DAVID WILLIAMSON Is Australia's Best Known and Most Widely Performed Playwright. His First Full-Length Play the Coming of Stor
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The Removalists
Education Resources STC Ed presents a Staged Reading of David Williamson’s The Removalists RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 Themes 2 Synopsis 2‐4 Historical and social background 5‐6 David Williamson Quotes 7‐8 Additional Resources 9 Education Resource written by Kerreen Ely‐Harper and compiled by Education Coordinator Toni Murphy KEY AIM of exercise or section Extension Exercises Download and watch + Drama Exercises English Exercises Play online DAVID WILLIAMSON’S THE REMOVALISTS – STAGED READING Sydney Theatre Company Education Resources 2012 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about ABOUT STC ED www.sydneytheatre.com.au/stced/about/us CREATIVE TEAM Director – Jemma Gurney CAST Sergeant Simmonds – tba “SIMMONDS Constable Ross – tba Fiona Carter – tba Stuff the rule book up your Kate Carter – tba arse. That’s the first thing Kenny Carter – tba you’ve got to learn. Act 1 Removalist – tba The Removalists ” THEMES Australian Drama Power & Corruption Australian Culture & Society Domestic Violence Satire DAVID WILLIAMSON’S THE REMOVALISTS – STAGED READING 2 Sydney Theatre Company Education Resources 2012 www.sydneytheatre.com.au/stced © Sydney Theatre Company SYNOPSIS ACT ONE Police Station Sergeant Simmonds is inducting new police recruit Constable Ross on his first day at the station. Simmonds insists on knowing everything about Ross if he is to be on his team. They are interrupted by two women who have come to the station to report an offense. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
DAVID WILLIAMSON Is Australia's Best Known and Most Widely
DAVID WILLIAMSON is Australia’s best known and most widely performed playwright. His first full-length play The Coming of Stork was presented at La Mama Theatre in 1970 and was followed by The Removalists and Don’s Party in 1971. His prodigious output since then includes The Department, The Club, Travelling North, The Perfectionist, Sons of Cain, Emerald City, Top Silk, Money and Friends, Brilliant Lies, Sanctuary, Dead White Males, After the Ball, Corporate Vibes, Face to Face, The Great Man, Up For Grabs, A Conversation, Charitable Intent, Soulmates, Birthrights, Amigos, Flatfoot, Operator, Influence, Lotte’s Gift, Scarlet O’Hara at the Crimson Parrot, Let the Sunshine and Rhinestone Rex and Miss Monica, Nothing Personal and Don Parties On, a sequel to Don’s Party, When Dad Married Fury, At Any Cost?, co-written with Mohamed Khadra, Dream Home, Happiness, Cruise Control and Jack of Hearts. His plays have been translated into many languages and performed internationally, including major productions in London, Los Angeles, New York and Washington. Dead White Males completed a successful UK production in 1999. Up For Grabs went on to a West End production starring Madonna in the lead role. In 2008 Scarlet O’Hara at the Crimson Parrot premiered at the Melbourne Theatre Company starring Caroline O’Connor and directed by Simon Phillips. As a screenwriter, David has brought to the screen his own plays including The Removalists, Don’s Party, The Club, Travelling North and Emerald City along with his original screenplays for feature films including Libido, Petersen, Gallipoli, Phar Lap, The Year of Living Dangerously and Balibo. -
Emotion Pictures
Unit 6203 Screen Analysis 3 OzScreen: Constructing Histories EMOTION PICTURES An examination of the ways in which history films emotionalise the past, with particular reference to Phar Lap, Gallipoli and Strikebound A paper 2600 words By David Lowe (3rd Year BA) © 28 March 1996 email: [email protected] EMOTION PICTURES ...1 Filming historical stories is a risky business; commercially, dramatically and culturally. Unlike most written history, the history film is concerned with an emotional journey, as well as an ideological and sociological one. The concerns of history and drama overlap, but do not match, and film’s uneasy balancing act between art and commerce can easily become perilous when history is added to the load. Some believe that only film can “recover the past’s liveliness”.1 Others question whether it is possible to tell historical stories on film without losing “our professional or intellectual souls”.2 Despite the risks, film-makers continually delve into the past as a source of inspiration and subject matter. Australian film-makers have traditionally had a particular interest in historical stories. Our desire to stand alone and establish an independent identity from Britain and the United States led to a spate of films in the 1970s and early 80s which focused almost exclusively on local historical subjects. Phar Lap, Gallipoli and Strikebound were among the most important of these films. Unlike some other examples that come to mind, like Picnic at Hanging Rock and The Man From Snowy River, these three films attempt to deal with undisputed and actual events. The creators of the films took on the difficult task of melding drama and history at a time when the search for an Australian identity was more intense than ever before. -
A STUDY GUIDE by Katy Marriner
© ATOM 2012 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN 978-1-74295-267-3 http://www.theeducationshop.com.au Raising the Curtain is a three-part television series celebrating the history of Australian theatre. ANDREW SAW, DIRECTOR ANDREW UPTON Commissioned by Studio, the series tells the story of how Australia has entertained and been entertained. From the entrepreneurial risk-takers that brought the first Australian plays to life, to the struggle to define an Australian voice on the worldwide stage, Raising the Curtain is an in-depth exploration of all that has JULIA PETERS, EXECUTIVE PRODUCER ALINE JACQUES, SERIES PRODUCER made Australian theatre what it is today. students undertaking Drama, English, » NEIL ARMFIELD is a director of Curriculum links History, Media and Theatre Studies. theatre, film and opera. He was appointed an Officer of the Order Studying theatre history and current In completing the tasks, students will of Australia for service to the arts, trends, allows students to engage have demonstrated the ability to: nationally and internationally, as a with theatre culture and develop an - discuss the historical, social and director of theatre, opera and film, appreciation for theatre as an art form. cultural significance of Australian and as a promoter of innovative Raising the Curtain offers students theatre; Australian productions including an opportunity to study: the nature, - observe, experience and write Australian Indigenous drama. diversity and characteristics of theatre about Australian theatre in an » MICHELLE ARROW is a historian, as an art form; how a country’s theatre analytical, critical and reflective writer, teacher and television pre- reflects and shape a sense of na- manner; senter. -
After the Ball David Williamson
David Williamson’s first full-length play, The Coming of Stork, premiered at the La Mama Theatre, Carlton, in 1970 and later became the film Stork, directed by Tim Burstall. The Removalists and Don’s Party followed in 1971, then Jugglers Three (1972), What If You Died Tomorrow? (1973), The Department (1975), A Handful of Friends (1976), The Club (1977) and Travelling North (1979). In 1972 The Removalists won the Australian Writers’ Guild AWGIE Award for best stage play and the best script in any medium and the British production saw Williamson nominated most promising playwright by the London Evening Standard. The 1980s saw his success continue with Celluloid Heroes (1980), The Perfectionist (1982), Sons of Cain (1985), Emerald City (1987) and Top Silk (1989); whilst the 1990s produced Siren (1990), Money and Friends (1991), Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), Heretic (1996), Third World Blues (an adaptation of Jugglers Three) and After the Ball (both in 1997), and Corporate Vibes and Face to Face (both in 1999). The Great Man (2000), Up for Grabs, A Conversation, Charitable Intent (all in 2001), Soulmates (2002), Birthrights (2003), Amigos, Flatfoot (both in 2004), Operator and Influence(both 2005) have since followed. Williamson is widely recognised as Australia’s most successful playwright and over the last thirty years his plays have been performed throughout Australia and produced in Britain, United States, Canada and many European countries. A number of his stage works have been adapted for the screen, including The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Sanctuary and Brilliant Lies. -
Helen Christinson Caroline Craig Kate Jenkinson Katrina Milosevic Jacki
A A Helen Christinson CastKatrina Milosevic The Bride Bridesmaid Helen graduated from QUT’s Acting program in 2004. While at QUT A graduate of NIDA, Katrina has appeared in JULIUS CAESAR and she was fortunate enough to work with such directors as Michael ANToNY & CLEoPATRA for the Bell Shakespeare Co, MACBETH and Gow, Jennifer Flowers, Karen Crone and Sean Mee on shows in- FAT PIG for the STC, WoYZECK for the MTC, THE MAIDS for 20/20 cluding Live Acts on Stage, The Winter’s Tale, Roberto Zucco andThe Theatre, ALIvE AT WILLIAMSToWN PIER for Griffin Theatre and the Rocky Horror Picture Show. Ensemble’s premier production of David Williamson’s oPERAToR. After graduating from QUT Helen played the dual role of Ellen and Sarmitte in LaBoite’s The Drowning Bride, directed by Michael Her television credits include BIG SKY, THE GAMES, BLUE HEELERS Futcher. Helen has also worked at QTC, again under the direction and regular role, Sophie Novak in STINGERS for which she received of Michael Gow, playing Amanda in Private Lives, a co- production a 2004 Logie Award Nomination, and as victoria in the telemovie with STCSA, and the seductive widow- next- door, Fanny Wilton in Little oberon. Ibsen’s John Gabriel Borkman. She has also delved into her darker side playing Lena in the Stablemates’ production of Marius von Mayenberg’s The Cold Child, directed by Anthony Skuse. Helen’s film credits include Rapid Fear, Endurance Island, The Underdog’s Tale and Harrisville. She has also appeared in the short film The Pitch. Helen was thrilled last year to be cast in MTC’s The 39 Steps under the direction of Maria Aitken. -
October 2016 to Saturday 12Th November 2016
FROM THE PRESIDENT Dear Friends, I am pleased to report that our new curtain mechanism has been installed. The curtain is now operated by the press of a button! In some ways it was sad to see the old pulley go as it had been a part of the Playhouse Theatre for so long. I was so relieved that the curtain itself didn't fall apart when it came down. The theatre is continually being improved. I would like to welcome Nick Lahey as a Rep director. This is his first play for Hobart Rep. Thank you to Nick cast and crew for their dedication to Up For Grabs. I look forward to seeing the fruits of their labours. President Liz “on duty” in the Box Office during the run of Something’s Afoot We thank our volunteers and supporters. We could not function without you. A SLICE OF THEATRE LIFE You never know who you’ll see at The Playhouse during a theatrical run. Top left, well known actor Jeff Michel selling programs. Top right, Hobart Rep Secretary, Tony Webb and below, Heather Chong, a most beloved Sponsor. (We LOVE our Sponsors!) UP FOR GRABS A Fast Paced Comedy and Maybe a Hint of Satire When Simone Allen, an exclusive art dealer, is given the opportunity to sell a Brett Whitely, her behaviour becomes highly questionable as the pressure mounts. Driven by greed and aesthetics, just how far will Williamson’s characters go when more than just a beautiful work of art is up for grabs in this sexy comedy of manners? A fast paced show about money, greed, unhappy couples and expensive art. -
The Perfectionist Constellation: How Perfectionists Describe, Understand, Experience and Imagine Relationships
The Perfectionist Constellation: How Perfectionists Describe, Understand, Experience and Imagine Relationships Alice Georgina Marsh Wordcount: 34,508 (including all quotes and in text referencing) A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Professional Doctorate in Counselling Psychology Faculty of Health and Life Sciences, University of the West of England, Bristol - May 2018 0 1. Contents 1. Contents .................................................................................................................................................... 1 2. Acknowledgements .............................................................................................................................. 3 3. Abstract ..................................................................................................................................................... 4 4. Introduction ............................................................................................................................................ 6 5. Literature Review.................................................................................................................................. 8 a) Definition and Effects of Perfectionism ............................................... ………….8 b) Interpersonal Effects of Perfectionism ............................................................. 10 c) Mental Illness and Perfectionism ....................................................................... -
From the Old to the New World: Cinematic Offers of Spiritually
FROM THE OLD TO THE NEW WORLD: CINEMATIC OFFERS OF SPIRITUALLY RECUPERATIVE TRIPS TO THE EMERALD ISLE* Rosa González Casademont Universitat de Barcelona Abstract The recuperative retreat undertaken by Yeats in “The Lake Isle of Innisfree”The ( Rose, 1893) from the drab reality of London’s “pavements grey” to an Irish scenery of solitude and natural harmony where he would find “some peace,” has being persistently rehearsed by Irish expatriates. However, it is in the cinematic portrayals of Ireland, often made by outsiders, where, notwithstanding the changed economic, political and social circumstances experienced by the Republic, the idealisation of rural Ireland and the healing powers of the island’s supposedly primitive lifestyle and values that people escaping from the stresses of urban life and competitive environments have endured longer. By considering the presence, and frequently random use, of anachronistic and clichéd cinematic signifiers of Irishness, the paper highlights both the recent proliferation of offerings of an Emerald Isle that does not exist beyond the screen and a regret concerning the films’ missed opportunity of inter- rogating and building on the vast corpus of the Irish diaspora’s narrativised history. Key words: Cinematic Irish clichés, Ireland as an Arcadia, exogenous expectations of Ireland, Celtic spirituality, romcoms, travel cinema. 119 Resumen La restauradora escapada que Yeats hiciera en “La isla del lago de Innisfree” (The Rose, 1893) desde la realidad monótona de las “aceras grises” de Londres a un paisaje irlandés de soledad y armonía natural donde encontrar “un poco de paz,” ha sido persistentemente emprendida por generaciones de expatriados irlandeses. No obstante, es en las representaciones cinema- tográficas de Irlanda, realizadas a menudo por extranjeros, donde han perdurado por más tiempo la idealización de la Irlanda rural y de los poderes curativos que los supuestamente arcaicos valores y estilo de vida de la isla aportan a las personas que huyen de entornos competitivos y del estrés de la vida urbana. -
The Marloovian Official Newsletter of the Darlington Theatre Players Inc (Founded 1956)
The Marloovian Official Newsletter of The Darlington Theatre Players Inc (Founded 1956) www.marlootheatre.com NOVEMBER 2013 The Darlington Theatre Players at MARLOO THEATRE Marloo Road, Greenmount www.marlootheatre.com by Stuart Ardern & Bob Heather Cinderella November Fri 8 Sat 9 Sun 10* Wed 13 Fri 15 Sat 16 Sun 17* Wed 20 Fri 22 Sat 23 Sun 24* Wed 27 Fri 29 Sat 30 December Sun 1* Wed 4 Fri 6 Curtain up 7:30pm, *Matinees 2:00pm BOOKINGS: Gwyne 9255 1783 ADULT $22 CONC/CHILD $20 Directed by Brendan Tobin MEMBERS $18 FAMILY (2 ad & 2 ch) $70 Musical director S-J Lewendon-Lowe November 8 ~ December 6 2013 a community theatre production by arrangement with Lazy Bee Scripts The Marloovian 1 Darlington Arts Festival CINDERELLA, SCONES AND SHOES that someone else was able to milk the cows that provided the glorious thick cream. Marjorie and Richard together with their team raised well over $2000 for the theatre and made a welcome return after a couple of years break. Greg and Liz Rusha were largely instrumental in making the return possible and were a great liaison with the DAF Committee. THE DARLINGTON THEATRE PLAYERS has a As well as selling long history with the Darlington Arts Festival. scones, tea and coffee the Festival is an opportunity In 1961 artist Guy Grey Smith was to promote the theatre in burning off at the back of his Darlington general and the end of year studio and the fire got out of control. The production in particular. Darlington Volunteer Fire Brigade saved his home and studio so, as a ‘thank you’ This year with our panto and fundraiser he organised an exhibition Cinderella it was easy to of his and other local artists’ work. -
David Williamson's the Club
THE CLUB BY DAVID WILLIAMSON TEACHER’S NOTES BY PETER FITZPATRICK 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.