'This collection, introduced by John McCallum, includes three previously unpublished works: Jonah, a Brechtian musical reinvention of Louis Stone's novel of the same name; Top End, a political drama set in Darwin during the Indonesian invasion of East Timor, and Lost Weekend which takes a class-based look at 'Australianess'. They are published together with Romeril's best-known play, The Floating World, the story of a returned serviceman's descent into madness on a cruise ship bound for Japan.
'Romeril's writing conveys the immediacy of the times that stems from his beginnings as an agitprop writer, but he focuses on everyday lives. The plays in Damage explore the twentieth century stresses and strains, the damage we do and the damage done to us.' (From the publisher's website.)
Series:Current Theatre SeriesCurrency Press
1983-series - publisher 'Current Theatre Series consists of Australian plays published with the program inserted and sold during theatre seasons. The aim of the series is to promote and encourage new dramatic writing and make it accessible to theatregoers and the public. The text is presented at the first day of rehearsal and does not contain changes which the author may choose to make after the play has commenced its present season - these will be incorporated into any new edition published by Currency.' Currency Press.
Held at:University of Queensland University of Queensland Library Fryer Library
Cultural Frictions: John Romeril's The Floating WorldHelen Gilbert,
2001single work criticism — Appears in:
Theatre Research International,vol.
12001;(p. 60-70)Hailed as an 'unruly masterpiece', John Romeril's The Floating World is one of the few 'new wave' Australian plays representing Australians and their Asian 'others' to be restaged periodically since its première in 1974. Paying particular attention to productions of the play that have used Japanese theatre forms such as kabuki and bunraku, this article focuses primarily on the ways in which the spectacle of race has been coded performatively by different directorial approaches, and how various significations of race have been interpreted by the critical establishment. The fascinating stage history of The Floating World is treated as a barometer of Australian theatre's response to the challenge of representing cultural conflict, during a period marked by public debate about the desirability, and inevitability, of Australia's political, economic and cultural 'enmeshment' with Asia.