Doppio: a Trilingual Touring Theatre for Australia

1992 ◽  
Vol 8 (29) ◽  
pp. 70-75
Author(s):  
Tony Mitchell
Keyword(s):  
South Australia ◽  
Community Theatre ◽  
Documentary Theatre ◽  
The Past ◽  
University Of Technology ◽  
Dario Fo ◽  
Theatre Company ◽  
Theatre Studies ◽  
Youth Theatre ◽  
The University

Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.

The Past in the Present? A Response to Stan's Cafe's Revival of ‘The Carrier Frequency’

2000 ◽  
Vol 16 (1) ◽  
pp. 97-99
Author(s):  
Frances Babbage
Keyword(s):  
Carrier Frequency ◽  
The Past ◽  
Theatre Company ◽  
Theatre Studies ◽  
The Subject ◽  
And Performance ◽  
The University

The premiere of The Carrier Frequency took place in 1984, the result of a collaboration between Leeds-based Impact Theatre Cooperative and the novelist Russell Hoban. Impact was founded in 1978 by Claire MacDonald, Pete Brooks, Steve Schill, Graeme Miller, Tyrone Huggins, and Richard Hawley, with Nikki Johnson and Heather Ackroyd joining in subsequent years. Many companies since have cited Impact as a major inspiration, with The Carrier Frequency in particular achieving almost mythic status. Today, Impact has long since disbanded, and little documentation of their work remains to enable their legacy to be passed on. In April 1999, the theatre company Stan's Cafe (none of whom had seen the original show) decided to restage The Carrier Frequency as part of Birmingham's ‘Towards the Millennium’ festival; in association with this project, a symposium was held on the subject of ‘Archaeology, Repertory, and Theatre Inheritance’. What follows is a personal response to the experience of attending the symposium and performance, and records a variety of attitudes towards myth-making, re-creation, and the potential and problems of documentation. Frances Babbage lectures in Theatre Studies at the University of Leeds.

The Red Theatre under the Bed

1987 ◽  
Vol 3 (11) ◽  
pp. 195-201 ◽  
Author(s):  
Howard Brenton
Keyword(s):  
New South ◽  
New South Wales ◽  
The Political ◽  
National Theatre ◽  
South Wales ◽  
Dario Fo ◽  
Political Impact ◽  
Theatre Studies ◽  
The University

Howard Brenton began his theatrical career in the late 'sixties as one of the ‘Portable playwrights’, but quickly felt the need to utilize the resources available on larger stages-without compromising the political impact of his plays. Now established as one of the leading playwrights of his generation, Brenton works regularly with the National Theatre, and in the interview which follows the discussion ranges from his feelings about the ‘scandal’ worked up by the production there of The Romans in Britain to how his feelings about Brecht were affected by preparing their version of The Life of Galileo, and also covers his recent collaboration with David Hare, creating a monstrous press baron, in Pravda. Touching on other recent plays such as The Genius and Bloody Poetry, the discussion thus complements an earlier Theatre Quarterly interview with Howard Brenton, included in TQ17 (1975) and reprinted in New Theatre Voices of the Seventies, edited by Simon Trussler (Methuen, 1981). The interviewer, Tony Mitchell, currently teaches in the School of Theatre Studies at the University of New South Wales, and is the author of Dario Fo: People's Court Jester (Methuen. 1984). His Methuen ‘Writer-File’ on Howard Brenton is due for publication in 1988.

scholarly journals ‘Out Vile Jelly’: Sarah Kane's ‘Blasted’ and Shakespeare's ‘King Lear’

2004 ◽  
Vol 20 (1) ◽  
pp. 69-78 ◽  
Author(s):  
Graham Saunders
Keyword(s):  
King Lear ◽  
Senior Lecturer ◽  
The Past ◽  
Radical Structure ◽  
Dramatic Form ◽  
History Of ◽  
Theatre Studies ◽  
Sarah Kane ◽  
Contemporary Reality ◽  
The University

Sarah Kane's notorious 1995 debut, Blasted, has been widely though belatedly recognized as a defining example of experiential or ‘in-yer-face’ theatre. However, Graham Saunders here argues that the best playwrights not only innovate in use of language and dramatic form, but also rewrite the classic plays of the past. He believes that too much stress has been placed on the play's radical structure and contemporary sensibility, with the effect of obscuring the influence of Shakespearean tradition on its genesis and content. He clarifies Kane's gradually dawning awareness of the influence of Shakespeare's King Lear on her work and how elements of that tragedy were rewritten in terms of dialogue, recast thematically, and reworked in terms of theatrical image. He sees Blasted as both a response to contemporary reality and an engagement with the history of drama. Graham Saunders is Senior Lecturer in Theatre Studies at the University of the West of England, Bristol, and author of the first full-length study of Kane's work: ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes (Manchester University Press, 2002). An earlier version of this article was given as a paper at the ‘Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium’ conference in Brussels, May 2001. Saunders is currently working on articles about Samuel Beckett and Edward Bond.

John Robert Anderson 1928–2007

2014 ◽  
Vol 25 (2) ◽  
pp. 253
Author(s):  
Neil R. Avery ◽  
W. Roy Jackson ◽  
Thomas H. Spurling
Keyword(s):  
Technical College ◽  
Materials Science ◽  
New South ◽  
New South Wales ◽  
South Australia ◽  
University Of Cambridge ◽  
South Wales ◽  
University Of Technology ◽  
The University ◽  
Csiro Division

John Anderson was born in Sydney on 5 March 1928 and died in Melbourne on 26 February 2007. He was educated at Sydney Boys' High School, Sydney Technical College, the New South Wales University of Technology (now the University of New South Wales) and the University of Cambridge. He was at Queens University Belfast as a Ramsay Memorial Fellow, 1954–5, was a Lecturer in Chemistry at the New South Wales University of Technology, a Reader in Chemistry at the University of Melbourne and Foundation Professor of Chemistry at Flinders University in South Australia. In 1969 he was appointed Chief of the CSIRO Division of Tribophysics and managed the Division's transition to become the Division of Materials Science. He was a Professor of Chemistry at Monash University, Melbourne, from 1987 until his retirement in 1993. He will be remembered for his contributions to the understanding of gas–solid interactions with particular emphasis on fundamental heterogeneous catalysis on metals, but also embracing other adsorption and oxidation processes.

Struggling with the Past: Women's Theatre in Search of a History

1989 ◽  
Vol 5 (18) ◽  
pp. 107-112 ◽  
Author(s):  
Susan Bassnett
Keyword(s):  
Cultural Change ◽  
Historical Context ◽  
Feminist Criticism ◽  
Elizabeth I ◽  
The Past ◽  
Feminist Study ◽  
Introductory Article ◽  
Theatre Studies ◽  
The University

Theatre scholarship is only just beginning to respond to the insights and emphases suggested by feminist criticism. In this introductory article to what we intend to be a strong and continuing thread in NTQ, Susan Bassnett outlines the resulting problems, and explores the historical context and conditions in terms of one central issue – the role of women as performers (and non-performers) in the sixteenth and seventeenth centuries. She also examines some of the wider implications for theatre studies, affected as these also are by new historicist approaches to the study of cultural change. Susan Bassnett teaches in the Graduate School of Comparative Literary Theory in the University of Warwick, and has been a regular contributor to New Theatre Quarterly and other journals, notably in the field of Italian theatre. Her most recent books include a feminist study of Elizabeth I, and (in collaboration with John Stokes and Michael Booth) Bernhardt. Terry, Duse: the Actress in Her Time.

Ibsen Our Contemporary

2014 ◽  
Vol 30 (3) ◽  
pp. 243-248
Author(s):  
Richard Hornby
Keyword(s):  
Social Problem ◽  
University Of California ◽  
Keynote Address ◽  
Emeritus Professor ◽  
Avant Garde ◽  
The Past ◽  
Theatre Company ◽  
The University ◽  
The Grotesque

In this article Richard Hornby argues that Ibsen's plays are badly performed today, or not performed at all, because of directors' refusal to take them with appropriate seriousness. The tendency is to stage the plays' reputation as simplistic social problem plays rather than as the complex, challenging, bizarre dramas that Ibsen actually wrote. In particular, directors avoid the grotesque elements that are the true ‘quintessence of Ibsenism’, and that are often remarkably similar in style to that of avant-garde playwrights today. Richard Hornby is Emeritus Professor of Theatre at the University of California, Riverside. For the past twenty-eight years he has been theatre critic for The Hudson Review, and is author of six books and over two hundred published articles on various aspects of theatre. This essay was delivered as the keynote address at the fourteenth annual Ibsen Festival of the Commonweal Theatre Company, Lanesboro, Minnesota, in April 2011.

scholarly journals Opening statement

IDEA JOURNAL ◽  
1969 ◽  
pp. 4-5
Author(s):  
Marina Lommerse
Keyword(s):  
Interior Design ◽  
South Australia ◽  
Architecture Education ◽  
Interior Architecture ◽  
Inaugural Meeting ◽  
South Wales ◽  
University Of Technology ◽  
Royal Melbourne Institute ◽  
Institute Of Technology ◽  
The University

Interested Australian universities with Interior Design/Interior Architecture degrees held an inaugural meeting in Sydney in 1996 to elicit interest in an association to advocate Interior Design/Interior Architecture education and research. In 1997 IDEA was formalised to encourage and support excellence in the discipline. This is the Inaugural publication of the annual ‘IDEA Referred Design Scheme’, one of the activities the IDEA committee promotes. Participating universities include: Curtin University of Technology, Queensland College of Art, Queensland University of Technology, Northern Territory University, Royal Melbourne Institute of Technology, Swinburne University of Technology, University of New South Wales, University of South Australia and the University of Technology Sydney.

scholarly journals A Role for Information Systems Education Programs

10.28945/2503 ◽  
2002 ◽  
Author(s):  
R. Alan Hodgett
Keyword(s):  
Information Systems ◽  
South Australia ◽  
Education Programs ◽  
International Media ◽  
The Past ◽  
Information Systems Education ◽  
Intermediary Role ◽  
The University ◽  
Business Requirements ◽  
Disciplinary Area

The international media continually reports a worldwide shortage of skilled information technology literate people. An intermediary role or disciplinary area between business requirements and computer science has been identified in the past. A number of institutions have developed information systems education programs to fill this role. A survey of pasl graduates and employers evaluates the performance of several information systems education programs at the University of South Australia.

scholarly journals UCAV PW-124 – A DESIGN EFFORT UNDERTAKEN AT WARSAW UNIVERSITY OF TECHNOLOGY

Aviation ◽  
2005 ◽  
Vol 9 (4) ◽  
pp. 3-15
Author(s):  
Zdobyslaw Goraj
Keyword(s):  
European Union ◽  
Conceptual Design ◽  
Unmanned Aerial Vehicle ◽  
Mission Design ◽  
Research Activity ◽  
The Past ◽  
Acoustic Signature ◽  
University Of Technology ◽  
Aerial Vehicle ◽  
The University

This paper presents a conceptual design project developed at the Warsaw University of Technology and focused on an unmanned aerial vehicle being able to fly at low and medium altitude, with a special emphasis put on selecting the platform best suited for the planned mission. Design and research activity necessary to complete the project successfully is based on the international experience gained by the university team within a number of the past very successful projects, mainly projects supported by European Union within the V and VI scientific frameworks. The project deals with a highly maneuverable unmanned aerial vehicle of low gust sensitivity and reduced radar, infrared, and acoustic signature. Aircraft mission, power unit, aerodynamics and many design details are shown and discussed.

Promise and Participation: Youth Theatre in Australia

1986 ◽  
Vol 2 (5) ◽  
pp. 90-93
Author(s):  
Keith Gallasch
Keyword(s):  
South Australia ◽  
The State ◽  
Theatre Company ◽  
Theatre In Education ◽  
Youth Theatre ◽  
Artistic Director

If theatre-in-education achieved its impact by taking theatre to the young in the 'seventies, then the developing youth theatre movement might be seen as part of the reaction to that initiative in the 'eighties. Here Keith Gallasch, artistic director of the State Theatre Company in South Australia, himself a writer, recalls his first involvement with youth theatre, and goes on to sketch some of its dilemmas and prospects.

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