Compass points : the locations, landscapes and coordinates of identities in contemporary performance making : proceedings of the Australasian Association for Theatre, Drama & Performance Studies (ADSA) Conference 2012

Compass Points: The Locations, Landscapes and Coordinates of Identities' the Australasian Association for Theatre, Drama and Performance Studies (ADSA) Conference 2012 was held at Queensland University of Technology, July 3-6 2012. The Conference was sponsored by the Australasian Association for Theatre, Drama and Performance Studies (ADSA), Queensland University of Technology (QUT), Ian Potter Foundation, Arts Queensland, La Boite Theatre Company and Queensland Theatre Company. The papers selected for this collection represent a small sample of the scope, depth and diversity of scholarship presented at the conference - they cover a range of genres, cultures and contexts in contemporary performance making from autobiography, to playwrighting, to public space performance and beyond. The papers collected have been peer-reviewed to Australia’s Department of Education, Science and Training (DEST) standards - each has been subject to two blind reviews, followed by acceptance, rejection or revision, and editing of accepted papers - by colleagues from Australasia and overseas. The review process for the conference publication was separate from the review process for acceptance of abstracts for the actual conference presentations. The conference convenors, Bree Hadley and Caroline Heim, edited the collection, and would like to thank all those who gave their time to advise on the peer review process and act as reviewers - Tom Burvill, Christine Comans, Sean Edgecomb, Angela Campbell, Natalie Lazaroo, Jo Loth, Meg Mumford, Ulrike Garde, Laura Ginters, Andre Bastian, Sam Trubridge, Delyse Ryan, Georgia Seffrin, Gillian Arrighi, Rand Hazou, Rob Pensalfini, Sue Fenty-Studham, Mark Radvan, Rob Conkie, Kris Plummer, Lisa Warrington, Kate Flaherty, Bryoni Tresize, Janys Hayes, Lisa Warrington, Teresa Izzard, Kim Durban, Veronica Kelly, Adrian Keirnander, James Davenport, Julie Robson and others. We, and the authors, appreciate the rigour and care with which peers have approached the scholarship presented here. This collection was published in final form on July 3rd 2012, the first day of the ADSA Conference 2012.

Dramatic teaching : focussing on drama, theatre, and performance in higher education

This 90 minute panel session is designed to explore issues relating to the teaching of drama, performance studies, and theatre studies within Higher Education. Some of the issues that will be raised include: developing an understanding of the learning that students believe they are experiencing through performance; contemporary models for teaching; and the suggestion that the body can be an important site for acquiring a variety of different knowledges. Paul Makeham will present a general position paper to commence the session (15 minutes). Maryrose Casey, Gillian Kehoul, and Delyse Ryan will each speak briefly (15 minutes) about aspects of their research into Higher Education teaching before opening the floor for a round-table discussion of issues affecting the teaching of these disciplines.

Industrial Relations: Proceedings from the 1999 Australasian Drama Studies Association Conference

These papers were presented at “Industrial Relations”, the Australasian Drama Studies Association conference hosted by Theatre & Teaching Studies in the Academy of the Arts, Queensland University of Technology, from the 5th to the 9th of July, 1999. Conference delegates included scholars and artists from across the tertiary education and professional theatre sectors, including, of course, many individuals who work across and between both those worlds. More than a hundred delegates from Australia, New Zealand, England, Belgium and Canada attended the week’s events, which included: • Over sixty conference papers covering a variety of topics from project reports to academy/industry partnerships, theatre history, audience reception studies, health & safety, cultural policy, performance theory, theatre technology and more; • Performances ranging from drama to dance, music and cabaret; • Workshops, panel discussions, forums and interviews; • Keynote addresses from Wesley Enoch, Josette Feral and Keith Johnstone; and • A special “Links with Industry” day, which included the launch of ADSA’s “Links with Industry” brochure, an interview between Mark Radvan and David Williamson, and a panel session featuring Jules Holledge, Zane Trow, Katharine Brisbane, John Kotzas, Gay McAuley and David Watt.

‘Wide Atlantic Ocean’ : acting methods and cultural translation in mainstream theatre

A recent production of Nicholson’s Shadowlands at the Brisbane Powerhouse could have included two advertising lines: “Outspoken American-Jewish poet meets conservative British Oxford scholar” and “Emotive American Method trained actor meets contained British trained actor.” While the fusion of acting methodologies in intercultural acting has been discussed at length, little discussion has focussed on the juxtaposition of diverse acting styles in production in mainstream theatre. This paper explores how the permutation of American Method acting and a more traditional British conservatory acting in Crossbow’s August 2010 production of Shadowlands worked to add extra layers of meaning to the performance text. This sometimes inimical relationship between two acting styles had its beginnings in the rehearsal room and continued onstage. Audience reception to the play in post-performance discussions revealed the audience’s acute awareness of the transatlantic cultural tensions on stage. On one occasion, this resulted in a heated debate on cultural expression, continuing well after the event, during which audience members became co-performers in the cultural discourses of the play.

Theatre, social media and spectatorship : translating commentary, critique and controversy across media

The occasional ArtsHub article asking spectators to show respect for stage by switching all devices off notwithstanding, in the last few years we have witnessed an clear push to make more use of social media as a means by which spectators might respond to a performance across most theatre companies. Mainstage companies, as well as contemporary companies are asking us to turn on, tune in and tweet our impressions of a show to them, to each other, and to the masses – sometimes during the show, sometimes after the show, and sometimes without having seen the show. In this paper, I investigate the relationship between theatre, spectatorship and social media, tracing the transition from print platforms in which expert critics were responsible for determining audience response to today’s online platforms in which everybody is responsible for debating responses. Is the tendency to invite spectators to comment via social media before, during, or after a show the advance in audience engagement, entertainment and empowerment many hail it to be? Is it a return to a more democratised past in which theatres were active, interactive and at times downright rowdy, and the word of the published critic had yet to take over from the word of the average punter? Is it delivering distinctive shifts in theatre and theatrical meaning making? Or is it simply a good way to get spectators to write about a work they are no longer watching? An advance in the marketing of the work rather than an advance in the active, interactive aesthetic of the work? In this paper, I consider what the performance of spectatorship on social media tells us about theatre, spectatorship and meaning-making. I use initial findings about the distinctive dramaturgies, conflicts and powerplays that characterise debates about performance and performance culture on social media to reflect on the potentially productive relationship between theatre, social media, spectatorship, and meaning making. I suggest that the distinctive patterns of engagement displayed on social media platforms – including, in many cases, remediation rather than translation, adaptation or transformation of prior engagement practices – have a lot to tell us about how spectators and spectator groups negotiate for the power to provide the dominant interpretation of a work.

‘Open sesame!’ How panto can pave the way for inclusion in theatre

This paper examines how ‘relaxed performances’ are being offered by an increasing number of mainstream theatres so children with complex individual needs and their families can enjoy the social and cultural experience of live theatre. The paper explains the origins of the relaxed performance initiative, what such performances entail and how they can contribute to both children’s learning and the cause of social justice. A case study is made of how one medium sized provincial theatre offered a relaxed performance of its annual pantomime in the 2013-14 season and the impact its subsequent 2014-15 production has had on families living with autistic spectrum disorder.