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One-woman play, written by and for Leah Purcell, which draws on her experiences growing up, her relationship with her mother, and the contrast between her country upbringing and city life.
Dedication: To Dad, Patrick, Rodney, Elaine, Oriel, Colleen, Lesley and Debra 'as I saw it'.
To the loving memory of my darling, courageous mother, Florence Faith Chambers 1928 to 1988.
This play was commissioned by the Sydney Organising Committee for the Olympic Games as part of the Sydney 2000 Cultural Olympiad and the Olympic Festivals.
Notes to the Play by Robyn Sheahan-Bright (pp.127-139).
Further reading (pp.140-143).
Production Details
First produced at the Sydney Opera House's Festival of the Dreaming, September 1997 by Performing Lines Ltd. Directed by Sean Mee. Subsequently produced across Australia including the Adelaide Festival, 1998, the Edinburgh Festival and in London and Germany.
Contents
* Contents derived from the Sydney,New South Wales,:Hodder Headline,1999 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Talkin’ Blak : Humour in Indigenous Australian Theatre, 1970−2000Karen Austin,
2015single work criticism — Appears in:
Philament,February
no.
202015;(p. 129-164)'This paper looks at the renaissance of Indigenous Australian theatrical performance, from the early 1970s to its prominence in the lead-up to the Sydney 2000 Olympic Games. It focuses on the specific ways that humour has been used by Indigenous Australian performing artists to highlight unpleasant social issues in their communities, such as poverty, alcohol abuse, and the removal/stealing of children from their families. In conjunction with witty repartee, visual comedy both in movement and mimicry is often used by Indigenous performers. Philosopher Henri Bergson, well-known for his contributions to humour studies, claims that the physical humour in inflexible, repetitive, or exaggerated movements is inherently funny. Bergson argues that rigidity of movements or “something mechanical encrusted on the living” makes comedians appear inhuman and, as a consequence, this makes people laugh. Contemporary philosopher and humour theorist Simon Critchley notes that the opposite is also true: We often find it funny when people give the impression of being all too human. For Critchley, the recognition of predictable behaviours is just as funny as any automated actions.' (129-130)
Animal Handlers : Australian Women Writers on Sexuality and the Female BodyOdette Kelada,
2012single work criticism — Appears in:
Outskirts : Feminisms along the Edge,Mayvol.
26no.
2012;'The year 2011 saw the igniting of mass protest around the issue of sexual double standards for women with numerous marches worldwide called 'SlutWalks'. Thousands of women across a range of countries including America, Europe, Britain and Australia took to the streets to defend the right of women to dress and behave freely without stigmatisation and violence. The 'SlutWalks' started in reaction to a local policeman in Toronto telling a class of college students to avoid dressing like 'sluts' if they did not wish to be victimised (SlutWalk Toronto site). The public protest in response to this incident demonstrates resistance to historically embedded discourses that demean women's sexuality and blame women for abuse and rape they suffer. Terms such as 'slut' perpetuate a virgin/whore dichotomy fundamental to the oppression of female sexual self-expression. These marches are a recent example that follows on from a tradition of mass protests for women's sexual equality and right to safety such as 'Reclaim the Night'. Drawing on writing and conversations with poets Dorothy Porter and Gig Ryan, novelists Drusilla Modjeska, Kate Grenville, Carmel Bird and Melissa Lucashenko and playwright, Leah Purcell, this article offers insights into individual creative women's responses to this theme of women's sexuality. I argue that the work and ideas of these women are examples of the unique and powerful dialogue that can happen through a focus on creativity and female stories in Australia.' (Author's introduction)
Coming Soon1999single work review — Appears in:
The Sunday Age,7 March1999;(p. 23) — Review of
Box the PonyLeah Purcell,
Scott Rankin,
1997single work drama
Coming Soon1999single work review — Appears in:
The Sunday Age,18 April1999;(p. 19) — Review of
Box the PonyLeah Purcell,
Scott Rankin,
1997single work drama