Examines the effects of East Timorese events upon their representation in Australia, and the responses created by Australian theatrical performances: a cycle of representation and resistance. Explores ways in which two Darwin plays produced by Timorese exiles - Death at Balibo and Diablo! - worked to voice support for resistance in exile and for resistance in East Timor at times when its continuation seemed futile.
Discusses Armfield's ensemble rehearsal model and its differences to the standard mainstream model. The focus of the article is 'on the design process, some features of the structuring of rehearsal itself, and Armfield's micro-practice of rehearsal in the context of discourses of ensemble-as-family' (106).