AustLit
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.
Latest Issues
AbstractHistoryArchive Description
'Johnny is a digital chameleon, able to change who he is with the stroke of a key and the click of a mouse — a skill he puts to use in an online chatroom. Posing as a girl, under the screen name AlbaJay, Johnny stumbles across someone he knows from his real life, a boy from school, MarkyMark.
'The two begin a digital relationship, but as the fictional world he has created starts to collide with reality, Johnny must do whatever it takes to make sure MarkyMark still loves him.
'Based on true events, I Love You, Bro is a tale of love and deceit in a digital world.'
Source: Publisher's blurb.
Production Details
-
First produced at the Lithuanian Club, North Melbourne, Victoria, presented by the Melbourne Fringe Festival 2007, 28 October 2007. Directed by Yvonne Virsik. Subsequently produced at the Edinburgh Festival Fringe 2008.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Digital Alchemy : The Posthuman Drama of Adam J.A. Cass's I Love You, Bro
2014
single work
criticism
— Appears in: Australasian Drama Studies , December no. 65 2014; (p. 37-52) 'The definition of a 'digital performance' remains contested. Steve Dixon has defined the field as 'performance works where computer technologies play a key role rather than a subsidiary one in content, techniques, aesthetics, or delivery forms'. The inclusion of the word 'or' is crucial here. Under this definition, a theatre performance about computer technologies would still earn the definition of 'digital performance', whether those technologies were used on stage or not. Yet for Dixon and others, this has not proved to be the case. The trend in theatre scholarship exploring digital themes has overwhelmingly tended towards the final three categories of Dixon's definition: an emphasis on 'techniques, aesthetics, or delivery forms' to evoke a digital mise-en-scene. Implicit here is a wider emphasis on 'liveness' over 'content' in contemporary theatre scholarship, which Hans-Thies Lehmann observed as rift between 'theatre' and 'drama'. While digital 'theatre' has been the main focus of scholarly inquiry to date, this article aims to redress this imbalance, by presenting a critique of the Australian one-man play I Love You, Bro by Adam J.A. Cass (2007) via the 'drama' of the performance text itself. In so doing, I make the case for an alternative method of classifying digital performance - one in which a digital mise-en-scene may be evoked via the playwright's construction of identity within a technoscientific narrative. To anchor this approach, I employ the theoretical construct of the 'posthuman' - a figure that represents a compelling nexus for contemporary anxieties about the digital age.' (Publication summary) -
Theatre
2012
single work
review
— Appears in: The Sydney Morning Herald , 8 June 2012; (p. 9)
— Review of I Love You Bro' 2007 single work drama -
One-Act Hit a Must-See
2012
single work
review
— Appears in: The Canberra Times , 18 May 2012; (p. 8)
— Review of I Love You Bro' 2007 single work drama -
Reality Toned Down in Play about Brotherly Love
2012
single work
column
— Appears in: The Canberra Times , 16 May 2012; (p. 7) -
Infatuation Online
2012
single work
column
— Appears in: The Canberra Times , 11 May 2012; (p. 7)
-
A Mixed-Up Kid in the Shadowy Dangers of Cyberspace
2009
single work
review
— Appears in: The Australian , 16 February 2009; (p. 9)
— Review of I Love You Bro' 2007 single work drama -
Netted in a Web of Teen Fiction
2009
single work
review
— Appears in: The Age , 12 February 2009; (p. 28)
— Review of I Love You Bro' 2007 single work drama -
The Net Shall Set You Free
2009
single work
review
— Appears in: The Age , 17 February 2009; (p. 16)
— Review of I Love You Bro' 2007 single work drama -
Untitled
2009
single work
review
— Appears in: The Sunday Age , 22 February 2009; (p. 22)
— Review of I Love You Bro' 2007 single work drama -
Network Muse
2010
single work
review
— Appears in: Brisbane News , 21 - 27 July no. 793 2010; (p. 25)
— Review of I Love You Bro' 2007 single work drama -
Spotlight Falls on Theatre
2011
single work
column
— Appears in: The Courier-Mail , 14 February 2011; (p. 45) -
Infatuation Online
2012
single work
column
— Appears in: The Canberra Times , 11 May 2012; (p. 7) -
Reality Toned Down in Play about Brotherly Love
2012
single work
column
— Appears in: The Canberra Times , 16 May 2012; (p. 7) -
Digital Alchemy : The Posthuman Drama of Adam J.A. Cass's I Love You, Bro
2014
single work
criticism
— Appears in: Australasian Drama Studies , December no. 65 2014; (p. 37-52) 'The definition of a 'digital performance' remains contested. Steve Dixon has defined the field as 'performance works where computer technologies play a key role rather than a subsidiary one in content, techniques, aesthetics, or delivery forms'. The inclusion of the word 'or' is crucial here. Under this definition, a theatre performance about computer technologies would still earn the definition of 'digital performance', whether those technologies were used on stage or not. Yet for Dixon and others, this has not proved to be the case. The trend in theatre scholarship exploring digital themes has overwhelmingly tended towards the final three categories of Dixon's definition: an emphasis on 'techniques, aesthetics, or delivery forms' to evoke a digital mise-en-scene. Implicit here is a wider emphasis on 'liveness' over 'content' in contemporary theatre scholarship, which Hans-Thies Lehmann observed as rift between 'theatre' and 'drama'. While digital 'theatre' has been the main focus of scholarly inquiry to date, this article aims to redress this imbalance, by presenting a critique of the Australian one-man play I Love You, Bro by Adam J.A. Cass (2007) via the 'drama' of the performance text itself. In so doing, I make the case for an alternative method of classifying digital performance - one in which a digital mise-en-scene may be evoked via the playwright's construction of identity within a technoscientific narrative. To anchor this approach, I employ the theoretical construct of the 'posthuman' - a figure that represents a compelling nexus for contemporary anxieties about the digital age.' (Publication summary)
Awards
- 2007 winner Melbourne Fringe Awards — Best Emerging Playwright
- 2007 shortlisted Victorian Green Room Awards — Best New Australian Play As 'Best New Australian Writing'.
Last amended 3 Oct 2017 13:37:40
Export this record