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Australian Theatre after the New Wave : Policy, Subsidy and the Alternative Artist
multi chapter work
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AbstractHistoryArchive Description
'In Australian Theatre after the New Wave, Julian Meyrick charts the history of three ground-breaking Australian theatre companies, the Paris Theatre (1978), the Hunter Valley Theatre (1976-94) and Anthill Theatre (1980-94). In the years following the controversial dismissal of Gough Whitlam's Labor government in 1975, these 'alternative' theatres struggled to survive in an increasingly adverse economic environment. Drawing on interviews and archival sources, including Australia Council files and correspondence, the book examines the funding structures in which the companies operated, and the impact of the cultural policies of the period. It analyses the changing relationship between the artist and the State, the rise of a managerial ethos of `accountability', and the growing dominance of government in the fate of the nation's theatre. In doing so, it shows the historical roots of many of the problems facing Australian theatre today.'
Source: Publisher's blurb.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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[Review] Australian Theatre After the New Wave: Policy, Subsidy and the Alternative Artist
2022
single work
review
— Appears in: Australasian Drama Studies , April no. 80 2022; (p. 333)
— Review of Australian Theatre after the New Wave : Policy, Subsidy and the Alternative Artist 2017 multi chapter work criticism 'In this timely and important book, Julian Meyrick effectively asks: ‘What happens when a national arts funding body operates without a national cultural policy?’ While he is writing about the two decades from 1975 to 1994 – from the founding of the Australia Council for the Arts to the launch of the country’s first cultural policy, Creative Nation – he could be speaking about our own era, given that Australia has been without a cultural policy since the election of the Coalition in 2013. The answer, then as now, is that a series of assumptions are made by artists, bureaucrats and governments alike. The problem is that these assumptions are rarely articulated, let alone shared, meaning that there are misunderstandings at best and outright culture wars at worst. In the midst of our own battles, this book offers significant insight, though not necessarily comfort. (Introduction)
-
[Review] Australian Theatre After the New Wave: Policy, Subsidy and the Alternative Artist
2022
single work
review
— Appears in: Australasian Drama Studies , April no. 80 2022; (p. 333)
— Review of Australian Theatre after the New Wave : Policy, Subsidy and the Alternative Artist 2017 multi chapter work criticism 'In this timely and important book, Julian Meyrick effectively asks: ‘What happens when a national arts funding body operates without a national cultural policy?’ While he is writing about the two decades from 1975 to 1994 – from the founding of the Australia Council for the Arts to the launch of the country’s first cultural policy, Creative Nation – he could be speaking about our own era, given that Australia has been without a cultural policy since the election of the Coalition in 2013. The answer, then as now, is that a series of assumptions are made by artists, bureaucrats and governments alike. The problem is that these assumptions are rarely articulated, let alone shared, meaning that there are misunderstandings at best and outright culture wars at worst. In the midst of our own battles, this book offers significant insight, though not necessarily comfort. (Introduction)
