'2022 marks the 50th anniversary of the opening up of relations between Australia and the People’s Republic of China. When he became prime minister in 1972, Gough Whitlam sent the first ambassador to China (Dr Stephen Fitzgerald), and in his term of office established support for artists’ exchanges from the Australia Council. The Australian Ballet visited China in 1980, the first major ballet company to tour since the Cultural Revolution. The touring of China by Australian theatre, opera and dance companies has flourished since then, particularly over the last decade, and Australian spoken-word drama has featured in the relationship between the two countries since 1983. Since the 1980s, the work of the New Wave dramatists has captured the interest of Chinese audiences over a sustained period beyond the years of the New Wave itself. The theatre has, in some respects, provided a respite from the rigours of realpolitik and most importantly a means of genuine interaction between ordinary Australians and Chinese citizens who make up the audiences. This article documents the take-up of the New Wave drama in China, and the legacy of the relationships created in this formative period of Australian theatre in its international context.' (Publication abstract)
'2022 marks the 50th anniversary of the opening up of relations between Australia and the People’s Republic of China. When he became prime minister in 1972, Gough Whitlam sent the first ambassador to China (Dr Stephen Fitzgerald), and in his term of office established support for artists’ exchanges from the Australia Council. The Australian Ballet visited China in 1980, the first major ballet company to tour since the Cultural Revolution. The touring of China by Australian theatre, opera and dance companies has flourished since then, particularly over the last decade, and Australian spoken-word drama has featured in the relationship between the two countries since 1983. Since the 1980s, the work of the New Wave dramatists has captured the interest of Chinese audiences over a sustained period beyond the years of the New Wave itself. The theatre has, in some respects, provided a respite from the rigours of realpolitik and most importantly a means of genuine interaction between ordinary Australians and Chinese citizens who make up the audiences. This article documents the take-up of the New Wave drama in China, and the legacy of the relationships created in this formative period of Australian theatre in its international context.' (Publication abstract)
