Ceiling interior, Raun Raun Theatre, Goroka

View of carved king post from interior.

Ceiling interior, Raun Raun Theatre, Goroka

View to underside of thatched roof with king post and bracing.

Australia’s Lily Brayton: Performer and theatre artist

Recognition is the aim of this account of an artist who is now remembered largely for her beauty, her wide iconic fame achieved by mass distribution of her image via photography and postcards, and her professional association with a internationally prominent producer who was also her husband. It is however a historically situated study, confining itself to readings of the kind of theatrical, social and cultural work performed by Brayton's presence in a rapidly-modernising Australia during the period between Federation in 1901 and the first World War, which event marks a disjuncture in the patterns of entertainment and cultural discourse in the new nation. Pre-war Australian theatre and vaudeville managements competed vigorously to secure the most acclaimed artists, seeing it as a kind of service and duty to boost their country's prestige along with their own coffers. Meanwhile, local playwrights and producers promoted a burgeoning repertoire of Australian dramas and films which played alongside the imported products in a complex network of cultural codes and affects.

Florestan Fernandes and Interpretations of Brazil

Essays that became known as ""interpretations of Brazil"" appeared mostly between the proclamation of the Republic in 1889 and the spurt in academic life in the 1930s and later. These essays sought an overall analysis of Brazil. However, as universities developed, works of this kind began to lose ground to monographs with more circumscribed aims. The sociologist Florestan Fernandes greatly influenced this development, but his last important work, A revolucao burguesa no Brasil (The Bourgeois Revolution in Brazil), written after the military coup of 1964, differs from his other works, as is indicated by its subtitle, ""an essay of sociological interpretation."" On the one hand lies the ""essay,"" on the other the ""sociological interpretation."" The former allows him to ""interpret Brazil,"" but he does so with the eyes of a sociologist. Establishing a dialogue between A revolucao burguesa no Brasil and other interpretations of Brazil such as those of Prado Junior, Vianna, Buarque, and Freyre reveals the significance of this distinction.

Grainger as an interpreter of Grieg

Piano performances; Grieg's Piano Concerto in A minor; Op. 16 (Music); Norwegian Bridal Procession, Op. 19 no. 2 (Music)

Anxious futures: Magpie2 and 'new generationalism' in Australian youth-specific theatre

The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre, for, by, and about young people outside the school context. Instead, 'new generation' approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural 'generationalism', particularly in larger arts organization as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a 'new generation' approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.