Louis Nowra, 'Radiance' (Sydney: Currency Press, 1993)

Louis Nowra wrote 'Radiance' especially for the three actors who performed it in the play’s premier season at Belvoir Street Theatre in September 1993. And the Currency Press playscript / programme produced for that season foregrounds these three performers – Rachael Maza, Lydia Miller and Rhoda Roberts – in such a way that the usual distinction between dramatis personae and the actors who play them is considerably diminished. Both the blurb on the back cover and Nowra’s introduction emphasise this special relationship between text and actors, but it is the front cover shot which particularly reflects the conjunction between the two. Rather than depicting a scene from performance, or a ‘graphic’ suggesting something of the play’s thematic content, the front cover of Radiance features the three actors in a posed promotional shot. Arms joined warmly, lovingly, about each other’s waist, bodies turned away from but faces towards the camera, it is the actors we see, not their characters. It’s a very joyful image; they’re positively beaming. Radiant. They look as if they could really be the three half-sisters they portray, except that such moments of blithe sorority are just about non-existent in the play.

'The black hole of our history' : a conversation with Louis Nowra

This is an edited version of an interview recorded for Canadian Theatre Review in 1992. By that time Nowra had established a reputation as one of Australia's foremost playwrights. Part of the generation which succeeded the New Wave of the late 1960s and early 1970s, Nowra became known for a stylistic inventiveness which placed him outside the tradition of realist playwriting in Australia. The international outlook in his early plays, and the fact that he was not exclusively preoccupied with Australian settings and subject matter, was often a focal point in critical accounts of his work. In this interview Nowra discusses his 'internationalism', and a range of topics including the playwriting process; the presence of landscape in his plays; and the autobiographical elements in his work.

To what extent is the Mayer and Salovey (1997) model of emotional intelligence a useful predictor of leadership style and perceived leadership outcomes in Australian educational institutions?

Researchers have found that transformational leadership is related to positive outcomes in educational institutions. Hence, it is important to explore constructs that may predict leadership style in order to identify potential transformational leaders in assessment and selection procedures. Several studies in non-educational settings have found that emotional intelligence is a useful predictor of transformational leadership, but these studies have generally lacked methodological rigor and contextual relevance. This project, set in Australian educational institutions, employed a more rigorous methodology to answer the question: to what extent is the Mayer and Salovey (1997) model of emotional intelligence a useful predictor of leadership style and perceived leadership outcomes? The project was designed to move research in the field forward by using valid and reliable instruments, controlling for other predictors, obtaining an adequately sized sample of current leaders and collecting multiple ratings of their leadership behaviours. The study (N = 144 leaders and 432 raters) results indicated that emotional intelligence was not a useful predictor of leadership style and perceived leadership outcomes. In contrast, several of the other predictors in the study were found to predict leadership style.

Book Review: "Below the Line: Producers and Production Studies in the New Television Economy by Vicki Mayer", Duke University Press, 2012

Vicki Mayer’s book is unusual in that, despite its title, it is not about television producers at all, or at least not in the sense that scholars and the television industry itself have traditionally understood the role. Rather than referring to those in creative, managerial or financial control, or those with substantial intellectual input into a program, Mayer uses the term in a deliberately broad sense to mean, essentially, anyone ‘whose labor, however small, contributes to [television] production’ (179).