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Make it Australian
The Australian Performing Group, or APG, helped to bring about a profound change in Australian theatre and nurtured the talents of a generation of writers and performers who have become household names including Max Gillies, David Williamson, Graeme Blundell, Jack Hibberd, Sue Ingleton and Grieg Pickhaver (aka H G Nelson). Yet to date the only published full-length accounts of the group have been written by former members. "Make it Australian!" gives an outsider's view of this influential group and the social, political and cultural context in which it operated. Through its observation of the personalities, conflicts and ideologies embedded in the APG, it challenges myths, reveals paradoxes and investigates divergences between the professed aims of its members and what the group did. This is the first critical history of APG and the book traces the group's development from its beginnings at La Mama Theatre in 1968 through its flowering at the Pram Factory and to its demise in 1981. It draws on interviews with key members, reviews of productions and an analysis of significant plays.
COVID-19, Law, and Regulation
COVID-19 is the most severe pandemic the world has experienced in a century. This book analyses major legal and regulatory responses internationally to COVID-19, and the impact the pandemic has had on human rights and freedoms, governance, the obligations of states and individuals, as well the role of the World Health Organization and other international bodies during this time. The authors examine notable legal challenges to public health measures enforced during the pandemic, such as lockdown orders, curfews, and vaccine mandates. Importantly, the book contextualizes the legal analysis by examining the broader social and economic dimensions of risks posed by the pandemic. The book consider...
Wolf, No Wolf
A half-Indian, half-French deputy with “a shrewd mind and wry sense of humor” investigates a case of homicide on the range (The New York Times Book Review). Two men have been cutting fences at the ranches of Toussaint, Montana, loosing thousands of dollars’ worth of cattle to use as target practice for their .22 rifles. Are they thieves? Pranksters? Local cattle inspector and sometime deputy Gabriel Du Pré guesses they’re environmentalists, agitating for the reintroduction of native wolves to Montana’s high plains. Du Pré knows the perpetrators are trying to send a message to the ranchers of eastern Montana—he also has a hunch they’re already dead. When the activists are inde...
Radical Visions 1968-2008
Preliminary Material -- List of Figures -- Series Editor's Preface -- Acknowledgements -- Introduction -- The International Generation of 1968: Theatre and Culture -- The Australian Performing Group and Its Legacy, 1968-2008 -- Williamson in the Howard Years -- John Romeril - The Asian Australian Journey -- A Parallel Forty-Year Female Narrative with Alma De Groen -- Richard Murphet and the Wounded Subject -- Jenny Kemp - On the Edge -- Stephen Sewell and the State of the Nation -- Conclusion -- Bibliography -- Index.
A Cultural History of the Bushranger Legend in Theatres and Cinemas, 18282017
‘Outlaw Nation’ is a multidisciplinary investigation into the history of cultural representations of the bushranger legend on the stage and screen, charting that history from its origins in colonial theatre works performed while bushrangers still roamed Australia’s bush to contemporary Australian cinema. It considers the influences of industrial, political and social disruptions on these representations as well as their contributions to those disruptions. The cultural history recounted in ‘Outlaw Nation’ provides not only an insight into the role of popular narrative representations of bushrangers in the development and reflection of Australian character, but also a detailed case study of the specific mechanisms at work in the symbiosis between a nation’s values and its creative production.
Acts of Resistance in Late-Modernist Theatre
In Acts of Resistance in Late-Modernist Theatre, Richard Murphet closely analyses the working processes of three ground-breaking late-modernist artists: Richard Foreman, Jenny Kemp and Richard Murphet. He examines their methodologies as writer/directors to gain a deeper understanding of recent experiments in theatre practice.
