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Notes
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Ctd. in Royal Australian Historial Society. Journal and Proceedings, 23 (1937): pp57-65.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Caroline and Cyril Keightley : Australian Actors from Bushrangers to Broadway
2012
single work
criticism
— Appears in: Kunapipi , vol. 34 no. 2 2012; (p. 200-208) 'Multi-media careers in the wider global entertainment market of the United States, Europe and Britain were commonly sustained by Australian-born performers in the late nineteenth and early twentieth centuries. Such performers indicate something of the international reach of mobile actorly careers in the modern period (Kelly; Dixon & Kelly). Validation through overseas success is also a persistent model of the Australian performer. What then is an ‘Australian’ performer, in an enterprise in which ethnicities and regional identifications are mobile and frequently claimed for interested professional or social purposes? Opportunities and talent, birth, beauty, gender, regional or class identifications, whether assumed, avowed or disavowed — these are the categories which actors must manage as part of their careers and manipulate as elements of their stage personae.' (Publication abstract)
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Caroline and Cyril Keightley : Australian Actors from Bushrangers to Broadway
2012
single work
criticism
— Appears in: Kunapipi , vol. 34 no. 2 2012; (p. 200-208) 'Multi-media careers in the wider global entertainment market of the United States, Europe and Britain were commonly sustained by Australian-born performers in the late nineteenth and early twentieth centuries. Such performers indicate something of the international reach of mobile actorly careers in the modern period (Kelly; Dixon & Kelly). Validation through overseas success is also a persistent model of the Australian performer. What then is an ‘Australian’ performer, in an enterprise in which ethnicities and regional identifications are mobile and frequently claimed for interested professional or social purposes? Opportunities and talent, birth, beauty, gender, regional or class identifications, whether assumed, avowed or disavowed — these are the categories which actors must manage as part of their careers and manipulate as elements of their stage personae.' (Publication abstract)
Last amended 22 Sep 2008 14:52:24
