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Ranters : Rehearsal and Development Process - How Is the Text Enacted?
2019
single work
criticism
— Appears in: Australasian Drama Studies , May no. 74 2019; (p. 243-263)'The article analyses the processes in which my postdramatic plays and performance texts, such as 'St Kilda Tales, Roulette, Holiday' and 'Intimacy', are enacted in order to facilitate live interaction in relation to the audience. The application of everyday aesthetics within narrative and dramaturgical structures provides the performers of a Ranters production with a platform to focus on the moment-to-moment minutiae of actions that take place between them. In the theatre of the everyday that I describe in this essay, the audience members are invited into the same conceptual space and time as the performers, one that sits in the blurred lines between the fictive and the real. Notions of character are completely avoided, and instead the focus is on exploring and realising the possibilities that can be theatricalised by a fluid and open expression of 'self.' (Publication abstract)
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Preview
2003
single work
review
— Appears in: The Courier-Mail , 22 May 2003; (p. 15)
— Review of St Kilda Tales 1998 single work drama
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Preview
2003
single work
review
— Appears in: The Courier-Mail , 22 May 2003; (p. 15)
— Review of St Kilda Tales 1998 single work drama -
Ranters : Rehearsal and Development Process - How Is the Text Enacted?
2019
single work
criticism
— Appears in: Australasian Drama Studies , May no. 74 2019; (p. 243-263)'The article analyses the processes in which my postdramatic plays and performance texts, such as 'St Kilda Tales, Roulette, Holiday' and 'Intimacy', are enacted in order to facilitate live interaction in relation to the audience. The application of everyday aesthetics within narrative and dramaturgical structures provides the performers of a Ranters production with a platform to focus on the moment-to-moment minutiae of actions that take place between them. In the theatre of the everyday that I describe in this essay, the audience members are invited into the same conceptual space and time as the performers, one that sits in the blurred lines between the fictive and the real. Notions of character are completely avoided, and instead the focus is on exploring and realising the possibilities that can be theatricalised by a fluid and open expression of 'self.' (Publication abstract)