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Maryrose Casey Maryrose Casey i(A30770 works by)
Born: Established: Melbourne, Victoria, ;
Gender: Female
Heritage: Irish ; Australian
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Maryrose Casey is an Associate Professor with the Monash Indigenous Studies Centre (2017). Her research focuses primarily on racialised performances as a site of cross cultural communication and negotiation between communities. Within this focus, her interest is in the initiation and presentation of public performances framed as cultural representations and the ways in which those representations are read and understood and translated into the historical record and social memory through narratives of culture and race. Her interests include both practices within formal performance frames such as theatrical contexts and informal frames such as on the street. Her work bridges performance studies, cultural history and ethnography.

Associate Professor Casey has published extensively on racialized performances in Australia from settlement to the present. Her research has been recognised by a range of national and international awards, fellowships and grants.

Source: Monash University.

Most Referenced Works

Awards for Works

y separately published work icon Telling Stories : Aboriginal Australian and Torres Strait Islander Performance Kew : Australian Scholarly Publishing , 2012 Z1902297 2012 single work criticism 'Since the late eighteenth century, Aboriginal and Torres Strait Islander initiated performances have been an important part of cross-cultural communication in Australia. Over those years, at different points, these performances have achieved high public profile and then subsequently been erased from the social memory. This book investigates Aboriginal and Torres Strait Islander historical practices for performances for entertainment; how they adapted to colonisation and how these performance practices extend contemporary theatre. Based on interviews and detailed examinations of shows, this book sets out to engage with Aboriginal and Torres Strait Islander performance in the twentieth and twenty-first centuries within the context of their historical performance practices for entertainment.'
Source: Publisher's website
2014 winner Australasian Association for Theatre, Drama and Performance Studies Rob Jordan Prize
y separately published work icon Creating Frames : Contemporary Indigenous Theatre : 1967-1990 St Lucia : University of Queensland Press , 2004 Z1109707 2004 single work criticism

From publisher's blurb (back cover): Creating Frames provides the first significant social and cultural history of Indigenous theatre across Australia. As well as using archival sources and national and independent theatre company records, much of this history is drawn from interviews with individuals who have shaped contemporary Indigenous theatre in Australia - including Bob Maza, Jack Charles, Gary Foley, Justine Saunders, Weley Enoch, Ningali, and John Harding...

Creating Frames traces the history of production of texts by Indigenous Australian artists from 1967 to 1997. It includes productions in theatres of texts by Indigenous Australian artists, collaborations between Indigenous and non-Indigenous artists, and adaptations of texts by Indigenous artists. The focus is public urban commercial productions and includes national and international premieres and tours. 'Commercial' is used here in the sense of public presentations open to any potential audience member as distinct from closed community productions. The focus does not include radio plays, millennia of traditional practices, performances devised and performed within communities, or community outreach/education theatre initiatives such as HeatWorks in the Kimberley. Even within these limits the constraints of space have affected the number of productions that can be covered in detail.

Throughout this thirty year period, particular themes recur, these themes relate to the ways in which the external framing of the work either facilitates or blocks production. These themes often relate directly or indirectly to concepts of 'authenticity' and/or 'Aboriginality' - in effect the 'acceptable' face of Aboriginality within government and social narratives at any point in time. The strength and power of these themes as frames for the work has drawn on generally accepted understandings of Australian history and the ways in which these are manipulated in the service of political agendas. These frames fall into three main categories within the thirty year period - assimilation, multiculturalism and reconciliation. This production history reveals that, rather than Euro-Australian theatre practitioners creating an environment that enabled Indigenous theatre practice, Indigenous artists have taken their own initiative. An initiative they continue to take whilst simultaneously contesting the primarily external frames that define their work and affect their production possibilities.

(Abstract courtesy the author.)

2006 winner Australasian Association for Theatre, Drama and Performance Studies Rob Jordan Prize
2005 joint winner ASAL Awards Walter McRae Russell Award
Last amended 28 Jun 2017 09:04:23
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