AustLit logo
image of person or book cover 3533527807676092118.jpg
Image courtesy of publisher's website.
y separately published work icon Embers single work   drama  
Issue Details: First known date: 2006... 2006 Embers
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'An account of the fires that ravaged the communities of Victoria's northeast and Gippsland in January 2003; the heart-stopping tales of survival, the awe-inspiring courage and endurance of communities put to the test, the spine-chilling evocations of the wave of heat that roars through pristine valleys - and the mountains of sandwiches volunteers anxiously prepared.' Source: http://www.sydneytheatre.com.au/stcenews/2006/july/STC/july_online.html (Sighted 29/06/2006).

Production Details

  • First produced by HotHouse Theatre and the Sydney Theatre Company at Wharf 1, Sydney Theatre Company, 27 July - 3 September 2006. Director: Maeliosa Stafford

Publication Details of Only Known VersionEarliest 2 Known Versions of

First known date: 2006
      2006 .
      Extent: 1v.p.
      Description: Typescript
      (Manuscript) assertion
      Note/s:
      • Post performance draft (HotHouse Theatre and Sydney Theatre Company, 2006).

      Holdings

      Held at: University of Queensland University of Queensland Library Fryer Library
      Location: Hanger
      Local Id: H2531

Works about this Work

Postcard from the Edge : Tom Holloway's beyond the Neck and the Limits of Verbatim Caroline Wake , 2018 single work criticism
— Appears in: Australasian Drama Studies , April no. 72 2018; (p. 100-125)

'When the New South Wales Board of Studies put Tom Holloway’s Beyond the Neck (2007) on the list of prescribed texts for the Year 12 Verbatim Theatre elective, they seemed to be wilfully ignoring the playwright’s statement that the play is not verbatim. On the one hand, the lack of vernacular speech and characters that correspond to real-life people would seem to confirm Holloway’s argument. Conversely, the play’s reliance on interviews, community consultation, bottom-up history and mode of diegetic theatricality would seem to support the Board of Studies’ decision. This article argues that this difference of opinion is due, in part, to a difference of definition: whereas Holloway conceives of verbatim as a genre, the Board of Studies sees it as a practice. To contemplate verbatim as a practice opens the way for new research across theatre, performance, dance, television and film.'  (Publication abstract)

True-Life Script Lets Actors Play with Fire Alanna Maclean , 2009 single work review
— Appears in: The Canberra Times , 19 September 2009; (p. 17)

— Review of Embers Campion Decent , 2006 single work drama
Real Fire in the Story-Telling Bryce Hallett , 2006 single work review
— Appears in: The Sydney Morning Herald , 4 August 2006; (p. 13)

— Review of Embers Campion Decent , 2006 single work drama
Real Fire in the Story-Telling Bryce Hallett , 2006 single work review
— Appears in: The Sydney Morning Herald , 4 August 2006; (p. 13)

— Review of Embers Campion Decent , 2006 single work drama
True-Life Script Lets Actors Play with Fire Alanna Maclean , 2009 single work review
— Appears in: The Canberra Times , 19 September 2009; (p. 17)

— Review of Embers Campion Decent , 2006 single work drama
Postcard from the Edge : Tom Holloway's beyond the Neck and the Limits of Verbatim Caroline Wake , 2018 single work criticism
— Appears in: Australasian Drama Studies , April no. 72 2018; (p. 100-125)

'When the New South Wales Board of Studies put Tom Holloway’s Beyond the Neck (2007) on the list of prescribed texts for the Year 12 Verbatim Theatre elective, they seemed to be wilfully ignoring the playwright’s statement that the play is not verbatim. On the one hand, the lack of vernacular speech and characters that correspond to real-life people would seem to confirm Holloway’s argument. Conversely, the play’s reliance on interviews, community consultation, bottom-up history and mode of diegetic theatricality would seem to support the Board of Studies’ decision. This article argues that this difference of opinion is due, in part, to a difference of definition: whereas Holloway conceives of verbatim as a genre, the Board of Studies sees it as a practice. To contemplate verbatim as a practice opens the way for new research across theatre, performance, dance, television and film.'  (Publication abstract)

Last amended 4 Oct 2017 16:16:23
Subjects:
Settings:
  • Victoria,
  • 2003
Newspapers:
    Powered by Trove
    X