ADX Is Based on Fate Core System and Fate Accelerated Edition (Found At

Total Page:16

File Type:pdf, Size:1020Kb

ADX Is Based on Fate Core System and Fate Accelerated Edition (Found At APOTHEOSIS DRIVE X IS A MACHINE AGE PRODUCTION DESIGNED AND WRITTEN BY DAVID A HILL JR and FILAMENA YOUNG Additional Writing by Jeremy Kostiew and David Gallo ART BY ARTHUR ASA, NICOLE CARDIFF, JENNA FOWLER, JEREMY KOSTIEW, SEAN PARRACK Cover Art By Laura Hamilton APOTHEOSIS DRIVE X IS RELEASED UNDER A CREATIVE COMMONS BY-SA-NC LICENSE #ADX is based on Fate Core System and Fate Accelerated Edition (found at http://www.faterpg. com/), products of Evil Hat Productions, LLC, developed, authored, and edited by Leonard Balsera, Brian Engard, Jeremy Keller, Ryan Macklin, Mike Olson, Clark Valentine, Amanda Valentine, Fred Hicks, and Rob Donoghue, and licensed for our use under the Creative Commons Attribution 3.0 Unported license (http://creativecommons.org/licenses/by/3.0/). Fate™ is a trademark of Evil Hat Productions, LLC. The Powered by Fate logo is © Evil Hat Productions, LLC and is used with permission. The Fate Core font is © Evil Hat Productions, LLC and is used with permission. The Four Actions icons were designed by Jeremy Keller. FIND MORE AT HTTP://WWW.CREATIVECOMMONS.ORG INTRODUCTIONINTRODUCTION “Through the auspices of the gun, man is relieved of responsibilities- placing his faith in sister machine gun, brother bomb.” - Jim Marcus “Peace cannot be kept by force; it can only be achieved by understanding.” - Albert Einstein Welcome to the 25th century. What is Apotheosis Drive X? Apotheosis Drive X, or #ADX, is a game about humanity, giant robots, struggle, science, love, loss, sacrifice, and consequence. It’s a game about so very many things. In #ADX, you and a handful of friends portray a crew of robot pilots -or Titans, as we call them- and their friends, allies, loved ones, and supporters. Your Titans fight to protect the future of humanity, whatever humanity means. #ADX walks a line between hard and soft science fiction. We use science to support the narrative and tell the stories we want to tell, but we won’t let it limit us. For example, warfare probably won’t evolve to a point where piloted robots dominate the field. The 25th century of #ADX is pre-transhumanist. Humanity approaches a next stage in evolution with each passing day. We’ve moved into space. We’ve made remarkable advancements in the field of artificial intelligence. We’re almost there. When in doubt, favor #ADX’s science to be on the cusp of remarkable change. During your campaigns, scientific advancement ramps up, and may cross into a technological singularity. WHAT APOTHEOSIS DRIVE X ISN’T #ADX is not a game about hate. It’s not a game about good and evil, black and white, and other, similar concepts. Every faction, every nation, every person in #ADX has a motivation. Motivations are far more interesting to us than mythological concepts of right and wrong. In #ADX, everyone thinks they’re in the right. Because in their world perspective, they are. You’re not going to see jack-booted thugs that will absolve your pilots from guilt. When your pilots shoot down an enemy Titan, they’re stopping a life that’s just as legitimate as theirs. But there will be time to dwell on this after the battle. Flinch, and they’ll end your life just as quickly as you’d end theirs. 2 APOTHEOSIS DRIVE X CHAPTER 00: INTRODUCTION FATE CORE #ADX doesn’t exist in a vacuum. As a setting, it owes inspiration to many sources. As a game, it’s built on the foundation of Evil Hat Productions’s Fate Core rules. You don’t need Fate Core to play, but we think you should pick it up anyway. Not only will it give you some great resources for your #ADX campaigns, it’s made by wonderful people. You can find more at http://www.faterpg.com. Most of our rules align very well with what Fate Core established. However, sometimes we deviate. Many of our rules are unique to the #ADX experience. When we do something completely new, we’ll mark it with a big X. One big difference? We call our GM a Director. It’s a Machine Age thing. WHAT YOU’ll FIND INSIDE Inside, you’ll find everything you need to play #ADX. However, you can find further resources at http://www.machineageproductions.com/. Some of these, like character worksheets, setting worksheets, and Titan worksheets will make your games flow way better. They’ll do a lot of the heavy lifting, so you can get to enjoying the game. CHAPTER ONE: SETTING PRIMER Page 004 We’ll start off with a primer on the 25th century. We’ll keep it short and sweet, so you can give it to new players and cut down on the barrier of entry. CHAPTER TWO: GENERATIONS Page 08 This is a more comprehensive look at the progression of the #ADX setting. We measure it in generations, which are major advancements in Titan technology. CHAPTER THREE: THE FACTIONS Page 24 Here, we talk about the setting from the perspective of each of the four main factions. CHAPTER FOUR: THE TITANS Page 42 This chapter introduces Titans. This includes the four major faction Titans, mass-produced models, and gives thoughts on unique Titan classes. CHAPTER FIVE: GETTING STARTED Page 56 Next, we get into rules. Here, you’ll design your crew, your pilots, your factions, and all the major elements of the setting. CHAPTER SIX: RULES Page 68 Next, we go into the rules for play. CHAPTER SEVEN: Directing #ADX Page 116 This chapter tells the Director how to run a game of #ADX. CHAPTER EIGHT: ADVENTURES Page 124 This talks about adventure design, and provides a sample, starting campaign. 3 SETTING PRIMERSETTING PRIMER HELLO PILOT 00A00024330801G4, I’m the One Earth Accord’s Mark VII Enhanced Resident Integration Coordination Assistant, or ERICA. To save taxpayer dollars, the One Earth Accord programmed me to suit your orientation needs in lieu of hiring thousands of trainers across the solar system. While I am not a full Artificial Intelligence (AI), I am capable of answering all your orientation-based questions using an extensive database gathered from centuries of military, human resources, historical, and astronomical studies. If you have a question not in my databases, know that an ERICA support services agent will assist you promptly. Your first step in matriculation is a history of the One Earth Accord, and by extension, the whole of humanity and our solar system. To avoid politically incorrect in-group bias, we’ve developed a complex algorithm that compiles and homogenizes data, journalistic reporting, and citizen opinions from within and outside the Accord. This way, you’ll see a variety of viewpoints. Keep in mind, these viewpoints are not always endorsed by the Accord. Treason is a crime under Article IV, Section XIV of the One Earth Accord. Without further ado, begin Module 1. Remember, there will be a test. 2397 - Generation 0 - World War IV Earth approached a population of 40 billion thanks to advancements in cloning, genegineering, and medicine. The average person lived 100 years or more. We maintained over 120 colonies on Luna, and half as many on Mars. We launched the first aerostat habitat off Venus. Space station and asteroid habitat colonies housed thousands. The skies opened to humanity’s curiosity. An estimated 82% of the Earth’s power came from the Halo One orbital ring. Fossil fuels contributed less than 7% of power consumption, with the rest spread among independent solar cells, wind, hydro, and nuclear power. As energy production moved away from older, less sustainable sources, former fuel producing nations fell into turmoil. Their economies hurt. Their people revolted. The Oya Project was an experiment by geneticists in West Africa to create an elite force of soldier without the ambition for power. We’d see their introduction into the world stage in 2397. Up until then, they remained classified. When the struggling nations took arms against more fortunate states, the Oya emerged to stop the conflict. They did so with remarkable results. To profit from the strife, and the Oya, private security firms merged into The Stellar Corporate Collective, or StarCC. A glut of excessive cloning experimentation in the early 24th century meant that most StarCC soldiers were 2nd and 3rd generation clones. The StarCC hired itself out to the waning nations, offering to battle the rest of the world to bring these nations back to prominence. Some of these nations complied out of desperation. They sparked World War IV. 4 APOTHEOSIS DRIVE X CHAPTER 01: SETTING PRIMER 2401 - Generation 1 - The Birth of Titans The StarCC forces fought the Oya and other Earth forces for four long years. The war took millions of lives on either side. Due to their lack of a central leadership, StarCC stood immune to massive destruction by nuclear arms. However, tides turned against StarCC as Earth’s militaries united against them. By that point, StarCC fought for survival, not for victory. StarCC brought a secret weapon to the battlefield: General Class Fighters. Generals were low-atmosphere fighter jets that transformed into humanoid combat machines. Their speed and versatility dominated the fight, and shifted everything back into StarCC’s hands. The Oya vanished instead of facing destruction, leaving the Earth forces to stand their ground against the Generals. Earth’s governments banded together to fight StarCC. They attempted to reverse-engineer a General and merge it with existing labor robotics. This barely slowed StarCC’s onslaught. The situation on Earth looked grim. Nine months after the Oya vanished, they returned with fighting robots of their own, the Oya Class Fighters. While Oya tech was superior to the General Fighters, their numbers were insufficient to win the war.
Recommended publications
  • Class of 1991 25Th Reunion Yearbook
    CLASS OF 1991 TH 25 REUNION Brandeis University TH 25 REUNION Dear Classmates, It’s been twenty-five years! Can you believe it?!? The pages of this yearbook are filled with the stories, memories and histories that describe what our experiences at Brandeis mean to each of us, and how those experiences shaped who we became. There is no doubt about it: our time at Brandeis — and the knowledge and experiences we gained there — played an important role in determining our worldviews and impacted how we would live our lives. For many of us, our years at Brandeis also cemented some of our most meaningful and transformative personal relationships. As we perused the pages of our 25th Reunion yearbook, we couldn’t help but reflect on the fact that as much as Brandeis shaped us, we shaped Brandeis. We each contributed to the tapestry of experiences, perspectives and opinions that, together, created an intellectual, educational and social environment that was unique to our undergraduate years. So, this book is as much a celebration of us as it is a celebration of Brandeis itself. We hope you enjoy it as much as we do! Our 25th Reunion, June 3-5, is truly a milestone. Our committee has created an exciting line-up of events, all of which promise to be great. It will be amazing to come together as a class and rekindle fond — though perhaps long-forgotten — memories. Those of you who haven’t been back for a while will be dazzled by the campus transformation, but rest assured, we will be nostalgic seeing our old haunts as well.
    [Show full text]
  • Drained Wanting More
    Stories of People Who Wanted More Johann ChriStoPh arnold Published by Plough Publishing House Walden, New York Robertsbridge, England Elsmore, NSW, Australia www.plough.com © 2015, 2011 by Plough Publishing House All Rights Reserved. table of Contents Prologue: Wanting More 1 1 Life in the Slow Lane 5 2 Noise Pollution 9 3 Let Go 13 4 The Lost Art 19 5 Get Real 26 6 Burn Your Fingers (Again) 33 7 Turn Around 38 8 What You Really, Really Want 43 9 Choose Life 51 10 Say Thank-you 51 11 That Gnawing Feeling 56 12 Forget Yourself 69 13 The Golden Rule 76 14 Living on a Prayer 75 15 Lights, Camera 81 16 Say You Want a Revolution 96 Epilogue: Keep the Faith 103 The Author 108 Drained wanting more Prologue: Wanting More Only when you have made peace within yourself will you be able to make peace in the world. rabbi SiMCha buniM hile working on this book, I came across an advert featuring a picture of a woman curled up in a lawn chair, Wgazing out over a lake toward a brilliant sunset. The advert reads: ‘A dream job. Beautiful kids. The best marriage. And a gnawing feeling of absolute emptiness.’ How many millions share her unspoken anxiety? We work hard, play hard, love hard – and try to isolate ourselves on little islands of sanity in the midst of a raging sea in which stock markets surge and crash, biotech engineers redefine life’s boundaries and fashion designers dictate dress code. But somehow the tide keeps rising… And sometimes we’re too tired – too drained – even to care.
    [Show full text]
  • The Effects of Satire and Farce in the Plays of David Williamson
    i “Sugared Placebos”? The effects of satire and farce in the plays of David Williamson Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Education Faculty of Human Development Victoria University By Elvira Sammut DipTeach(WASTC), BEd(ECU), MEd(ECU), LTCL(Drama) 2008 ii Declaration This Thesis contains no material which has been submitted for examination in any other course or accepted for any degree or diploma in any University. To the best of my knowledge and belief, it contains no material previously published or written by another person, except where due reference is made in the text Signed …………………………………………………………………………… Elvira Sammut. July 2008 iii This Thesis is dedicated to the memory of my Mother, Elena Suarez Gallagher Corbett, whose passion and vision instilled in me her love of reading and her deep belief in education. She travels with me. iv Acknowledgements I would like to express my thanks to Dr. Tarquam McKenna and Dr. Mary Weaven at Victoria University for supervising this thesis. I am very grateful for their generous support, constructive criticism, and many kindnesses. And for the sheer niceness of their manner. This thesis was commenced at Curtin University, Perth, Western Australia. Mention must be made of Dr. Donald Pulford and Dr. Paul Genoni who supervised the drafts of the early chapters. Thank you both. I am grateful to Dr. Felicity Haynes of University of Western Australia for her expertise, help and encouragement in enabling me to complete this project. I am also deeply indebted to Victoria University, Footscray, Victoria, for giving me the opportunity to complete this work.
    [Show full text]
  • Theatre Australia
    University of Wollongong Research Online Theatre Australia 8-1979 Theatre Australia: Australia's magazine of the performing arts 4(1) August 1979 Robert Page Editor Lucy Wagner Editor Follow this and additional works at: http://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert and Wagner, Lucy, (1979), Theatre Australia: Australia's magazine of the performing arts 4(1) August 1979, Theatre Publications Ltd., New Lambton Heights, 58p. http://ro.uow.edu.au/theatreaustralia/33 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 4(1) August 1979 Description Contents: Departments: 2 Comment 3 Quotes and Queries 5 Whispers, Rumours and Facts 6 Letters 46 Guide — Theatre, Opera, Dance Spotlight: 7 Carol Burns — Suzanne Spunner 8 Youthful Dancers Make Box-Office Waves — David K Wheatley 9 Cooke’s Cordon Bleu Tours — Ray Stanley 10 Theatre of the Deaf— Ian Watson Features: 11 A-Polo Gies for MTCee-ats — Barry Dickins 12 From Theatre to Film — Christine Schofield 14 Sydney's Lost Theatres Part One — Ross Thorne 17 TA Enquiry: Big Business and the Arts Pt 2 — Do we need A. R. T.S. 35 Writer’s View: Roger Pulvers 37 Children’s Theatre: Children in Children's Theatre International: 33 Dances of Death in London — Irving Wardle Opera: 39 Three AO openings; QLO duo; and Seymour single — David Gyger Dance: 41 Wildstars — William Shoubridge Theatre Reviews: 19 ACT
    [Show full text]
  • Download Download
    EDITORIAL NOTES Editors’ Preface Lynette Hunter, Alex Lichtenfels, Heather Nolan, and John Zibell Copresence with the Camera emerged through a series of ongoing conversations between politically motivated artists. These conversations started informally, between collaborators at various events, exhibitions, and conferences, and among colleagues and friends working on filmmaking and critical approaches to working with a camera. Over three years of listening to and talking with each other, unexpected resonances between artistic practices led to collaborations that were proposed and later actualized, and to excitement over the revelation of common goals. Together, we felt there was an opportunity to put together a collection of critically engaged artists’ writings and documents about the art we were and are still making, and this is the work this journal issue continues. It is our intention that these pieces exist in a dialogue with both one another and the works that they document. The relationship between artmaking practice and academic writing is complex. However, we firmly believe that reading a piece about a work can never provide an adequate substitute for experiencing the work itself. For this reason, where it is feasible and appropriate, we have provided links to the works that have been written about, and we encourage you to watch them alongside their documents. The exploration of these conversations in the materials of this journal is intended to be both stimulating and constructive in whatever field of creative practice you may work, or indeed if you are reading for general interest. Aside from these contexts of working with a camera, one element that has consistently motivated us to put together this journal issue is that it is often a great pleasure to learn about how artists make their work—what they do and why, and how it affects both them and their audiences.
    [Show full text]
  • PATSY CLINE Glossary October 2017, Jewel Theatre Company Shaun Carroll, Director © Susan Myer Silton, Dramaturge
    1 ALWAYS … PATSY CLINE Glossary October 2017, Jewel Theatre Company Shaun Carroll, Director © Susan Myer Silton, Dramaturge Note: this glossary not only provides word definitions, but includes additional information relevant to the play and its characters Key: DJ (disc jockey), LA (Los Angeles), NYC (New York City), UK (United Kingdom), US (United States), WWI (World War I) ACT I Cast, p. 5 All page numbers refer to the numbers imprinted on the script in the lower right of the page Patsy Cline: Patsy Cline was born Virginia Patterson Hensley on September 8, 1932, in the Winchester (Virginia) Memorial Hospital. She died in a plane crash March 6, 1963 in the hill country near Camden, Tennessee, at the age of 30, just as her career was at its highest peak. Country performers Hawkshaw Hawkins and Cowboy Copas died with her, as did her manager, Randy Hughes. Hughes was piloting all of them in his Piper Comanche home from a benefit concert in Kansas City, Kansas for Jack Wesley Call, aka “Cactus Jack”, one of Country’s well-known Midwestern DJs, who had died in a car crash a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, and the Clinch Mountain. According to Margaret Jones in her biography, Patsy: The Life and Times of Patsy Cline, “Country people are famous for coming to the aid of those in need”. Sam and Hilda’s home in Gore, where they lived before Patsy’s birth 2 When Patsy was born, her parents had been married for six days.
    [Show full text]
  • Theatre Australia Historical & Cultural Collections
    University of Wollongong Research Online Theatre Australia Historical & Cultural Collections 6-1977 Theatre Australia: Australia's magazine of the performing arts 2(2) June 1977 Robert Page Editor Lucy Wagner Editor Bruce Knappett Associate Editor Follow this and additional works at: https://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert; Wagner, Lucy; and Knappett, Bruce, (1977), Theatre Australia: Australia's magazine of the performing arts 2(2) June 1977, Theatre Publications Ltd., New Lambton Heights, 82p. https://ro.uow.edu.au/theatreaustralia/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 2(2) June 1977 Description Contents: Departments 2 Comment 3 Quotes and Queries 76 Guide: Theatre, Opera, Dance 5 Letters 74 Whispers, Rumours and Facts 69 International Theatre Institute Features 8 Chorus Line A photoessay of the Sydney production by Peter Holderness with a preview by William Shoubridge 13 Cover story: Thring interviewed by Raymond Stanley 32 Floating Parachute Wilton Morley, entrepreneur, talks to Robert Page 22 Fred Schepisi Australia Focus on Tasmania 16 Hobart's Historic Theatre Royal Ross Thorne 20 The Tasmanian Theatre Company Karl Hubert 20 Small State, Big Plans John Unicomb talks to Stan Marks 30 They tell it like it was Axel Kruse Playscript 35 The Fall Guy: Act One 36 Playwright, Linda Aronson, on the drama behind the play Opera 65 Lingwood’s Crisis of Identity David Gyger International 24 New Zealand Theatre Reviews 47 Queensland The Merchant of Venice Something’s Afoot Three Queensland Plays Queensland Playwright’s Conference 50 A.C.T.
    [Show full text]
  • View / Download 3.2 Mb
    Faith with Doubt: American Muslims, Secularity, and the “Crisis of Faith” by Zaid Adhami Graduate Program in Religion Duke University Date: November 6, 2017 Approved: ___________________________ Leela Prasad, Chair ___________________________ Ebrahim Moosa, Co-Chair ___________________________ David Morgan ___________________________ Juliane Hammer Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Religion in the Graduate School of Duke University 2017 i v ABSTRACT Faith with Doubt: American Muslims, Secularity, and the “Crisis of Faith” by Zaid Adhami Graduate Program in Religion Duke University Date: November 6, 2017 Approved: ___________________________ Leela Prasad, Chair ___________________________ Ebrahim Moosa, Co-Chair ___________________________ David Morgan ___________________________ Juliane Hammer An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Religion in the Graduate School of Duke University 2017 Copyright by Zaid Adhami 2017 Acknowledgments It has become conventional to note that it would not have been possible for a project like this to come into existence were it not for a very long list of family members, friends, peers, colleagues, mentors, teachers, and even students. While commonplace, this standard note reflects something that is profoundly true. I am indeed indebted to a long list of individuals in my personal and professional life who have guided me through the PhD process, and who have contributed to my growth and development more broadly. These many people have cumulatively made it possible for me to arrive at this point of having successfully completed my PhD dissertation.
    [Show full text]
  • STUDY GUIDE: the Club
    CurrenCy Press STUDY GUIDE The performing arts publisher www.currency.com.au DAVID WILLIAMSON’S THE CLUB by Peter Fitzpatrick . Introducing the play 1 2. The playwright comments 1 3. The critics’ views 1 4. Questions for discussion 1 5. Further reading 1. Introducing the play disparaged, figure in contemporary Australian theatre. He is, in a non-pejorative sense, an old- In 1976 some jeremiahs greeted the news fashioned playwright; his plays are not avant- that Australia’s most popular playwright was garde in their forms or expectations, and only working on a play about football—Australia’s in his unexpurgated dialogue does he take any most consuming form of popular theatre—with developed advantage of the freedoms won for his mutterings about the dangers of sacrilege, or generation of writers. All his plays are naturalistic of pandering to the public. But it didn’t take in form, suited to the proscenium stages and an expert to tip the success of The Club at the convincingly solid sets of the subsidised State box office. The degree of success has, however, companies who have found a new Williamson play exceeded anyone’s expectations, even in a godsend. Melbourne, the football culture in which the play Williamson’s earliest work was performed in is set. The Club, in its premiere season which 1970 at the tiny La Mama theatre in Melbourne, opened on 24 May 1977 at the Russell Street perhaps the main focus of the so-called ‘new Theatre, played to packed houses for an extended wave’ in Australian theatre in the late 1960s and four-month run, and brought unprecedented early 1970s; but since 1971, when The Removalists profits to the Melbourne Theatre Company; and Don’s Party were taken up by ‘establishment’ twenty months later it was back again, the laughs companies, all of his plays have first appeared in and full houses showing no signs of flagging.
    [Show full text]
  • Module Details
    Paper: 07; Module No: 33: E Text (A) Personal Details: Role Name Affiliation Principal Investigator: Prof. Tutun Mukherjee University of Hyderabad Paper Coordinator: Prof. Suchorita Chattopadhyay Jadavpur University Coordinator for This Module: Prof. Tutun Mukherjee University of Hyderabad Content Writer: Sanchayita Paul Chakraborty Bankura University Content Reviewer: Prof. Tutun Mukherjee University of Hyderabad Language Editor: Prof. Tutun Mukherjee University of Hyderabad (B) Description of Module: Items Description of Module Subject Name: English Paper No & Name: 07; Canadian, Australian and South Pacific Literatures in English Module No& Title: 33; Australian Play by a Writer of European Descent: David Williamson – Don’s Party (1971) Pre-requisites: Basic understanding of English Objectives: Introduction to the Australian Play by the writers of European Descent. Introduction to David Williamson as a leading Australian dramatist. Discussion of major plays of David Williamson. Specific focus on Don’s Party. Themes and dramatic style of David Williamson’s plays. Key Words: Australian uniqueness, naturalism, Australian Theatre, social documentation. 1 Content of the Module: This module aims to introduce the Australian plays by the writers of European descent. It will provide a detailed discussion of David Williamson as the Australian playwright of European descent, The module will focus on David Williamson’s famous play, Don’s Party (1971) in specific. It will further analyse the themes and dramatic style of Williamson’s plays. 1. Introduction When in 1788 the First Fleet came to Australia with a bunch of convicts, not only the Europeans set foot in the unknown land, but the European cultural tradition also found a new land to proliferate.
    [Show full text]
  • TRUST NEWS Began Late in 1971 As an Attempt to Tell Trust Mem­ Bers and Interested Theatre People About Trust Activites
    Editor: Margaret Leask contentr Assisted by Susan Paterson Interview with Ray Lawler .......... ......... .... ..... .. ... ... ... .. 3 Third Time Lucky - Linda Jacoby .. ... .. ........... .. .... .... .... 5 Silence is Golden - Susan Paterson .... ...... ........ .... .. ... ... 7 Dame Alicia Markova .......... .. ........ .. ... .. ..... .. .. ... .. 8 Remember the Puppet has Eyes - Katharine Brisbane .... .. ........ .. 10 Western Australian News - George Mulgrue .. .. .. ... ..... ....... .... 12 Books .. ............. ........ ... ... .. .......... .. ... 13 Sarah Bernhardt, Salome and Divine Extravagance - Interview with Lindsay Kemp .. 14 Committee's Diary .. .. .. .. .. ..... .. ....... ... ... .. .. .. 16 International Theatre Institute Newsletter - June Collis .... .. .. .. .. .. .. 17 Melbourne Scene - Barry Balmer...... ...... .... .. .. ..... .... 21 Innovation for the Sake of Innovation? - Linda Jacoby .. ..... .. .. .. 22 Polish Theatre - Roger Pulvers ... .... .... ......... .... .. ...... 24 Stageworld .. .... .... .. ..... .. .......... .. ... ....... .... 26 Showguide ..... ............. .............. .... .... ... ... 27 editorial The present form of TRUST NEWS began late in 1971 as an attempt to tell Trust mem­ bers and interested theatre people about Trust activites. Since then it has developed in size and content to include many aspects of the performing arts, outside of Trust involvement, in Australia and overseas. Perhaps it has not grown enough, or interest is not great enough, but there is an urgent need,
    [Show full text]
  • Unit 2 David Williamson's Dramatic World
    UNIT 2 DAVID WILLIAMSON'S DRAMATIC WORLD Structure Objectives Introduction Williamson's Early Plays (1970s) 2.2.1 The Coming of Stork 2.2.2 Don's Party 2.2.3 Jugglers Three 2.2.4 What if You Died Tomorrow 2.2.5. The Department 2.2.6 A Handful of Friends 2.2.7 The Club 2.2.8 Travelling North Williamson's Later Plays 2.3.1 Celluloid Heroes 2.3.2 The Perfectionist 2.3.3 Sons of Cain 2.3.4 Top Silk An Approach to Williamson's Plays Let Us Sum Up Questions Glossary Suggested Reading 2.0 OBJECTIVES In this unit we will look at the entire range of Williamson's plays. Williamson has also written for movies and has directed plays as well. In this unit we will look closely at his early period (1970s, the period to which The Removalists belongs) and refer to all his plays in chronological sequence, and try to identify his principal themes and concerns, and mark out the parameters of his theater. ' 2.1 INTRODUCTION As we saw in Unit 1, David Wiliiamson is one of the few Australian dramatists of the First Wave to have a long and successful career. Willia~nsonis important not just because of his success in commercial terms but because of his continued success in representing the contemporary concerns of white urban middle class Australia. Predominantly satirical of his chosen territory, Williamson's plays over the last thirty years of the twentieth century chalk out the social history of white middle class Australia.
    [Show full text]