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Notes
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- Chinese translation published in 1957 (Peking: Foreign Languages Publishing House). Source: 'Mona Brand: A Checklist, 1935-1980' Australian Literary Studies vol.10 no.1 May 1981 (pp.117-127).
- Russian and Latvian translations published in 1961 (Moscow: Foreign Languages Publishing House). Source: 'Mona Brand: A Checklist, 1935-1980' Australian Literary Studies vol.10 no.1 May 1981 (pp.117-127).
Production Details
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First produced at the Unity Theatre, London, 20 November 1952 and then banned in the UK. Also produced at the New Theatre, Sydney, October 1953 and later in the USSR, Czechoslovakia, East Germany and India.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Australia and China at 50 : The New Wave Theatre and the Drama of Cultural Exchange
2022
single work
criticism
— Appears in: Journal of Australian Studies , vol. 46 no. 4 2022; (p. 482-495)'2022 marks the 50th anniversary of the opening up of relations between Australia and the People’s Republic of China. When he became prime minister in 1972, Gough Whitlam sent the first ambassador to China (Dr Stephen Fitzgerald), and in his term of office established support for artists’ exchanges from the Australia Council. The Australian Ballet visited China in 1980, the first major ballet company to tour since the Cultural Revolution. The touring of China by Australian theatre, opera and dance companies has flourished since then, particularly over the last decade, and Australian spoken-word drama has featured in the relationship between the two countries since 1983. Since the 1980s, the work of the New Wave dramatists has captured the interest of Chinese audiences over a sustained period beyond the years of the New Wave itself. The theatre has, in some respects, provided a respite from the rigours of realpolitik and most importantly a means of genuine interaction between ordinary Australians and Chinese citizens who make up the audiences. This article documents the take-up of the New Wave drama in China, and the legacy of the relationships created in this formative period of Australian theatre in its international context.' (Publication abstract)
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'A Bit of Ingenuity' : Mona Brand
Iris O'Loughlin
(interviewer),
1997
single work
interview
— Appears in: Performing Women/ Performing Feminisms : Interviews with International Women Playwrights 1997; (p. 109-114) -
A Very Humanitarian Type of Socialism: An Interview with Mona Brand
Gaye Poole
(interviewer),
1992
single work
interview
biography
— Appears in: Australasian Drama Studies , October no. 21 1992; (p. 3-22) -
Asian Stereotypes in Recent Australian Plays
1985
single work
criticism
— Appears in: Australian Literary Studies , May vol. 12 no. 1 1985; (p. 35-46) -
Reflections on Three Plays by Mona Brand
1966
single work
criticism
— Appears in: The Realist , Autumn no. 22 1966; (p. 30-32)
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Reflections on Three Plays by Mona Brand
1966
single work
criticism
— Appears in: The Realist , Autumn no. 22 1966; (p. 30-32) -
'A Bit of Ingenuity' : Mona Brand
Iris O'Loughlin
(interviewer),
1997
single work
interview
— Appears in: Performing Women/ Performing Feminisms : Interviews with International Women Playwrights 1997; (p. 109-114) -
A Very Humanitarian Type of Socialism: An Interview with Mona Brand
Gaye Poole
(interviewer),
1992
single work
interview
biography
— Appears in: Australasian Drama Studies , October no. 21 1992; (p. 3-22) -
Asian Stereotypes in Recent Australian Plays
1985
single work
criticism
— Appears in: Australian Literary Studies , May vol. 12 no. 1 1985; (p. 35-46) -
Australia and China at 50 : The New Wave Theatre and the Drama of Cultural Exchange
2022
single work
criticism
— Appears in: Journal of Australian Studies , vol. 46 no. 4 2022; (p. 482-495)'2022 marks the 50th anniversary of the opening up of relations between Australia and the People’s Republic of China. When he became prime minister in 1972, Gough Whitlam sent the first ambassador to China (Dr Stephen Fitzgerald), and in his term of office established support for artists’ exchanges from the Australia Council. The Australian Ballet visited China in 1980, the first major ballet company to tour since the Cultural Revolution. The touring of China by Australian theatre, opera and dance companies has flourished since then, particularly over the last decade, and Australian spoken-word drama has featured in the relationship between the two countries since 1983. Since the 1980s, the work of the New Wave dramatists has captured the interest of Chinese audiences over a sustained period beyond the years of the New Wave itself. The theatre has, in some respects, provided a respite from the rigours of realpolitik and most importantly a means of genuine interaction between ordinary Australians and Chinese citizens who make up the audiences. This article documents the take-up of the New Wave drama in China, and the legacy of the relationships created in this formative period of Australian theatre in its international context.' (Publication abstract)
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cMalaysia,cSoutheast Asia, South and East Asia, Asia,
- 1950s