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Notes
-
Introduced by Patricia Cornelius (q.v.) and others involved in the Melbourne and Brisbane productions.
Production Details
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- Written in 1989 and workshopped by the Melbourne Workers' Theatre in 1992.
- First produced at Theatreworks, St Kilda, 5 May 1992.
- Also produced by Street Arts, Brisbane, 1994.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Letter to a Dead Playwright: Daily Grind, Vicki Reynolds, and Archive Fever
2012
single work
criticism
— Appears in: New Theatre Quarterly , May vol. 28 no. 2 2012; (p. 122-132) 'Nothing is less reliable, nothing is less clear today than the word "archive",' observed Jacques Derrida in his book Archive Fever: a Freudian Impression (1996). This paper reflects on the unsettling process of establishing (or commencing) an archive for the Melbourne Workers Theatre, to form part of the AusStage digital archive which records information on live performance in Australia. Glenn D'Cruz's paper juxtaposes two disparate but connected registers of writing: an open letter to a deceased Australian playwright, Vicki Reynolds, and a critical reflection on the politics of the archive with reference to Derrida's account of archive fever, which he characterizes as an 'irrepressible desire to return to the origin, a homesickness, a nostalgia for the return to the most archaic place of absolute commencement'. Using Derrida's commentary on questions of memory, authority, inscription, hauntology, and heritage to identify some of the philosophical and ethical aporias he encountered while working on the project, D'Cruz pays particular attention to what Derrida calls the spectral structure of the archive, and stages a conversation with the ghosts that haunt the digitized Melbourne Workers Theatre documents. He also unpacks the logic of Derrida's so-called messianic account of the archive, which 'opens out of the future', thereby affirming the future-to-come, and unsettling the normative notion of the archive as a repository for what has passed.(Author's abstract) -
The 1994 Street Arts Production
1995
single work
criticism
— Appears in: Australasian Drama Studies , April no. 26 1995; (p. 111-113) -
The Worksite the Body - An Oral History of the Making of Daily Grind
1995
single work
criticism
— Appears in: Australasian Drama Studies , April no. 26 1995; (p. 104-110) -
Introduction : Vicki Reynolds and Daily Grind
1995
single work
criticism
— Appears in: Australasian Drama Studies , April no. 26 1995; (p. 103-104) -
Bloody Poetry, Daily Grind
1994
single work
review
— Appears in: The Australian , 20 May 1994; (p. 8)
— Review of Daily Grind 1995 single work drama
-
No False Glamour as Lives Laid Bare
1992
single work
review
— Appears in: The Australian , 12 May 1992; (p. 12)
— Review of Daily Grind 1995 single work drama -
Stripping Away the Sex Industry Facade
1993
single work
review
— Appears in: The Advertiser , 8 November 1993; (p. 17)
— Review of Daily Grind 1995 single work drama -
Bloody Poetry, Daily Grind
1994
single work
review
— Appears in: The Australian , 20 May 1994; (p. 8)
— Review of Daily Grind 1995 single work drama -
Letter to a Dead Playwright: Daily Grind, Vicki Reynolds, and Archive Fever
2012
single work
criticism
— Appears in: New Theatre Quarterly , May vol. 28 no. 2 2012; (p. 122-132) 'Nothing is less reliable, nothing is less clear today than the word "archive",' observed Jacques Derrida in his book Archive Fever: a Freudian Impression (1996). This paper reflects on the unsettling process of establishing (or commencing) an archive for the Melbourne Workers Theatre, to form part of the AusStage digital archive which records information on live performance in Australia. Glenn D'Cruz's paper juxtaposes two disparate but connected registers of writing: an open letter to a deceased Australian playwright, Vicki Reynolds, and a critical reflection on the politics of the archive with reference to Derrida's account of archive fever, which he characterizes as an 'irrepressible desire to return to the origin, a homesickness, a nostalgia for the return to the most archaic place of absolute commencement'. Using Derrida's commentary on questions of memory, authority, inscription, hauntology, and heritage to identify some of the philosophical and ethical aporias he encountered while working on the project, D'Cruz pays particular attention to what Derrida calls the spectral structure of the archive, and stages a conversation with the ghosts that haunt the digitized Melbourne Workers Theatre documents. He also unpacks the logic of Derrida's so-called messianic account of the archive, which 'opens out of the future', thereby affirming the future-to-come, and unsettling the normative notion of the archive as a repository for what has passed.(Author's abstract) -
Strippers' Dilemma a Story about Real-Life Sexploitation
1993
single work
column
— Appears in: The Mercury , 24 September 1993; (p. 9) -
Introduction : Vicki Reynolds and Daily Grind
1995
single work
criticism
— Appears in: Australasian Drama Studies , April no. 26 1995; (p. 103-104) -
The Worksite the Body - An Oral History of the Making of Daily Grind
1995
single work
criticism
— Appears in: Australasian Drama Studies , April no. 26 1995; (p. 104-110) -
The 1994 Street Arts Production
1995
single work
criticism
— Appears in: Australasian Drama Studies , April no. 26 1995; (p. 111-113)
Last amended 13 Dec 2001 11:59:34
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