More Move, More Loss: Lloyd Jones's Mister Pip [A Review]

A review of Lloyd Jones's Mister Pip; winner of the 2007 Commonwealth Writer's Prize and shortlisted for the 2007 Man Booker Prize.

The five myths of academic standards

This script provided the basis for a short DVD produced in 2010. The script and DVD were products of research into the introduction of 'minimum threshold' academic standards to Australian Universities. Learning and teaching academic standards are publicly defensible statements about academic standards in all disciplines, intended to establish 'baseline expectations' for undergraduate and postgraduate degrees. The script was developed using an 'anti-model' approach to character and narrative. This produced a set of deliberately skewed perspectives on the standards initiative, which are intended stimulate discussion and debate on the topic. The DVD has been shown to a range of stakeholder audiences in a variety of academic forums.

Workplace emotion : fear and anger

This original screen drama functioned as the stimulus in an audience response experiment, undertaken as part of research into workplace emotion. Commissioned and scripted by researchers at the University of Queensland and Griffith University, the film portrays the same narrative (a workplace conflict) twice, but played differently each time. The first version is intended to evince in viewers a fear response, and the second, an anger response. In preparing and rehearsing their performance choices, the actors utilised established taxonomies of fear and anger, in order to produce the optimum stimulus for conducting the experiment.

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.

DIScoveringABILITIES : creating interactive performances over the Internet

This article presents a case study that shows how a creative music educator uses the internet to enable participatory performance.

Backseat Drivers

Script for non verbal performance work for young audiences. Three productions by the Queensland Theatre Company 2000-2002. (QTC/QPAC) Out of the Box Festival of Early Childhood 2000. Queensland Arts Council Tours 2000, 2001, 2002. Seoul Arts Centre 2000 Selected by ASSITEJ as a representative script for Australia Set entirely in the backseat of a car, with the road behind appearing on a rear-projection screen, Backseat Driver is the story of two very different children battling the fingerdrumming, motor-humming boredom of a long car trip. Using non-verbal performance, video projection and the music of Cliff Richard, Elvis Presley and the Shadows, Backseat Drivers is a comedy for anyone who has ever asked the question ”are we there yet?”. Exploring the power of creative play, Backseat Driver has enjoyed three productions, including a season for Korean audiences at the Seoul Arts Centre in 2001.

Next Door

A one-man performance for young audiences developed with the support of the Australia Council in 2004. Next Door portrays the same half-hour in the lives of two cowboy neighbours, experienced from both sides of the wall that divides them. It’s a humorous examination of how humanity’s greatest strength – imagination, can be used to distort perception and alienate the ‘other’.

Make do

Script and images from creative development of performance project conducted in February 2005. Supported with a grant from Arts Queensland, this non-verbal, music driven two-hander, designed for young audiences, utilised video projection and the music of Erik Satie and Bill Evans to explore issues around conflict and environment.

Show

Script for non-verbal performance. ----- ----- ----- Research Component: Silent Treatment: Creating Non-verbal Performance Works for Children ----- ----- ----- The research field of theatre for young people draws on theories of child development and popular culture. SHOW explored personal and social development, friendship and creative play through the lens of the experience of girls aged 8-12. This project consolidated and refined innovative approaches to creating non-verbal theatre performance, and addressed challenges inherent in the creation of a performance by adults for young audiences. A significant finding of the project was the unanticipated convergence of creative practice and research into child behaviour and development: the congruence of content (Female bullying) and theatrical form (non-verbal performance: “Within the hidden culture of aggression, girls fight with body language and relationships instead of fists and knives. In this world, friendship is a weapon, and the sting of a shout pales in comparison to a day of someone’s silence. There is no gesture more devastating than the back turning away Simmons, Rachel (2002:3) Odd Girl Out: The Hidden Culture Of Aggression In Girls Schwartz Books The creative development and drafting process focussed on negotiating the conceptual design and practical constraints of incorporating diegetic music and video sources into the narrative. The authorial (and production) challenges of creating a script that could facilitate the re-mount a non-verbal work for a company specialising in text-based theatre . ----- ----- ----- Show was commissioned by the Queensland Theatre Company in 2003, toured into Queensland Schools by the Queensland Arts Council and in 2004 was performed at the Sydney Opera House.

Creating theatre for young audiences : UKULELE MEKULELE and SHOW

A manifesto for creating theatre for young audiences, which also introduces two works by David Megarrity programmed by the Sydney Opoera House in 2004. ----- ----- Presented at educator's forum ‘Creating Theatre for Young People’, Sydney Opera House June 16, 2004

Backseat drivers

Script for non verbal performance work for young audiences. Three productions by the Queensland Theatre Company 2000-2002. ----- ----- ----- (QTC/QPAC) Out of the Box Festival of Early Childhood 2000. Queensland Arts Council Tours 2000, 2001, 2002. Seoul Arts Centre 2000 ----- ----- ----- Selected by ASSITEJ as a representative script for Australia ----- ----- ----- Set entirely in the backseat of a car, with the road behind appearing on a rear-projection screen, Backseat Driver is the story of two very different children battling the fingerdrumming, motor-humming boredom of a long car trip. Using non-verbal performance, video projection and the music of Cliff Richard, Elvis Presley and the Shadows, Backseat Drivers is a comedy for anyone who has ever asked the question ”are we there yet?”. Exploring the power of creative play, Backseat Driver has enjoyed three productions, including a season for Korean audiences at the Seoul Arts Centre in 2001.

Bitter streak

This script, a performative satire on theatre, focussed on 'theatre streaking', was a finalist in the Queensland Theatre Company's George Landen Dann Awards in 2000 (predescessor to the Queensland Premier's Drama Award) ----- ----- ----- It had a workshop reading in 2000 at QTC, with Artistic Director Michael Gow reading the part of the Nude Man.----- ----- ----- It was first performed at QUT in the Woodward Theatre in 2003.

Unlucky for Some : 13 poems by Roger McGough

Inspired by and featuring the poetry of Roger McGough (by permission of the author), Unlucky for Some is a spare, minimalistic work about homelessness, mental illness and class division performed entirely in slow motion. This multimedia work also utilised prerecorded and live feed video and music, and experimented with synchronous and asynchonous live and mediatised performance.