Mary Ann Hunter Mary Ann Hunter i(A4095 works by)
Gender: Female
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Works By

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1 [Review Essay] Cultural Justice and the Right to Thrive Mary Ann Hunter , 2019 single work review
— Appears in: Australasian Drama Studies , October no. 75 2019; (p. 353-359)
— Review of Cultural Justice & the Right to Thrive Scott Rankin , 2018 single work criticism

'Article 27 of the United Nations' Universal Declaration of Human Rights is unequivocal in its claim that culture is central to human dignity and identity. Projects such as Ngapartji Ngapartji, Acoustic Life of Sheds, Project O and Namatjira are 'large-scale, long-term, process-based' partnerships with 'high-needs communities' (25) that intend to go beyond nationally circumscribed ideas about capital 'C' Culture to engage with communities whose stories have been systematically silenced, sidelined, buried or dismissed. Since Big hART's beginning as an arts-based project in Burnie, a community deeply affected by the closure of a paper mill in north-west Tasmania, Big hART has partnered with over fifty communities across Australia and toured its works in theatre, music and film, internationally. Testimony providing evidence of the personal, social and language-recovery outcomes of Big hART's work is affecting, making the impact of Rankin's call for cultural justice speak all the more persuasively as it relates to practice on multiple platforms to multiple audiences. Equally important to the communication of these impacts in this essay is the description of Big hART's five foundational principles or 'domains of change' (15): with individuals and communities (who are supported for at least 150 weeks), with the nation, with art and content, and with knowledge and learning.' (Publication abstract)
1 ADS at Thirty : Three Decades of Australasian Drama, Theatre, Performance and Scholarly Research Richard Fotheringham , Rachel Forgasz , Laura Ginters , Mary Ann Hunter , Lisa Warrington , 2012 single work criticism
— Appears in: Australasian Drama Studies , April no. 60 2012; (p. 6-19) 'Australasian Drama Studies was first published in October 1982, so this year, 2012, it celebrates its thirtieth birthday with this, its sixtieth issue. To celebrate this milestone, we decided to ask some Australasian theatre scholars - a couple of old hands and mid-career scholars and an early career researcher - to reflect on trends in theatre and performance in Australasia over the lifetime of the journal, developments in the reception of and scholarship about those trends, and the ways in which the journal has reflected them. This article begins with founding co-editor Richard Fotheringham's personal reminiscence of co-editing the journal in earlier days. It is followed by a conversation among four other scholars, contributors and readers with general editor, Geoffrey Milne.

Contributors refer several times to 'ADSA'; this is the acronym of the principal learned society for Australasian scholars of Drama, Theatre and Performance Studies. ADSA was begun in 1977 as the Australasian Drama Studies Association but - increasingly reflecting changes in the breadth of interests of its membership - the full name of the association was changed several years ago to the Australasian Association for Theatre, Drama and Performance Studies. ADSA remains a generous and loyal sponsor of this journal and we are extremely grateful for its support and proud of our ongoing association with it.' Richard Fotheringham, Rachel Forgasz, Laura Ginters, Mary Ann Hunter, Lisa Warrington and Geoffrey Milne.
1 y separately published work icon Not Just an Audience : Young People Transforming our Theatre Lenine Bourke , Mary Ann Hunter , Sydney : Currency Press , 2011 Z1767683 2011 single work criticism 'This essay is about generation shift and a new creative force in the Australian theatre. It is about how young people, children and the theatre artists who work with them are leading the demand for change. Young people get the current shift better than anyone else, say the authors: they're living it, activating it, and they're even making money out of it. When it comes to theatre, they want and deserve great work. What if the balance of power was reversed and young people were brought in on the act of transforming our theatre? The aim in this essay is to explore why and how.' Source: Back cover.
1 Youthful Presence: Nick Enright as Teacher and A Property of the Clan Mary Ann Hunter , 2008 single work criticism
— Appears in: Nick Enright : An Actor's Playwright 2008; (p. 79-93)
1 Of Peacebuilding and Performance : Contact Inc's 'Third Space' of Intercultural Collaboration Mary Ann Hunter , 2005 single work criticism
— Appears in: Australasian Drama Studies , October no. 47 2005; (p. 140-158) Examines two Contact projects: the Meetings/Dadiiri project in 1991 and the Peace Project, ongoing since 2001.
1 Young People and Performance in Australia and New Zealand Mary Ann Hunter , Geoffrey Milne , 2005 single work criticism
— Appears in: Australasian Drama Studies , October no. 47 2005; (p. 3-13)
1 Review Mary Ann Hunter , 2004 single work review
— Appears in: Lowdown , June vol. 26 no. 3 2004; (p. 41)
— Review of Dinosaur Adaptus Jane Carpenter , Nigel Pearn , 2004 single work drama
1 City Space / Festival Space Mary Ann Hunter , 2003 single work criticism
— Appears in: Crossings : Bulletin of the International Australian Studies Association , vol. 8 no. 3 2003; 'Growing out of western European medieval traditions of travelling players and carnivalesque anti-rule, the performing arts festival has become an increasingly global phenomenon. Almost each state in Australia has a capital city performing arts festival that claims to be international in scope, innovative in selection, and excellent in product. Similarly, in Europe, and now increasingly in South-East Asia, city performing arts festivals have become a significant part of local and national cultural development, as well as a magnet for cultural tourism. This is particularly evident in the Adelaide, Avignon, Edinburgh and Singapore Festivals.' (Introduction)
 
1 y separately published work icon Community Cultural Development in the Tertiary Sector Richard Fotheringham , Mary Ann Hunter , Sydney : Australia Council , 1994 Z865130 1994 single work prose
1 A Good Yarn and a Yarn with Allen Lyne and Alan Holy Mary Ann Hunter , 1992 single work criticism
— Appears in: Australasian Drama Studies , April no. 20 1992; (p. 16-32)
1 Casebook : Stephen Sewell's "Miranda" Mary Ann Hunter , 1989 single work criticism
— Appears in: Australasian Drama Studies , April no. 14 1989; (p. 47-63)
1 Stephen Sewell Mary Ann Hunter (interviewer), 1989 single work interview
— Appears in: Australasian Drama Studies , April no. 14 1989; (p. 35-45)
1 1 y separately published work icon Australasian Drama Studies ADS Veronica Kelly (editor), Mary Ann Hunter (editor), Richard Fotheringham (editor), Veronica Kelly (editor), Veronica Kelly (editor), Geoffrey Milne (editor), Geoffrey Milne (editor), Richard Fotheringham (editor), Veronica Kelly (editor), Jeremy Ridgman (editor), 1982 St Lucia : Australasian Drama Studies , 1982-2006 Z922764 1982 periodical (80 issues)

Before 1982, no journal devoted to the study of Australian drama was available and very few established journals provided space for serious discussion. In response to this situation, Richard Fotheringham, Veronica Kelly and Jeremy Ridgman produced the first issue of Australasian Drama Studies in October 1982.

Aiming to 'chart all the patterns of academic research and theatrical practice in Australia and New Zealand', the editors of Australasian Drama Studies have encouraged a wide variety of research areas. Following the belief that 'people cannot know what they are capable of if they forget what they were able to do in the past', many articles on the history of theatre in Australia and New Zealand have been published. In addition Australasian Drama Studies has published articles on performance studies in Australia, circus, puppetry, Aboriginal performance, women's theatre, gay, lesbian and queer theatre, community theatre, interculturalism and dance and physical theatre.

Despite the journal's title, articles and special issues have focused on the dramatic traditions of other countries and regions such as Ireland, Canada and South East Asia. Contributors also are drawn from many overseas countries. In addition to academic articles, Australasian Drama Studies regularly publishes contributions from the profession in the form of speeches, interviews and roundtable discussions, asserting itself as the voice of theatre studies in Australia.

Since 2001, the journal has been sponsored by the Australasian Drama Studies Association, providing a secure foundation on which to develop future research.
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