y Australasian Drama Studies periodical issue   assertion
Issue Details: First known date: 2015 no. 66 June 2015 of Australasian Drama Studies est. 1982
AustLit is a subscription service. The content and services available here are limited because you have not been recognised as a subscriber. Find out how to gain full access to AustLit


* Contents derived from the 2015 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Australian Gothic Drama : Mapping a Nation's Trauma from Convicts to the Stolen Generation, Stephen Carleton , 2015 single work criticism (p. 11-39)
Andrew Bovell's 'When the Rain Stops Falling' : Theatre in the Age of 'hyperobjects, Mohebat Ahmadi , 2015 single work criticism
In this article, I reread Andrew Bovell’s When the Rain Stops Falling, an Australian theatre work from 2008, from a fourth-wave ecocritical perspective within the context of climate change. Since the foundation of the Association for the Study of Literature and Environment (ASLE) in 1992, ecocriticism has undergone critical shifts leading to new methodologies and perspectives. In the meantime, we have observed three waves of ecocriticism, and more recently, in the Autumn 2012 issue of ISLE, Scott Slovic heralded a ‘fourth-wave material trend in ecocriticism’. ‘Material ecocriticism’ has emerged around ‘the fundamental materiality (the physicality, the consequentiality) of environmental things, places, processes, forces, and experiences’. This new paradigm of ecocriticism asks for not only the way the agency of nonhuman forces is represented in a text but also the way an agentic force itself narrates the story of its materiality MOHEBAT AHMADI @1 Australasian Drama Studies 66 (April 2015) through interconnection with other human and nonhuman agents. To read Bovell’s play from this perspective, I draw on the work of Timothy Morton and apply the key concept of ‘hyperobjects’; a crucial shift in ‘ecological thought’, which along with the key term of ‘dark ecology’ are the main contributions to the fourth phase of ecocritical theory. It is Morton’s emphasis on the object-oriented ontological feature of ‘hyperobjects’ or their engagement with the agency of things and an interconnected assemblage of objects that shape my material ecocritical reading in the field of Drama Studies.' (Author's introduction)
(p. 40-62)
Patrick White and Aesthetic Modernism in Mid-century Australia, Denise Varney , Sandra D'Urso , 2015 single work criticism
'The question of aesthetic modernism and its moorings in a number of social, economic, political and sexual configurations and imaginings around space, time and technological progress is at the centre of a resurgent interest in modernism and modernity over the last two decades. Interest in aesthetic modernism as a mode of critique aimed at conservative tides in culture, politics and the economy gains new relevance in the context of contemporary Australia. This article considers the Australian context in which one of the foremost proponents of aesthetic modernism in drama is Patrick White. We begin by examining the continuing relevance of White's drama by discussing the key modernist tropes that operate transversally across two of his plays, 'The Ham Funeral' and 'Signal Driver'. White's critique of postwar Australian culture forms the central tenet of his modernist playwriting aesthetics. It is further articulated in a 1958 provocation, in which he refers to Australian modernity as being embedded in anti-intellectualism, 'the march of material ugliness' and 'the exaltation of the average'. In this article, we argue that White's modernist drama chronicles twentieth-century social, economic and political formations of nation, and its effects on subjectivity and interpersonal relations. His plays pose a number of challenges to a twentieth-century configuration of nation, to the ideals of modernity that helped to shape it, and these continue into the twenty-first century. We propose that to re-examine modernist aesthetics in Australian drama reconnects us with smart and pleasurable ways of staging and rebutting rampant modernity as a mode of social, sexual and artistic governance that remains uncannily pertinent today.' (Publication abstract)
(p. 63-80)
Performing Cultural Heritage: Authenticity and the Spirit of Rebellion, Angela Campbell , 2015 single work criticism

'In his keynote speech at the 2014 National Play Festival, playwright Andrew Bovell described the troubled relationship between Australia's past and its representation:

[T]he 'History Wars' is one of our great national themes, one of the most volatile fault lines in our society. At one end of the argument the story is told of a peaceful and gradual settlement, a noble and benign act of nation building and at the other end, a story of violent occupation and resistance culminating in massacre and genocide.' (Publication abstract)

(p. 81)
Review : Staging Asylum, D.B. Valentine , 2015 single work review
— Review of Staging Asylum : Contemporary Australian Plays about Refugees 2013 anthology drama ;
(p. 266-270)
Review : Shafana and Aunt Sarrinah : Soft Revolution, Sarah Peters , 2015 single work review
— Review of Shafana and Aunt Sarrinah : Soft Revolution Alana Valentine 2009 single work drama ;
(p. 283-286)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 16 Oct 2015 11:08:43
    Powered by Trove