Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
See how it Runs
When it burst onto the Sydney theatre scene in 1970, Nimrod was the place to be. As author Julian Meyrick observes, it had élan, pace and style. Its language was blue (on and off stage), its personnel young and good-looking, and it vibrated colour and energy. It was upbeat. It was hot. For the rest of the decade, Nimrod continued to be in the right place at the right time. It moved to a bigger building in 1974 and its output, its structure and even its funding seemed set to grow forever. This book tells the story of Nimrod from its genesis as a small company full of ideas and energy to its third bankruptcy in 1985 and the departure of its longest-serving director, John Bell. In a story told...
Theatre and Australia
How has Australia developed, culturally? What is the relationship between European theatre and Aboriginal performance? How do the concepts of memory, space, and love intersect and inform all Australian drama? Theatre and Australia is a stark look at the signal contradictions that make up the nation's sense of self. Exploring how race, gender, and community have influenced Australia's cultural development, this book reveals the history of Australian theatre as a tussle with questions of identity that can neither be entirely repudiated nor fully resolved. This concise study traverses the narrative of Australian theatre since white settlement, examining some of the main plays and performances of the last 230 years, and illuminating the relationship between European, non-Indigenous, and First Nations drama.
The Retreat of Our National Drama
A rising controversy has arisen regarding the repertoire of our national stages: a debate around a mainstage vogue for resetting familiar international classics in an Australian context and the playwrights who believe their work is being depreciated. Julian Meyrick believes the cause goes much deeper than the present quarrels. The adaptations issue, he writes, is a symbol of loss within the Australian dramatic consciousness. It is not about defending Tennessee Williams over David Williamson; but about the value of our national drama. Audiences no longer understand the difference between making a new play and buying an old one. Something crucial has been lost, about our ability and need to nurture and produce original drama; and public policy has been a contributor. To remedy this, he concludes, we need a national theatre. Not a building or a company but a co-commissioning, co-production house that will address, seriously, the growth of our own classic repertoire.
Australia in 50 Plays
AUSTRALIA IN 50 PLAYS is Julian Meyricks lively and accessible account of the remarkable relationship between our national drama and our national life, examining fifty outstanding plays of diverse content and style that have appeared in the 120 years since Federation. Energetic, entertaining and original, Meyrick shows the key contribution drama has made to the development of modern Australia through its role in the major issues of the twentieth and twenty-first centuries: the impact of two world wars, the ravages of the Great Depression, the changing role of women, the gradual acknowledgement of First Nations culture, the social liberation of the 1970s, and the economic rationalism of the 1990s. It argues for an expansive idea of nationhood as a key driver of debate in the political, social and cultural challenges that face contemporary Australia, while exploring the surprising links between our drama, our history and our collective life.
Playing Australia
Playing Australia explores the insights and challenges that Australian theatre can offer the international theatre community. Collectively, the essays in this book ask what Australian drama is, has been, and might be, both to Australians and non-Australians, when it is performed in national and international arenas. Playing Australia ranges widely in its discussions and includes analysis of Australian practitioners playing away from home; playing with Australian stereotypes; and the relationship between play, culture, politics and national identity. Topics addressed in this diverse collection include: whiteness, otherness and negotiations of Aboriginal and Asian identities; Australian school...
Australian Theatre After the New Wave
Australian Theatre after the New Wave charts the history of three ground-breaking Australian theatre companies, the Paris Theatre (1978), the Hunter Valley Theatre (1976-94) and Anthill Theatre (1980-94), analysing the growing dominance of government in shaping the nation's theatre.
Sharp: 1942-1979
Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. In this first of two volumes, Lowell Tarling offers us a way into the enigmatic and reclusive artist, through interviews with Sharp and all of his trusted friends, including artists Tim Lewis, Peter Kingston, Garry Shead, photographers Greg Weight, Jonny Lewis and William Yang, film-maker Phillippe Mora, actor L...
Sharpest
Lowell Tarling recorded Martin Sharp's life, and his effect on his friends, over twenty years. Now two volumes in one, in advance of the film of these books - GHOST TRAIN... Sharp: The Road to Abraxas - Part One, 1942-1979 Sharper: Bringing It All Back Home - Part Two, 1980-2013 'Like the Ancient Mariner, it's also a ghastly tale. I could understand the events at Luna Park a bit. I was trying to understand them and then suddenly there was this poetic language working to say: this is a crucifixion, Golgotha, death by fire. And then it starts to fit into Apocalyptic vision. It was Abraxas if you like - the dark face and the light face. To look upon Abraxas is blindness. To know it is sickness. To worship it is death. To fear it is wisdom. To assist it not is redemption. I don't know what it means. I've never been able to work it out. You get a Pop Art Parallel. It was the Year of the Child, the place of Golgotha, the Place of the Skull, and the Ghost Train. You then get these events that are caused by plotting, not caring for kids, carelessness, living a human life - the way of the world.' - Martin Sharp, 4 March 1984
What Future for the Arts in a Post-Pandemic World?
In the first issue of this volume, Imagination, the Arts and Economics, philosopher Richard Bronk, economist John Quiggin, satirist Jonathan Biggins and Pub Choir director, Astrid Jorgensen, explore the unique role the arts can play in shaping the future as Australia reopens after a turbulent global pandemic.
Performance and the Politics of Space
This collection asks what's at stake when a theatrical space is created and when a performance takes place: under what circumstances the topology of theatre becomes political. It visits a politics of inclusion and exclusion, of distributions and placements, and of spatial appropriation and utopian concepts in theatre history and contemporary performance.
