y separately published work icon The Ghosts Trilogy selected work   drama   - All two parts
Issue Details: First known date: 1997... 1997 The Ghosts Trilogy
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Contents

* Contents derived from the Paddington, Kings Cross area, Inner Sydney, Sydney, New South Wales,:Currency Press , 1997 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Too Young for Ghosts, Janis Balodis , single work drama (p. 1-80)
No Going Back, Janis Balodis , single work drama (p. 81-175)
My Father's Father, Janis Balodis , single work drama (p. 177-278)
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Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Paddington, Kings Cross area, Inner Sydney, Sydney, New South Wales,: Currency Press , 1997 .
      Extent: 283p.
      Description: illus.; port.
      Note/s:
      • Also contains brief histories of Latvia and of Ludwig Leichhardt, both reprinted from other sources
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Works about this Work

Different Kinds of Doubling: Comparing Some Uses of Character Doubling in the Ghosts Trilogy, by Janis Balodis, and the Captive, by Ben Ellis Elspeth Tilley , 2012 single work criticism
— Appears in: Australasian Drama Studies , April no. 60 2012; (p. 56-70) 'Character doubling has a contested provenance in theatre studies. On the one hand, it has been identified as a way to subvert naturalisation of socialised roles, foregrounding the performativity that scholars such as Judith Butler have identified as being inherent in everyday identity practices. When actors cross ethnic, class, gender, age or other boundaries to achieve doubled or multiple characterisation within a single performance, they can effectively expose and problematise those boundaries' constructedness. Commenting on Caryl Churchill's Top Girls, for example, Bill Naismith suggests that when doubling is used, it "questions the roles that have been imposed on women, past and present. The doubling of parts by an actor can positively undermine the fixedness of roles"' Similarly, discussing postcolonial theatre, Sue-Ellen Case suggests that doubling can "foreground the fabricated roles ... colonialism creates, distancing identity from biology".' Elspeth Tilley.
Counter-Monumentalising and Janis Balodis's The Ghosts Trilogy Joanne Tompkins , 2006 single work criticism
— Appears in: Unstable Ground : Performance and the Politics of Place 2006; (p. 81-93)
y separately published work icon Unsettling Space : Contestations in Contemporary Australian Theatre Joanne Tompkins , Houndmills : Palgrave Macmillan , 2006 Z1343625 2006 single work criticism
'Homescapes' and Identity Reformations in Australian Multicultural Drama Joanne Tompkins , 2001 single work criticism
— Appears in: Theatre Research International , vol. 26 no. 1 2001; (p. 47-59) A consideration of identity formation in contemporary Australian multicultural theatre is offered through a re-assessment of the unsettled (and unsettling) constructions of Australia as 'home' in the work of three playwrights. William Yang's Sadness disrupts a localized perception of home, space, and cultural communities to amalgamate two disparate communities (the queer/homosexual community in Sydney and the Asian-Australian, or 'Austasian' community) into a reconfigured Australian identity. Janis Balodis's The Ghosts Trilogy uses many actors who play across the unsettled lines of history, amid numerous voices, homes, and homelands that indicate the enormity of what 'Australia' comes to signify. Noëlle Janaczewska's The History of Water constructs a way of locating the self by means of a metaphoric home as each character establishes herself on a psychic plane rather than choosing the strictly physical locations to which she has access. In their interrogations of home and homeland, these plays challenge assumptions regarding identity, disrupt notions of the ultimate ownership of land/culture by anyone, and problematize the idea of settlement as it is currently articulated in Australia.
Untitled Paul Makeham , 1998 single work review
— Appears in: Australasian Drama Studies , April no. 32 1998; (p. 159-162)
— Review of The Ghosts Trilogy Janis Balodis , 1997 selected work drama
Untitled Paul Makeham , 1998 single work review
— Appears in: Australasian Drama Studies , April no. 32 1998; (p. 159-162)
— Review of The Ghosts Trilogy Janis Balodis , 1997 selected work drama
'Homescapes' and Identity Reformations in Australian Multicultural Drama Joanne Tompkins , 2001 single work criticism
— Appears in: Theatre Research International , vol. 26 no. 1 2001; (p. 47-59) A consideration of identity formation in contemporary Australian multicultural theatre is offered through a re-assessment of the unsettled (and unsettling) constructions of Australia as 'home' in the work of three playwrights. William Yang's Sadness disrupts a localized perception of home, space, and cultural communities to amalgamate two disparate communities (the queer/homosexual community in Sydney and the Asian-Australian, or 'Austasian' community) into a reconfigured Australian identity. Janis Balodis's The Ghosts Trilogy uses many actors who play across the unsettled lines of history, amid numerous voices, homes, and homelands that indicate the enormity of what 'Australia' comes to signify. Noëlle Janaczewska's The History of Water constructs a way of locating the self by means of a metaphoric home as each character establishes herself on a psychic plane rather than choosing the strictly physical locations to which she has access. In their interrogations of home and homeland, these plays challenge assumptions regarding identity, disrupt notions of the ultimate ownership of land/culture by anyone, and problematize the idea of settlement as it is currently articulated in Australia.
y separately published work icon Unsettling Space : Contestations in Contemporary Australian Theatre Joanne Tompkins , Houndmills : Palgrave Macmillan , 2006 Z1343625 2006 single work criticism
Counter-Monumentalising and Janis Balodis's The Ghosts Trilogy Joanne Tompkins , 2006 single work criticism
— Appears in: Unstable Ground : Performance and the Politics of Place 2006; (p. 81-93)
Different Kinds of Doubling: Comparing Some Uses of Character Doubling in the Ghosts Trilogy, by Janis Balodis, and the Captive, by Ben Ellis Elspeth Tilley , 2012 single work criticism
— Appears in: Australasian Drama Studies , April no. 60 2012; (p. 56-70) 'Character doubling has a contested provenance in theatre studies. On the one hand, it has been identified as a way to subvert naturalisation of socialised roles, foregrounding the performativity that scholars such as Judith Butler have identified as being inherent in everyday identity practices. When actors cross ethnic, class, gender, age or other boundaries to achieve doubled or multiple characterisation within a single performance, they can effectively expose and problematise those boundaries' constructedness. Commenting on Caryl Churchill's Top Girls, for example, Bill Naismith suggests that when doubling is used, it "questions the roles that have been imposed on women, past and present. The doubling of parts by an actor can positively undermine the fixedness of roles"' Similarly, discussing postcolonial theatre, Sue-Ellen Case suggests that doubling can "foreground the fabricated roles ... colonialism creates, distancing identity from biology".' Elspeth Tilley.
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Last amended 17 Dec 2009 13:54:38
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