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.

���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.

Performance Research in Rangeland Communities

In 2003, Bill Dunstone, John McCallum and Paul Makeham began a collaboration with researchers at the Centre for the Management of Arid Environments (CMAE) in Kalgoorlie, Western Australia. CMAE researchers are keen to develop 'people-oriented' strategies for implementing agricultural extension initiatives in their region. Traditional hierarchies of knowledge-transfer have impeded the 'connectedness' between community and researchers that gives meaning and relevance to useful practice (Ison and Russell, 2000). Our aim is to establish a partnership between the Live Events Research Network (LERN) and CMAE, investigating ways to link creative, performance-based research and practice with the scientific methodologies associated with natural resources management. This accords with recent work undertaken by Deborah Mills and Paul Brown, showing how community cultural development strategies enhance the implementation of policy concerned with community wellbeing. Mills and Brown 'adopted a concept of wellbeing which builds on a social and environmental view of health', and considered such themes as ecological sustainability, rural economic revitalisation, community strengthening, health and wellbeing (Mills, 2003). We propose that rangeland communities can creatively manage some of the challenges confronting them through performance-based projects which: - activate the stories through which a community enacts its sense of place; - facilitate live events in which the community enacts ownership of its culture and identity; - directly involve the community in the formulation of research issues

Revisiting Industrial Relations

In 1999 I convened Industrial Relations, the annual ADSA Conference hosted by QUT in Brisbane. This event was promoted as ���a conference exploring the links between theatre scholarship and professional theatre practice���. As well as academics, there was to be substantial representation by ���industry professionals���, although interest from the latter category turned out to be modest. One day of the conference was designated a special ���Links with Industry��� day, during which the Association launched its now defunct ADSAIL (ADSA Industry Links) initiative. Keynote speaker Wesley Enoch commented on ���the very strong resistance in ���the industry��� to acknowledging any role of academics���. ���What is the practical role of having them?��� he asked the ���them��� gathered before him. In a letter declining our invitation to speak (he later changed his mind), David Williamson remarked that he always felt ���uneasy at such conferences���: My view of my work is that I���ve successfully filled theatres for 30 years now, something dramatists are supposed to do. I suppose there���s part of me that hopes this will be celebrated. It often is, but rarely in academic drama departments ���. Perhaps in fifty years time someone in academe will realise that I wasn���t just reinforcing the attitudes of the Anglo Celtic ruling class. Several years on it seems timely to revisit Industrial Relations; to look again at the extent to which problems of intercultural communication between industry and academy are being addressed. And what are the implications of this for the ADSA History project, which seeks to investigate ADSA���s contribution to the development of theatre / performance studies in Australasia? What are the ���external��� impacts of ADSA���s ongoing conference enterprise, and how might these be measured? Reflections from delegates on these and other questions will be warmly encouraged.

Do you see what I mean? charting changing representations and receptions of the disabled body in contemporary and pop cultural performance

The meaning of the body emerges through acts of seeing, looking and staring in daily and dramatic performances. Acts that are, as Maike Bleeker argues1, bound up with the scopic rules, regimes and narratives that apply in specific cultures at specific times. In Western culture, the disabled body has been seen as a sign of defect, deficiency, fear, shame or stigma. Disabled artists ��� Mat Fraser, Bill Shannon, Aaron Williamson, Katherine Araniello, Liz Crow and Ju Gosling ��� have attempted, via performances that co-opt conventional images of the disabled body, to challenge dominant ways of representing and responding such bodies from within. In this paper, I consider what happens when non-disabled artists co-opt images of the disabled body to draw attention to, affirm, and even exoticise, eroticise or beautify, other modalities of or desires for difference. As Carrie Sandahl has noted2, the signs, symbols and somatic idiosyncrasies of the disabled body are, today, transported or translated into theatre, film and television as a metaphor or "master trope" for every body���s experience of difference. This happens in performance art (Guillermo Gomez-Pena���s use of a wheelchair in Chamber of Confessions), performance (Marie Chouinard's use of crutches, canes and walkers to represent dancers��� experience of becoming different or mutant during training in bODY rEMIX /gOLDBERG vARIATIONS), and pop culture (characters in wheelchairs in Glee or Oz). In this paper, I chart changing representations and receptions of the disabled body in such contexts. I use analysis of this cultural shift as a starting point for a re-consideration of questions about whether a face-toface encounter with a disabled body is in fact a privileged site for the emergence of a politics, and whether co-opting disability as a metaphor for a range of difference differences reduces its currency as a category around which a specific group might mobilise a politics.

Engaging Noemi Lakmeier's living installations : the ethics of embarrassment

In Exercise in Losing Control (2007) and We Are for You Because We are Against Them (2010), Austrian-born artist Noemi Lakmaier represents Otherness ��� and, in particular, the experience of Otherness as one of being vulnerable, dependent or visibly different from everyone else in a social situation ��� by placing first herself then a group of participants in big circular balls she calls ���Weebles���. In doing so, Lakmaier depicts Otherness as an absurd, ambiguous or illegible element in otherwise everyday ���living installations��� in which people meet, converse, dine and connect with spectators and passersby on the street. In this paper I analyse the way spectators and passersby respond to the weeble-wearers. Not surprisingly, responses vary ��� from people who hurry away, to people who try to talk to the weeble-wearer, to people who try to kick or tip the weeble to test its reality. The not-quite-normal situation, and the visibility of the spectators in the situation, asks spectators to rehearse their response to corporeal differences that might be encountered in day-to-day life. As the range of comments, confrontations and struggles show, the situation transfers the ill-at-ease, embarrassed and awkward aspects of dealing with corporeal difference from the disabled performer to the able spectator-become-performer. In this paper, I theorise some of the self-conscious spectatorial responses this sort of work can provoke in terms of an ethics of embarrassment. As the Latin roots of the word attest, embarrassment is born of a block, barrier or obstacle to move smoothly through a social or communicative encounter. In Lakmaier���s work, a range of potential blocks present themselves. The spectators��� responses ��� from ignoring the weeble, to querying the weeble, to asking visual, verbal or physical questions about how the weeble works, and so on ��� are ways of managing the interruption and moving forward. They are, I argue, strategies for moving from confusion to comprehension, or from what Emmanuel Levinas would call an encounter with the unknown to back into the horizon of the known, classified and classifiable. They flag the potential for what Levinas would call an ethical face-to-face encounter with the Other in which spectators and passersby may unexpectedly find themselves in a vulnerable position.

Navigating the field of contemporary performance

This Chapter introduces Compass Points: The Landscapes, Locations and Coordinates of Identities in Contemporary Performance Making, a volume which collects papers from the Australasian Association for Theatre, Drama and Performance Studies (ADSA) Conference 2012.

Inspirited landscapes: the anthology project

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<![endif]--> <!--StartFragment--> <p style="text-align:justify;text-justify:inter-ideograph" class="MsoNormal"><i><span style="font-family:Arial">Anthology</span></i><span style="font-family:Arial"> is a site sympathetic theatrical journey through Westlake, now known as Stirling Park &ndash; Ngunawal land, a traditional pathway and the site of one of the camps created to house the workers building the new city of Canberra. These families lived at Westlake for 50 years until the 1960&rsquo;s when the families were relocated, the houses sold and removed. Westlake is now parkland (and prime real estate), nestled between the lake and the Embassies of Yarralumla. Central to the interconnected web of my PhD research, the opportunity to collaborate with Pip Buining to devise and install <i>Anthology</i> provides a rich, investigative environment to examine post-traumatic representation in contemporary Australian culture. The project, even in its early stages, promises to allude to the power of immersive, site-sympathetic performance as a regenerative force in the 21^st century.</span><span style="font-family:Arial;mso-ansi-language:EN-US"> <span lang="EN-US"><o:p></o:p></span></span></p> <p style="text-align:justify;text-justify:inter-ideograph" class="MsoNormal"><span lang="EN-US" style="font-family:Arial;mso-ansi-language:EN-US">This paper draws upon Mary Zimmerman&rsquo;s notion of <i>An Archeology of Performance. </i>What lies in wait for artists in sites, in places&hellip;to be uncovered&hellip;with its final form revealed through careful excavation? The <i>Anthology</i> Project aims to centralise memory, rituals of remembrance and the importance of place as vital to the restoration and regeneration of community through processing and transcending both personal and cultural trauma. <o:p></o:p></span></p> <p style="text-align:justify;text-justify:inter-ideograph" class="MsoNormal"><span style="font-family:Arial">Ex-resident Ann Gugler, moved to Westlake with her family when she was 4 and has worked tirelessly to collect the stories of the Westlake children and document the existence of the &lsquo;vanished suburb&rsquo;. In Ann Gugler&rsquo;s own words, &ldquo;When one is forgotten, one ceases to exist&rdquo; and the act of restorative remembering through contemporary performance strives to return some balance to the lives of the past residents as well as a new perspective for the current community and their relationship to the imprint of history embedded in the site.<o:p></o:p></span></p> <!--EndFragment-->

New Zealand nature notes. Short sketches of the geology, botany, zoology, and ethnology of New Zealand (with notes on engineering-works) for the use of members of the Australasian Association for the Advancement of Science, Wellington Meeting, January, 1923.

Mode of access: Internet.

Dunedin and its neighbourhood; a short account of its history, biology, and geology; and of the commerce and industries of Otago. A handbook for the use of members of the Australasian association for the advancement of science.

Mode of access: Internet.