Conversations with the Dead single work   drama  
Issue Details: First known date: 2002... 2002 Conversations with the Dead
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Production Details

    • First performed at the Beckett Theatre, CUB Malthouse during Playbox's Blak Inside season from 27 February - 7 March 2002.
    • Return season presented by The Department of Justice and The Playbox, La Mama and Ilbijerri Aboriginal and Torres Strait Islander Theatre Co-operative production to coincide with Reconciliation Week 27 - 31 May 2002.
    • Both productions directed by Richard Franklin
    • Sydney season from 31 July - 31 August 2003 at Belvoir St. Theatre, Surry Hills. Directed by Wesley Enoch
    • Performed at the United Nations in New York by Aaron Pedersen on 18 May 2004.
    • Performed at the Subiaco Arts Centre, Western Australia : 18 - 27 May 2017

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y Blak Inside : 6 Indigenous Plays from Victoria John Harding , Tammy Anderson , Tracey Rigney , Maryanne Sam , Jadah Milroy , Richard Frankland , Playbox Theatre , Strawberry Hills : Currency Press Playbox Theatre , 2002 Z950463 2002 anthology drama (taught in 1 units)

    Contains six plays.

    Enuff by John Harding is a frightening and funny play about an Australian future where black patience has run out. A violent uprising is planned for Reconciliation Day – will retribution or forgiveness prevail?

    I Don't wanna Play House by Tammy Anderson is the moving story of her childhood. A truly remarkable account of the triumph of the human spirit.

    Belonging by Tracey Rigney recounts the taunts and temptations of a school girl, and her personal struggle to remain true to her culture, and herself.

    Casting Doubts by Maryanne Sam is a funny, and at times heart-wrenching, play about an actors' casting agency with more colour charts than a paint shop, and the problems that Indigenous actors face.

    Crowfire by Jadah Milroy is the story of a young, urban Indigenous Australian woman, and a man from a desert community lured into the city. The moving story of a search for identity and the need for reconciliation.

    Conservations with the Dead by Richard J Frankland is a poetic and savage play that takes you into the aching sorrow of deaths in custody.

    Strawberry Hills : Currency Press Playbox Theatre , 2002
    pg. 215-287

Works about this Work

Play with the Dead 2017 single work column
— Appears in: Koori Mail , 19 April no. 649 2017; (p. 49)
Performative Lives – Transformative Practices : Wesley Enoch and Deborah Mailman, The 7 Stages of Grieving, and Richard Franklin, Conversations with the Dead Beate Neumaier , 2014 single work criticism
— Appears in: Decolonizing the Landscape : Indigenous Cultures in Australia 2014; (p. 275-292)

'In the following, I would like to focus on Wesley Enoch's and Deborah Mailman's The 7 Stages of Grieving (1995) and Richard Frankland's Conversations with the Dead (2002), plays which address and simultaneously perform a transformative process involving actors and spectators, with specific ethical and political implications. While both plays engage in this transformative endeavour, The 7 Stages of Grieving explores the possibilities of connecting across boundaries towards the horizon, while Conversations with the Dead centres on its boundaries, foregrounding questions of difference.'

Source: p.280

'And in My Dreaming I Can Let Go of the Spirits of the Past' : Gothicizing the Common Law in Richard Franklin's No Way to Forget Katrin Althans , 2014 single work criticism
— Appears in: Decolonizing the Landscape : Indigenous Cultures in Australia 2014; (p. 255-274)

'In this essay I will discuss how Richard Frankland's award-winning short film No Way to Forget (1996) approaches the topic of Aboriginal deaths in custody in gothic terms. As I will show, Frankland reverses gothic dichotomies, employs tropes of haunting and trauma, and ultimately exposes the fictional quality of the gothic itself in his representations of the Australian common law and its institutions. Through an appropriation and transformation of both this originally European mode and the English legal tradition, he thus creates his very own version of an Indigenous gothic. By asserting the cultural strength of that vast body of knowledge summarized as "Dreaming/Law/ Lore,” Frankland reclaims Aboriginal identity and subverts what he and others have described as the de-humanizing quality of the law in civic and spiritual terms? I will therefore first outline the benefits that the field of law and literature offers for questioning the factual discourse of law through the study of fiction before I turn to the dangers the use of the gothic mode holds for Aboriginal appropriations. The opportunities filmmaking offers for re-claiming Koori culture and identity will conclude my theoretical outline. I will also draw on the doctrine of reception and the legal foundations of the Australian common-law tradition in order to introduce my following analysis of Frankland's No Way to Forget. This analysis will be supplemented by readings of Frankland's 2002 play Conversations with the Dead, according to the author "a much heavier and harder version of 'No Way to Forget'".

Source: p.256.

The Unfathomable Rupture : Richard J Frankland's Conversations with the Dead Khairul Chowdhury , 2010 single work criticism
— Appears in: Empowering and Disempowering Indigenes : Staging Australian Aboriginal Experience 2010; (p. 150-161)
Presenting the Past : Historiography in Aboriginal Theatre of the 80s and 90s K. G. Naga Radhika , 2010 single work criticism
— Appears in: Southerly , vol. 70 no. 3 2010; (p. 144-162)
Life Beyond 40, Voices From Beyond The Grave Neil Jillett , Sian Prior , 2002 single work review
— Appears in: The Sunday Age , 3 March 2002; (p. 9)

— Review of Conversations with the Dead Richard Frankland 2002 single work drama
Play Explores Perpetual Shame Of Deaths In Custody Helen Thomson , 2002 single work review
— Appears in: The Age , 25 February 2002; (p. 5)

— Review of Conversations with the Dead Richard Frankland 2002 single work drama
Lost Voices Judy Adamson , 2003 single work biography
— Appears in: The Sydney Morning Herald , 26-27 July 2003; (p. 5)
Sydney Debut for 'Conversations' 2003 single work column
— Appears in: Koori Mail , 30 July no. 306 2003; (p. 40)
Windshuttling the Right : Some Australian Literary and Historical Adaptations for the Stage Helen Thomson , 2004 single work criticism
— Appears in: JASAL , vol. 3 no. 2004; (p. 133-142)
Focusing on the disjunction between versions of national history in white and black narratives of shared history, the article provides an overview of theatrical adaptations of cultural narratives that deal with Aboriginal experience in Australia's post-contact history.
'Listen to Them Cry Out from Their Dreaming' : Blak Inside and the Search for an Aboriginal Stage Aesthetic Marc Maufort , 2006 single work criticism
— Appears in: Antipodes , June vol. 20 no. 1 2006; (p. 56-62)
Black and White : Australia's History Onstage in Four Plays of the New Millennium Alison Lyssa , 2006 single work criticism
— Appears in: Australasian Drama Studies , April no. 48 2006; (p. 203-227)
Last amended 19 Apr 2017 11:04:28
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