with theatres rebounding rapidly after times of plague. The aftermath of this plague, for theatre —and in particular, theatre scholarship and training — appears less certain, at least in the short-to-medium term.' (Yoni Prior, Editorial introduction) 

 

Notes

  • Epigraph:  To speak of theatre in times of plague is, perhaps, to speak of no theatre; it is also, however, to speak of dormant theatre, one that, pregnant with silence, awaits eruptive release (as all bottled-up activity always does) in new powers and possibilities. (Maria Ristani, 2020)' 
     

Contents

* Contents derived from the 2021 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Visualising the Story of Theatre in Sydney : Venues, Repertoire and Change, 1920-2020, Jonathan Bollen , single work criticism

'Theatre is sometimes imagined as an art form at risk. From movies and television to global pandemics, these risks to theatre are significant and their impact on production is real. In Sydney, which provides a locus for this study, the arrival of talking pictures in the 1920s and the advent of broadcast television in the 1950s coincided with the demise of commercial enterprises and the demolition of old theatres in the city centre. More recently, the impact of COVID-19 restrictions on theatre programming and venue management is playing out across the city.' (Publication abstract)

(p. 72-109)
Recognizing the Face of Australian Theatre : Authentic Diversity and the Case of Metanoia, Glenn D'Cruz (interviewer), single work interview

'There is often a significant gap between the rhetoric used to promote cultural diversity and the harsh reality of living as a visibly different or culturally different Australian. Institutions, such as schools, universities, government departments and corporations often engage in a form of official 'virtue signalling' that creates the impression of embracing egalitarian values - it is now common for academics, for example, to use email signatures that announce politically correct alliances with marginalised groups.' (Publication abstract)

(p. 140-169)
'It Caught the Zeitgeist' : An Interview with Andrew Bovell, Nathan Hastie (interviewer), single work interview (p. 170-194)
'Sustained Personal Contact' : Recent Australian Productions on Tour in China, Anne Pender , single work criticism

'In 2020, I conducted a study of five Australian theatre companies that have toured to China over the last decade. This article draws on a study of three of those theatre companies: Windmill Theatre Co., Insite Arts and Red Stitch Actors' Theatre. It examines the development of three productions by the companies and the extent of their adaptation for audiences in China. The case study productions include 'Baba Yaga', a children's play and co-production between Adelaide's Windmill Theatre Co. and Scotland's Imaginate; 'Saltbush', an immersive theatre production from Insite Arts; and 'desert, 6.29pm', a play produced by the Red Stitch Actors' Theatre, who were invited to perform at the Wuzhen Theatre Festival in 2018.' (Publication abstract)

(p. 195- 223)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 1 Jul 2021 11:30:49
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