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In the wake of David Williamson's claims about a lack of appreciation for his work, Alison Croggon examines the current state of Australian theatre. Croggon looks at the perceived 'war between writing and directing' and balances that view with cases of genuine collaboration between writers and directors (such as Tom Wright and Barrie Kosky). She also discusses differences between 'naturalistic popular theatre' and 'non-naturalistic or difficult stuff'.
Croggon asserts that change in Australian theatre has been driven by 'peripatetic artists: writers, directors, performers, designers who worked between Europe, Asia, North America and Australia, bringing a wider international perspective to local practice ... Whereas in a previous generation Australian artists moved overseas permanently, these artists return and continue their work here. And they bring with them fresh perspectives, new ways of working, new influences, new dissatisfactions ... Their work simply will not fit into the old dichotomies of naturalism and non-naturalism, or Australian and internationalist.'
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Untitled
2009
single work
correspondence
— Appears in: The Weekend Australian , 6-7 June 2009; (p. 2) Rodney Hall refutes a claim made by Alison Croggon in her article 'Theatre's New Stage'. Croggon stated that Hall had led a 'chorus of writers' in protesting against a change in direction when Playbox Theatre became the Malthouse Theatre in 2005. Hall says his complaint was not that 'the writer had been abandoned' in the change. His concern was 'the overwhelming percentage of public subsidy going to companies and orchestras catering for the top end of town, plus the desperate shortage of work for our actors'. Hall concludes his letter: 'Directors can produce whatever they choose. But I do believe that once the public purse is involved there needs to be a clear idea of the public benefit.'
-
Untitled
2009
single work
correspondence
— Appears in: The Weekend Australian , 6-7 June 2009; (p. 2) Rodney Hall refutes a claim made by Alison Croggon in her article 'Theatre's New Stage'. Croggon stated that Hall had led a 'chorus of writers' in protesting against a change in direction when Playbox Theatre became the Malthouse Theatre in 2005. Hall says his complaint was not that 'the writer had been abandoned' in the change. His concern was 'the overwhelming percentage of public subsidy going to companies and orchestras catering for the top end of town, plus the desperate shortage of work for our actors'. Hall concludes his letter: 'Directors can produce whatever they choose. But I do believe that once the public purse is involved there needs to be a clear idea of the public benefit.'
