La truffe noire et les truffières rationnelles dans le départment de Vaucluse, contenant une préface sur la mutualité agricole ...

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Amour et sexualité dans "La Fraise noire" et "La Demoiselle sauvage" de Corinna Bille

Ce mémoire s’intéresse au traitement des thèmes de l’amour et de la sexualité dans les recueils La Fraise noire et La Demoiselle sauvage, de Corinna Bille. Privilégiant une approche thématique, inspirée de la démarche de Jean-Pierre Richard, l’analyse vise à montrer que les nouvelles inscrivent les thèmes de l’amour et de la sexualité dans la perspective plus vaste d’une quête d’unité, qui à la fois leur donne forme et les dépasse. Amour et sexualité seraient ainsi pensés en fonction d’une communion idéale de conscience et de corps avec l’aimé, qui permettrait aux personnages de renouer avec une unité d’avant la faute. L’échec de cette tentative, manifesté par la désillusion amoureuse et la mort finale des amants, amène à interroger les rapports entre innocence et connaissance, fantasme et désillusion, origine et fin, qui structurent l’ensemble des nouvelles. L’hypothèse démontrée au fil du travail est que la quête d’unité reproduit une logique cyclique : confrontés dans le monde terrestre à l’impossibilité de rejoindre l’autre, les personnages tendent vers une mort pensée non seulement comme fin, mais également comme possibilité de renouer avec l’unité primordiale. Dans un premier temps, l’analyse se concentre sur les présages de la désillusion amoureuse disséminés à même la quête d’unité des personnages, et révèle que l’idéal poursuivi porte en lui son propre échec. Dans un deuxième temps, le mémoire s’efforce de relever les diverses réappropriations textuelles de la chute chrétienne, pour montrer comment la désillusion amoureuse s’articule autour de la dichotomie biblique entre innocence et connaissance, et comment les personnages parviennent à la dépasser dans leur quête d’un au-delà terrestre ou céleste.

Crowning glory at harvest time

Review of 'The Pineapple Queen', La Boite Theatre Company, published in The Australian, 31 July 2009.

‘Speed blurs emotional effect’

Review of 'The Kursk', La Boite Theatre Company, published in The Australian, 3 September 2009.

Epic too large for the stage [REVIEW]

Review of 'The White Earth', La Boite Theatre Company, published in The Australian, 25 February 2009.

Mrs Klein

Described as ‘ferociously sharp’, Crossbow Production’s Mrs Klein is about the formidable psychoanalyst Melanie Klein whose ruthlessly ‘objective’ case studies of her children won her acclaim as both an inspiring and appalling woman. Did her ‘study’ drive her son to suicide? Starring Therese Collie (La Boite), Louise Brehmer (QTC, La Boite) and Caroline Beck (New York Broadway credits). Directed by Dr Christian Heim. Live classical music and sharp wit combine to make this a memorable production.

Hoodie-wearing Hamlet mixes horror with humour in a play for our times [REVIEW]

Hamlet By Shakespeare. La Boite Theatre Company, Brisbane, February 10 LA Boite Theatre Company begins this year's season with a new look, a new logo and a new interpretation of Hamlet directed by artistic director David Berthold. In this production, Berthold contemporises Shakespeare's tragedy by focusing on the family relationships and introducing modern references in the set, sound and costume design: this Hamlet wears jeans and a hoodie.

Contemporary take on deconstructed Medea : a review

THEATRE: The New Dead: Medea Material. By Heiner Muller. Stella Electrika in association with La Boite Theatre Company, Brisbane, November 19. THERE has been a lot of intensity in independent theatre in Brisbane during the past year, as companies, production houses and producers have begun building new programs and platforms to support an expansion of pathways within the local theatre ecology. Audiences have been exposed to works signalling the diversity of what Brisbane theatre makers want to see on stage, from productions of new local and international pieces to new devised works, and the results of residencies and development programs. La Boite Theatre Company closes its inaugural indie season with a work that places it at the contemporary, experimental end of the spectrum. The New Dead: Medea Material is emerging director Kat Henry's interpretation of Heiner Muller's 1981 text Despoiled Shore Medea Material Landscape with Argonauts. Start of sidebar. Skip to end of sidebar. End of sidebar. Return to start of sidebar. Muller is known for his radical adaptations of historical dramas, from the Greeks to Shakespeare, and for deconstructed texts in which the characters - in this case, Medea - violently reject the familial, cultural and political roles society has laid out for them. Muller's combination of deconstructed characters, disconnected poetic language and constant references to aspects of popular culture and the Cold War politics he sought to abjure make his texts challenging to realise. The poetry entices but the density, together with the increasing distance of the Cold War politics in the texts, leaves contemporary directors with clear decisions to make about how to adapt these open texts. In The New Dead: Medea Material, Henry works with some interesting imagery and conceptual territory. Lucinda Shaw as Medea, Guy Webster as Jason and Kimie Tsukakoshi as King Creon's daughter Glauce, the woman for whom Jason forsakes his wife Medea, each reference different aspects of contemporary culture. Medea is a bitter, drunken, satin-gowned diva with bite; Jason - first seen lounging in front of the television with a beer in an image reminiscent of Sarah Kane's in-yer-face characterisation of Hippolytus in Phaedra's Love - has something of the rock star about him; and Glauce is a roller-skating, karaoke-singing, pole-dancing young temptress. The production is given a contemporary tone, dominated by Medea's twisted love and loss, rather than by any commentary on her circumstances. Its strength is the aesthetic Henry creates, supported by live electro-pop music, a band stage that stands as a metaphor for Jason's sea voyage, and multimedia that inserts images of the story unfolding beyond these characters' speeches as sorts of subconscious flashes. While Tsukakoshi is engaging throughout, there are moments when Shaw and Webster's performances - particularly in the songs - are diminished by a lack of clarity. The result is a piece that, while slightly lacking in its realisation at times, undoubtedly flags Henry's facility as an emerging director and what she wants to bring to the Brisbane theatre scene.

Contemporary take on Caesar a triumph of style over substance [Review]

AFTER a great deal of success with last year's "emo" adaptation of Hamlet, David Berthold begins La Boite Theatre Company's 2011 season, his second season at the helm, with an adaptation of Julius Caesar.

Small, Medium, Large: Theatre Companies and Issues of Scale - A Case Study of a Medium-Sized Company

'Surviving but not thriving.' Tbat is the message about small to mediumsized companies that Ian McRae, Chair ofthe Theatre Board of the Australia Council, has been delivering since 2003. In the Theatre Board Assessment Meeting Report of 2007, McRae strongly urged renewed financial support for this most important sector given the significant decrease over the last 10 years and the consequent decrease in new Australian works being produced. Without such support his prediction is that'considerable damage could be done to the creative infrastructure across Australia resulting in a loss of artistic vibrancy down the track that could be very difficult to recover' (McRae, 2007:3).

Red cap

The field of research is contemporary theatre practice with a community focus. In 2007, La Boite Theatre Company partnered with the Queensland Music Festival to produce an operatic representation of the 1964 Mt Isa industrial dispute, focussed on the charismatic figure of Pat Mackie. “Community theatre” is often criticised on grounds that the work aims only to satisfy community outcomes. This work explored whether a story from a specific location, which is very much an embedded story in the culture of the Mt Isa community, could be told in such a way as to appeal to, resonate with, and have relevance for, broader national and international audiences. To address this question required rigorous interrogation of both content and form. The play was researched through interviews with members of the Mt Isa community, political leadership at the time of the dispute, and participants of the dispute, including Pat Mackie himself. The production was then framed as an oratorio. Uniquely, the play had two back-to-back seasons; the first in Mount Isa (3 shows: 1500 people including a significant number of school children) and a 4-week season at the Roundhouse Theatre, Brisbane (over 5,000 attendances). In each location, a chorale was formed of community participants who, alongside the professional cast, performed the work. The production and its complementary exhibition had a significant local and national profile. The project was featured in The Australian newspaper’s Queensland Music Festival wrap-up as an exemplar of successful community engagement and creative adventure. Playlab Press has since published the script.

Johnno

The field of research was internationally-oriented contemporary theatre practice. The research challenge was to adapt an iconic Queensland novel – David Malouf’s Johnno - to the stage in a way that would engage, resonate with and be relevant to national and international audiences. This project represented an international collaboration between La Boite Theatre Company, the Derby Playhouse, UK, and the Brisbane Festival. It was the first time that an English and an Australian company had collaborated in such a way, sharing both creative vision and financial costs and providing performances on both continents. The production was well received in both countries, suggesting that a culturally idiosyncratic work such as Johnno can be created that can fulfil not only the needs of the localised audience but also have broad global cultural resonance. The work was performed at the Brisbane Festival and the Derby Playhouse. In Brisbane, it was performed at the Brisbane Powerhouse as the signature work of the 2006 festival, with 30 performances, receiving favourable national reviews and achieving 90% box office. In the UK, it was performed at the Derby Playhouse for 22 performances, once again to favourable national reviews and 60% audiences, a good result for a new work in a regional theatre in the UK. The success of Johnno was also in the power of the collaboration between the three creative companies involved in the work.

Oodgeroo : bloodline to country

In 2009, the researcher acted as director and dramaturg for the development of Sam Watson’s play, Oodgeroo: Bloodline to Country, culminating in a season at La Boite Theatre. This project represents the first time notions of Aboriginal politics were seriously questioned. It aimed to illuminate a key divide in the way Australian indigenous people, and the wider Australian community, deal with issues of grief and outrage – the way of resistance and revolution, or the way of reconciliation and education. The work sought to combine specific cultural artefacts belonging to the Noonuccal people and the family of Oodgeroo of the Noonuccal (Kath Walker) with traditional and contemporary ideas and performance forms.

Loss and grief at the heart of text messages [REVIEW]

WHAT if you lost someone you loved? What if you had to let go for the sake of your own sanity? Lachlan Philpott's Colder and Dennis Kelly's Orphans, playing as part of La Boite's and Queensland Theatre Company's independents programs, are emotionally and textually dense theatrical works...

Colour and Camp Bring Shakespeare’s As You Like It to Life

As You Like It By Shakespeare. La Boite Theatre Company, Brisbane, February 24. DURING the past three years, La Boite Theatre Company has started each season with a modern adaptation of a Shakespearean favourite. This time, director David Bertold's choice is not a tragedy but As You Like It, a comedy about love's twists and turns in which a strong female figure, Rosalind, takes the leading role...