Order Description
2,500 words 12 pt font, Spacing not less than 1.5; Margins not less than 3cm).
2. Jack Davis states:
‘Historically, Indigenous writers have focused on appropriating the western forms of theatre to create the dream, incorporating the elements of dance, advanced metaphor and the use of language to highlight the writing’s Aboriginality. An over-reliance on character and the denial of abstraction has often created a situation where the writing is perceived as unsophisticated and/or primarily issue-based, outside of artistic scrutiny’ (in McCallum 2009: 318).
Do you agree? Base your essay on an analysis of two of the performances and/or texts studied as part of CAPF232.
Mudrooroo [Narogin] 1990, Writing from the Fringe: A Study of Modern Aboriginal Literature,
Hyland House. Melbourne.
Week 9: Bloodlines & Geo-politics: Australia s the Asia Pacific Region – William Yang
Reguired Reading/Screening:
Text: Yang, W. 1996, Sadness, Allen & Unwin, St Leonards.
Text: Sadness: a monologue 1999, film, Film Australia.
Grehan. H. 2002, ‘Stillness and Intrigue in the North and Sadness by William Yang’. Journal
of Australian Studies. no. 73. pp. 151-160.
Further Reference Material & Reading:
Ang, I. 1998, ‘Can One Say No to Chineseness? Pushing the Limits of the Diasporic
Paradigm’. Boundary 2. vol. 25, no. 3, pp223-229.
Butler. J. 1993. Bodies that Matter: on the Discursive Limits of Sex, Routledge, London.
Jagose, A. 1996, Oueer Theory, Melbourne University Press. Melbourne.
Hamilton. M. 2012, “Citizens of fate’: Blood. disease and the question of mortality in Sadness
by William Yang’, Sexualities. vol. 15, no. 3-4, pp297-313.
Leong. G. 2002, ‘lnternalised racism and the work of Chinese Australian artists: making
visible the invisible world of William Yang‘, Journal of Australian Studies, no. 72, pp79-88.
Tompkins, J. 2001, “Homescapes’ and identity refonnations in Australian multicultural
drama’, Theatre Research International. vol. 26, no. 1, pp47-59.
Week 10: New Generation Theatre Directors in Australia
Further Reference Material & Reading:
Croggon, A. 2010. ‘Benedict Andrews and Barrie Kosky: Two Innovative Australian
Directors’, TheatreForum, no. 37. pp3-12.
Croggon, A. 2010. ‘How Australian is it?’, Overland. no. 200, pp55-62.
Hale, E. 2010, ‘The Lost Echo: introduction‘, Australasian Drama Studies, no.56, pp103-108
Kiernander. A. 2010. ‘Abjected arcadias: images of classical Greece and Rome in Barrie
Kosky’s Oedipus, The Lost Echo and The Women of Troy’, Australasian Drama Studies,
no.56, pp109o116.
McCallum, J. & Hillard, T. 2010, ‘Shocking audiences modern and ancient‘, Australasian
Drama Studies. no.56. pp131-153.
Week 11: Adaptation and Australian Theatre: The Hayloft Project’s Thyestes
Reguired Reading:
Text: Henning. T. Ryan. C. Stone, 8 & Winter, M. 2012, Thyestes. Currency Press: Sydney.
Further Reference Material & Reading:
Hutcheon, L & O’Flynn, S. 2013, A Theory of Adaptation, Routledge, London.
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Faculty of Law, Humanities and the Arts. University of Wotlongong
Week 2: ‘Revolutions’ and the Australian Stage: the ‘New Wave’ 8: David Williamson
Reguired Reading:
Text: Williamson. 0. 1973. Don’s Party. Currency. Sydney.
McCallum. J. 2009, ‘David Williamson’, Belonging: Australian Playwrighting in the 2oth
Century, Currency. Sydney. pp167-186.
Further Reference Material & Reading:
Carroll. D. 1994, ‘David Williamson’, in Australian Contemporary Drama, Currency. Sydney.
Carroll, D. 1982, ‘Mateship and Individualism in Modern Australian Drama’, Theatre Joumal,
vol. 34. no. 4. pp467-480.
Vamey, D. 2011. ‘Williamson in the Howard Years”. Radical Visions 1968-2008: The Impact
of the Sixties on Australian Drama, Rodopi, Amsterdam. pp79~125.
Zuber-Skerritt. O. 1988, David Williamson. Rodopi, Amsterdam.
Week 3: New Modes of feminist theatre in Australia
Reguired Reading:
Fensham, R. & Varney, D. 2005, ‘Introduction’. The Doll’s Revolution: Australian theatre and
Cultural Imagination, Australian Scholarly, Melbourne, pp1-63.
Varney, D. 2012, ‘Identity Politics in Australian Context’, Theatre Research International. vol.
37, no. 1, pp71-73.
Further Reference Material & Reading:
Aston. E & Harris, G. (eds). 2006. Feminist futures ?: theatre, performance, theory. Palgrave
Macmillian. Basingstoke.
Aston, E. 1995, An introduction to feminism and theatre. Routledge. London.
Butler. J. 1999. Gender Trouble: Feminism and the Subversion of Identity, Routledge.
London.
Cixous. H. 1984, ‘Aller a la mer’. Modern Drama, vol. 27, no. 4, pp546-548.
Cixous. H. & Clément, C. 1986. The Newly Born Woman, Trans. 8. Wing. University of
Minnesota Press, Minnesota.
Fensham, R. 2001, ‘Farce or Failure? Feminist Tendencies in Mainstream Australian
Theatre’, Theatre Research International, vol. 26, no. 1, pp82-93.
Fensham, R. 2003, ‘Modernity and the White Imaginary in Australian Feminist Theatre’.
Hecate, vol. 29. no. 1, pp7-18.
Tait, P. 1994, Converging Realities: Feminism in Australian Theatre, Currency, Sydney.
Week 4: New Modes of feminist theatre in Australia It – Jenny Kemp
Reguired Reading/Screening:
Text: Kemp, J. 2002, Still Angela. Currency, Sydney.
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