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Production Details
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World premiere commission in partnership with Melbourne International Arts Festival, Malthouse Theatre and Ranters Theatre at the Beckett Theatre, the CUB Malthouse, 113 Sturt Street Southbank, Melbourne, 1-23 October 2010. Director: Adriano Cortese.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Ranters : Rehearsal and Development Process - How Is the Text Enacted?
2019
single work
criticism
— Appears in: Australasian Drama Studies , May no. 74 2019; (p. 243-263)'The article analyses the processes in which my postdramatic plays and performance texts, such as 'St Kilda Tales, Roulette, Holiday' and 'Intimacy', are enacted in order to facilitate live interaction in relation to the audience. The application of everyday aesthetics within narrative and dramaturgical structures provides the performers of a Ranters production with a platform to focus on the moment-to-moment minutiae of actions that take place between them. In the theatre of the everyday that I describe in this essay, the audience members are invited into the same conceptual space and time as the performers, one that sits in the blurred lines between the fictive and the real. Notions of character are completely avoided, and instead the focus is on exploring and realising the possibilities that can be theatricalised by a fluid and open expression of 'self.' (Publication abstract)
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Hyperrealism and the Everyday : The Plays of Ranters Theatre
2017
single work
criticism
— Appears in: Australasian Drama Studies , April no. 70 2017; (p. 134-158) 'This article reflects on the performance texts that I have written and dramaturged with Ranters Theatre over a twenty-two-year period, covering three phases of work, each of which engages everydayness as part of its methodology. A key focus is textual dramaturgy, how the text is constructed, critiqued and dramaturged in order to create a finished performance text of play. Comparison is drawn with other contemporary theatre practitioners in Melbourne and overseas who also engage the everyday as a central component of their raison d'etre.' (Abstract introduction) -
Playing on Both Poetic and Banal
2010
single work
review
— Appears in: The Age , 11 October 2010; (p. 19)
— Review of Intimacy 2010 single work drama -
[Review Essay] Intimacy
2010
single work
review
— Appears in: The Sunday Age , 10 October 2010; (p. 18)
— Review of Intimacy 2010 single work drama -
Rapport Between Strangers Really Captures Imagination
2010
single work
column
— Appears in: The Age , 28 September 2010; (p. 15)
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[Review Essay] Intimacy
2010
single work
review
— Appears in: The Sunday Age , 10 October 2010; (p. 18)
— Review of Intimacy 2010 single work drama -
Playing on Both Poetic and Banal
2010
single work
review
— Appears in: The Age , 11 October 2010; (p. 19)
— Review of Intimacy 2010 single work drama -
Rapport Between Strangers Really Captures Imagination
2010
single work
column
— Appears in: The Age , 28 September 2010; (p. 15) -
Hyperrealism and the Everyday : The Plays of Ranters Theatre
2017
single work
criticism
— Appears in: Australasian Drama Studies , April no. 70 2017; (p. 134-158) 'This article reflects on the performance texts that I have written and dramaturged with Ranters Theatre over a twenty-two-year period, covering three phases of work, each of which engages everydayness as part of its methodology. A key focus is textual dramaturgy, how the text is constructed, critiqued and dramaturged in order to create a finished performance text of play. Comparison is drawn with other contemporary theatre practitioners in Melbourne and overseas who also engage the everyday as a central component of their raison d'etre.' (Abstract introduction) -
Ranters : Rehearsal and Development Process - How Is the Text Enacted?
2019
single work
criticism
— Appears in: Australasian Drama Studies , May no. 74 2019; (p. 243-263)'The article analyses the processes in which my postdramatic plays and performance texts, such as 'St Kilda Tales, Roulette, Holiday' and 'Intimacy', are enacted in order to facilitate live interaction in relation to the audience. The application of everyday aesthetics within narrative and dramaturgical structures provides the performers of a Ranters production with a platform to focus on the moment-to-moment minutiae of actions that take place between them. In the theatre of the everyday that I describe in this essay, the audience members are invited into the same conceptual space and time as the performers, one that sits in the blurred lines between the fictive and the real. Notions of character are completely avoided, and instead the focus is on exploring and realising the possibilities that can be theatricalised by a fluid and open expression of 'self.' (Publication abstract)
Awards
- 2011 shortlisted Victorian Premier's Literary Awards — Prize for Drama
- Urban,
