Kathryn Kelly Kathryn Kelly i(A10153 works by)
Gender: Female
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Works By

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1 [Review] Contemporary Australian Playwriting Re-visioning the Nation on the Mainstage Kathryn Kelly , 2023 single work review
— Appears in: Australasian Drama Studies , 1 October no. 83 2023; (p. 292-299)

— Review of Contemporary Australian Playwriting : Re-visioning the Nation on the Mainstage Chris Hay , Stephen Carleton , 2022 multi chapter work criticism
'Across the last two years, perhaps due to the paucity of live theatre available during the shutdowns of the COVID pandemic, there has been a welcome surge in books dedicated to Australian plays – from Julian Meyrick’s lucid Australia in 50 Plays (2022) to Chris Mead’s meditation on new play development, Wondrous Strange: Seven Brief Thoughts about New Plays (2022). Chris Hay and Stephen Carleton’s monograph, Contemporary Australian Playwrighting: Re-visioning the Nation on the Mainstage, sits within this good company as an elegant, cogently argued scholarly work, which honours the long tradition of play scholarship in Australia while illuminating the profound and necessary changes that have occurred to the field of Australian performance since 2007.' (Introduction) 
1 Class, Rage, and Staging the Revolution : Tsiolkas's Theatre Dave Burton , Jessica Gildersleeve , Kathryn Kelly , 2021 single work criticism
— Appears in: Antipodes , vol. 35 no. 1 2021; (p. 53-65)

'From 1996 to 2002, the renowned Australian novelist Christos Tsiolkas worked collaboratively with the Melbourne playwrights Andrew Bovell, Patricia Cornelius, and Melissa Reeves and the musician Irine Vela to write Who’s Afraid of the Working Class? (1998) and Fever (2002) for the Melbourne Workers Theatre. While Tsiolkas’s prose work is the subject of extensive study, these collaborative and highly successful plays are largely ignored, despite their undisputed influence on the subsequent Australian theatrical canon and the light they shed on his broader oeuvre. In this article, we posit that these two theatrical works draw on Tsiolkas’s political rage to deliberately challenge Australians’ perceptions of class warfare by problematizing political ideology through the exploration of race and religion. A historical context of Australian playwriting is provided and positions Tsiolkas as a key contributor in bringing queer and immigrant experiences from the margin to the center of Australian stages. Tsiolkas’s key contributions to both theatrical works are discussed in detail, and the implicit calls for revolution in the plays are put in the larger context of his career and its political and social preoccupations, including the themes of his later, more commercial works. The authors’ arguments are framed in notions of Tsiolkas provocatively calling for a revolution within Australian national identity.' (Publication abstract)

1 Don’s Party at 50 : An Achingly Real Portrayal of the Hapless Australian Middle-class Voter Kathryn Kelly , 2021 single work essay
— Appears in: The Conversation , 10 August 2021;

'The play Don’s Party premiered on August 11 1971 at Carlton’s Pram Factory, home to the radical theatre ensemble, the Australian Performing Arts Group.' 

1 Community Engagement in Independent Performance-making in Australia : A Case Study of Rovers Kathryn Kelly , Emily Coleman , 2019 single work criticism
— Appears in: Social Alternatives , vol. 38 no. 1 2019; (p. 53-64)

'This article offers a perspective on strategies for community engagement by independent performance-makers and cultural institutions in Australia today. Beginning with an overview of community engagement in Australian performance, the article then describes a specific casestudy drawn from personal practice: Belloo Creative's 'Rovers' which was a new performance work based on the lives of its performers, Roxanne MacDonald and Barbara Lowing. As part of the production of Rovers, Belloo Creative, working with young Aboriginal artist Emily Coleman, trialled a community engagement project to welcome Aboriginal audiences to the 2018 Brisbane Festival. The article includes a personal reflection on 'Rovers' that interleaves the commentary of Emily and Kathryn as the two artists who lead the community engagement project, and concludes by suggesting some key considerations for other independent companies who might wish to engage with community.' (Publication abstract)

 

1 Untitled Kathryn Kelly , 1996 single work review
— Appears in: Australasian Drama Studies , April no. 28 1996; (p. 173-177)

— Review of Kafka Dances Timothy Daly , 1994 single work drama biography
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