DOCSLIB.ORG

Hone Kouka Case Study

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hone Kouka Case Study http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. Takitoru: Creative Practice Toward the Development of a Trilingual Dramaturgical Kaupapa A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English with a Creative Practice Component at The University of Waikato by ALEXANDRA LODGE 2020 ii Abstract I have focused on writing a play in the three languages of Aotearoa: New Zealand Sign Language, te reo Māori, and NZ English. Through the development of this script with three actors I have found techniques for performance and workshopping to encourage multilingual creative practice for a playwright. Through case studies of playwrights doing similar work at an international level, I have synthesised analytical and creative research into a final script and summary of my dramaturgical findings. Through creative practice in scriptwriting and developmental workshops, this research explores what story-telling modes, devices or styles seem particularly apt for conveying an inclusive and engaging trilingual narrative on stage. This specifically involves developing a dramaturgical set of insights for others who may want to do cross-language performance in Aotearoa. iii Acknowledgements My first acknowledgements have to be to my extremely supportive whānau: my parents Gail & Martin, who have cheered me on throughout this research and writing. My brother Max who has patiently listened to me rant about my thesis for years despite not being very interested in any of it. I am so lucky to have been born into a family of nerds. My son Theodore Reid, who I hope will be proud of me when he’s a bit older. And my partner Cameron Reid, for pushing me to do this research and never questioning my need to do things the difficult way. I love you and I am so grateful for you. I would also like to thank my wonderful supervisors: Dr Mark Houlahan, who helped see this from a seed of an idea to a final real-life thesis. Thank you. Associate Professor Sarah Shieff, whose constant guidance has taught me more about proper research than I ever knew I didn’t know. Thank you. And Dr Nicola Hyland, for the dramaturgical support, endless positivity and general strengthening the kaupapa of this mahi. Thank you. To all of the participants in this research - and there have been many – thank you. Nā tō rourou, nā tāku rourouka, ora ai te iwi. iv Table of Contents Abstract ..................................................................................................................................... iii Acknowledgements .................................................................................................................... iv Table of Contents ........................................................................................................................ v List of Figures ............................................................................................................................ vii Introduction ................................................................................................................................ 1 Chapter One: Whakatakina ai e au ngā tikanga: Research and Revision of Creative Practice .... 21 Chapter Two: Bury Your Bones (First Draft)............................................................................... 28 Chapter Three: Overview of the Script Development Process ................................................... 93 Chapter Four: Theoretical Frameworks for NZSL Dramaturgy and Practice ............................... 96 Chapter Five: “the space between the petals” : Kaite O’Reilly Case Study .............................. 105 Chapter Six: Influence of Kaite O’Reilly on My Creative Practice ............................................. 129 Chapter Seven: Creative Practice: NZSL Development in Takitoru Dramaturgy ....................... 138 Chapter Eight: Theoretical frameworks in Māori dramaturgy ................................................. 176 Chapter Nine: “Carve your words, e Pa!” : Hone Kouka Case Study......................................... 187 Chapter Ten: Creative Practice: Te Reo Māori Development in Takitoru Dramaturgy ............. 211 Chapter Eleven: Takitoru Dramaturgy ..................................................................................... 249 Chapter Twelve: Tanumia ō Kōiwi (Final Draft) ...................................................................... 255 Chapter Thirteen: Takitoru Dramaturgy of Tanumia ō Kōiwi ................................................... 405 Chapter Fourteen: Summary of Research Findings .................................................................. 465 References .............................................................................................................................. 474 v Appendix ................................................................................................................................. 484 Kaite O’Reilly – full interview .................................................................................................... 486 KOUKA Full Interview Transcript ............................................................................................... 515 vi List of Figures Figure 1. An example of writing text for performance on a whiteboard during workshop. ........................................................................................................................................ 141 Figure 2 "Māori". A wiri (shimmering motion) with both hands in the motion of a setting sun ................................................................................................................................... 457 Figure 3. "Word". Mimed writing, simultaneously NZSL for “a fly” .................................. 457 Figure 4 "Bone / Blood / Skin". Tracing finger down the length of inner forearm repeatedly ........................................................................................................................................ 458 Figure 5 "Blood / Skin / Dirt". The traced "blood" drips onto the ground. ........................ 458 Figure 6 "Dirt". Running fingers through mimed earth. ................................................... 458 Figure 7 "Dirt / Hair / Breath". Gathering up a weightless texture form mimed earth. .... 458 Figure 8 "Hair". The texture is combed through hair. ...................................................... 459 Figure 9 "Thought / Breath". Combing action slowly segues into following inhale / exhale. ........................................................................................................................................ 459 Figure 10 "Thought / Air / Sky". Each exhalation extends up and out over time. ........... 459 Figure 11. "Air / Sky" Final inhalation follows breath up into the crown of the head. Eyes gaze up and around. ....................................................................................................... 459 Figure 12"Thought / Air". Index fingers extend in arcs from top of head. ....................... 460 Figure 13 "Thoughts / Clouds". Extending thoughts become weightless texture, clouds, as they return to the body. ................................................................................................... 460 Figure 14 "Clouds / Sky". Cloud texture is spread widely with both hands. ................... 460 Figure 15 "Clouds / Stars / Twinkling Stars". The cloud area is detailed with flicking action from fingers, indictating stars .......................................................................................... 460 Figure 16 "Twinkling Stars". Twinkling action and spacing of stars becomes denser. ... 461 Figure 17 "Cells, atoms, separating". Dense twinkling action continues, placement shifts from sky to performer's body ........................................................................................... 461 Figure 18 "Cells, atoms, separating / Explode and contract". Twinkling action abruptly snaps to a single focussed point. .................................................................................... 461 Figure 19 "Explode". Focussed point widens, arms arcing wide around a spherical area. ........................................................................................................................................ 461 Figure 20 "Contract". Hands suddenly brought together in tight fists. ............................ 462 Figure 21 Condensed energy is thrown forward, one hand at a time. ............................ 462 Figure 22 "Forever, forever, forever". The throwing action is repeated and softened, until it subsides. ...................................................................................................................... 462 vii Introduction Through creative practice in scriptwriting and developmental
Load more

Recommended publications
  • (No. 6)Craccum-1986-060-006.Pdf
    m mm or kwmm w r a K m r Of w m m - 4 APR 1986 * A f'R 1986 a m * u t t t f r Auckland University Students Association, Incorporated FREE Our Beloved VOL 60, NO. 6: 1 APRIL, 1986. Deputy-Leader, Nuclear Scientist rejects "Star Richard Steel, Wars". EDITORS shows intrepid determination in page 3 Nuclear Scientist Rejects VIEW fighting corruption "Star W ars". CRACCUM is a source of free expression and information for the Auckland University Dr Hugh de W itt, Senior Physicist Students and the University Community. — The SHOCK story on page 23. at the Livermore National Laboratory, said that the concept of a "perfect This weeks CRACCUM featuring the population defence of the United States is technically unfeasible for ★ Arts in Review many decades, if not a century." ★ Music While on a brief visit to Auckland, RICHARD STEEL he spoke with Craccum reporter ★ Theatres’ Film Galleries Elizabeth Pritchett. Dr de Witt has I f , access to classified material on nuclear ★ Books MURDER weapons research being carried out at Livermore, although he does not work ★ t .v . in Quad ? on nuclear arms developm ent. Intrigue surrounds "Continuation of S tar W ars is ★ Previews Anti-Watson moves. endangering arms control After discussing the petitidn of 20 negotiations," he said. See next members calling for a Special General week's Craccum for the interview. Meeting of the Association, Executive decided not to call a meeting because, subsequently and before Executive had a t met to discuss the petition, a letter was 'S\ received from three of the petitioners wishing to withdraw their names, announced the AUSA Secretary, Pilar An Award for Alba.
    [Show full text]
  • Written by Hone Kouka Directed by Miria George 8–12 March
    8–12 March Rangatira Q Theatre Written by Hone Kouka Directed by Miria George BLESS THE CHILD TAWATA PRODUCTIONS PERFORMERS TIHEI THE SHOW WITH SUPPORT FROM MAURI ORA, 2hrs 20mins inc. interval Shardae Pohe Carrie Green Shania Bailey-Edmonds Bless the Child owes its Eight lives and three worlds collide in this CONTAINS NUDITY, inception to my late Mother, urgent, thought-provoking play; a story STRONG LANGUAGE & VIOLENCE Hinemoa Amanda Wai Te Atatu Kouka. She laid of life and death and good vs. bad. After Moana Ete Maia Diamond REHEARSAL VENUE & SUPPORT down a wero to me in regard a child is found dead, a hotshot lawyer TE KURA TOI WHAKAARI O AOTEAROA & Khan Robinson to M¯aori, our tamariki, and is dragged into the case to defend the TE WHAEA SERVICES Regan Taylor Ani-Piki Tuari where we are as a people in demonised mother. As the wh¯anau closes AND THANKS TO AVALON STUDIOS Iraia Taylor today’s society. The result is ranks, the question of who killed the baby Scotty Cotter Lionel Wellington the production you are about – and whose prejudice is exposed – is CO-PRODUCED BY AUCKLAND ARTS FESTIVAL, to see. This korero is about brought provocatively to the surface. NEW ZEALAND FESTIVAL & TAWATA PRODUCTIONS prejudice, perception and aroha, although the word CREATIVES that comes to mind watching BIOGRAPHIES rehearsals is ‘kindness’. In Writer & Producer Technical Operator this brutal world that we are TAWATA PRODUCTIONS is a HONE KOUKA MI¯RIA GEORGE M¯aori and Cook Islands theatre Writer, producer Director Hone Kouka Te Aihe Butler part of, to be kind is often company based in Wellington, shunned and dismissed – in Aotearoa New Zealand.
    [Show full text]
  • Broadcasting Our Reo and Culture
    Putanga 08 2008 CELEBRATING MÄORI ACHIEVEMENT Paenga Whäwhä – Haratua Paenga BROADCASTING OUR REO AND CULTURE 28 MÄORI BATTALION WAIKATO MÄORI NETBALL E WHAKANUI ANA I TE MÄORI 10 FROM THE CHIEF EXECUTIVE – LEITH COMER Putanga GOING FORWARD TOGETHER 08 Tënä tätou katoa, Te Puni Kökiri currently has four bills being considered by 2008 Parliament – the Mäori Trustee and Mäori Development Bill, the Stories in Kökiri highlight the exciting and Mäori Purposes Bill (No 2), the Mauao Historic Reserve Vesting Bill inspirational achievement of Mäori throughout and the Waka Umanga (Mäori Corporations) Bill. New Zealand. Kökiri will continue to be a reservoir These bills, along with other Te Puni Kökiri work programmes, Paenga Whäwhä – Haratua Paenga of Mäori achievement across all economic, social highlight Mäori community priorities, including rangatiratanga, and cultural areas. iwi and Mäori identity, and whänau well-being, while The feedback we are getting is very supportive and encompassing government priorities including national identity, positive and it reinforces the continuation of our families – young and old, and economic transformation. Kökiri publication in its current form. We feel sure that the passage of these bills will lead to more Behind the scenes in areas that do not capture much success stories appearing in Kökiri where Mäori have put the public attention is a lot of important and worthwhile legislative changes to good effect in their communities. policy and legislative work that Te Puni Kökiri is intimately involved in. Leith Comer Te Puni Kökiri – Manahautü 2 TE PUNI KÖKIRI | KÖKIRI | PAENGA WHÄWHÄ – HARATUA 2008 NGÄ KAUPAPA 5 16 46 28 Mäori Battalion 5 Waikato 16 Mäori Netball 46 The 28th annual reunion of 28 Mäori In this edition we profi le Aotearoa Mäori Netball celebrated Battalion veterans, whänau and Te Puni Kökiri’s Waikato region – its 21st National Tournament in Te friends was hosted by Te Tairäwhiti’s its people, businesses, successes Taitokerau with a fantastic display of C Company at Gisborne’s Te Poho and achievements.
    [Show full text]
  • This Online Version of the Thesis Uses Different Fonts from the Printed Version Held in Griffith University Library, and the Pagination Is Slightly Different
    NOTE: This online version of the thesis uses different fonts from the printed version held in Griffith University Library, and the pagination is slightly different. The content is otherwise exactly the same. Journeys into a Third Space A study of how theatre enables us to interpret the emergent space between cultures Janinka Greenwood M.A., Dip Ed, Dip Tchg, Dip TESL This thesis is submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December 1999 Statement This work has not been previously submitted for a degree or diploma in any university, To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Janinka Greenwood 17 December 1999 Acknowledgments Thanks are due to a number of people who have given me support and encouragement in completing this thesis. Firstly I am very grateful for the sustained encouragement and scholarly challenges given by my principal supervisor Associate Professor John O’Toole and also by my co-supervisor Dr Philip Taylor. I appreciate not only their breadth of knowledge in the field of drama, but also their courageous entry into a territory of cultural differences and their insistence that I make explicit cultural concepts that I had previously taken for granted. I am grateful also to Professor Ranginui Walker who, at a stage of the research when I felt the distance between Australia and New Zealand, consented to “look over my shoulder”. Secondly, my sincere thanks go to all those who shared information, ideas and enthusiasms with me during the interviews that are reported in this thesis and to the student teachers who explored with me the drama project that forms the final stage of the study.
    [Show full text]
  • Seeing Ourselves on Stage
    Seeing Ourselves on Stage: Revealing Ideas about Pākehā Cultural Identity through Theatrical Performance Adriann Anne Herron Smith Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Otago 2010 Acknowledgements Thanks to my Kaitiaki Rangimoana Taylor My Supervisors: Henry Johnson, Jerry Jaffe, Erich Kolig (2004-July 2006), Martin Tolich (July 2007 onwards) Thanks to my children Ruth Kathryne Cook and Madeline Anne Hinehauone Cook for supporting me in this work. Thanks also to Hilary Halba and Alison East for their help, encouragement and invigorating discussion; to friend and poet Roma Potiki who offered the title for this thesis and also engaged in spirited discussion about its contents; to Monika Smith, Adrienne Jansen, Geesina Zimmermann, Annie Hay Mackenzie and to all of my friends who have supported this project; Thanks to Louise Kewene, Trevor Deaker, Martyn Roberts and Morag Anne Baillie for technical support during this project. Thanks to all of the artists who have made this work possible: Christopher Blake, Gary Henderson, Lyne Pringle, Kilda Northcott, Andrew London and to Hilary Norris, Hilary Halba, Alison East and Lisa Warrington who contributed their time, experience and passion for the work of Aotearoa/New Zealand to this endeavour. ii Abstract This is the first detailed study of New Zealand theatrical performance that has investigated the concepts of a Pākehā worldview. It thus contributes to the growing body of critical analysis of the theatre Aotearoa/New Zealand, and to an overall picture of Pākehā New Zealander cultural identity. The researcher‘s experience of being Pākehā has formed the lens through which these performance works are viewed.
    [Show full text]
  • Breaking the Stage: from Te Matatini to Footprints/Tapuwae
    7. Breaking the Stage: From Te Matatini to Footprints/Tapuwae TE RITA PAPESCH, SHARON MAZER The post-imperial writers of the Third World therefore bear their past within them – as scars of humiliating wounds, as instigation for different practices, as potentially revised visions of the past tending towards a post-colonial future, as urgently reinterpretable and redeployable experiences, in which the formerly silent native speaks and acts on territory reclaimed as part of a general movement of resistance, from the colonist.1 You can take my marae to the stage but don’t bring the stage to my marae.2 Mihi Kei te mingenga e pae nei, tēnā koutou, tēnā koutou, tēnā tātou katoa. Ahakoa i tukuna ngā mihi i nākuanei kua riro māku anō te mihi nā māua ki a koutou i tēneki wā, nā reira, nau mai, haere mai ki ‘Ka Haka – Empowering Performance’. Ko te tūmanako ka areare ngō koutou taringa ki ngā māua kōrero. Ki te kore waiho ngā kōrero ki ngā pā tū o te whare neki ki reira 1 Edward Said, Culture and Imperialism (1993. London: Vintage, 1994) 256. 2 John Te Ruruhe Rangihau, personal communication with Te Rita Papesch, 2007. 108 Breaking the Stage: From Te Matatini to Footprints/Tapuwae iri atu ai hei kohinga kōrero mā ngā uri whakaheke. Kāti. Ka huri ki a Sharon māna tā māua kauwhau e whakatūwhera.3 Kaupapa There’s too much talk of decolonising the stage, as if the theatre were not itself a colonial artefact, a hangover from the settlers’ desire to appear civilised in what they saw as a savage land.
    [Show full text]
  • Rituals of the New Zealand Maori
    New Zealand Māori Marae Rituals applied to Theatre Jane Boston in conversation with Annie Ruth to discuss how the social improvisatory framework of encounters on the marae (Maori meeting place) can teach theatre practitioners a great deal about meeting and connecting with audiences. The combination of structure and improvisation, aligned to clarity around role and purpose, can shift the paradigm of the encounter. This event took place at Central School of Speech & Drama on 25 October 2011. Improvisation and structure Karanga (0.00 – 1.57) Tena koutou, tena koutou, tena koutou katoa Welcome, thrice welcome Kō te ipu kawe korero e poipoi ne May the pitcher of our talk nourish us Te kaupapa o te wā With the processes that we share Haria mai ra ngā kotou kete kōreo Bring out the baskets to fill with our mutual talk. E noho tahi tatou e Tena koutou, tena koutou, tena koutou katoa Again welcome, thrice welcome. Whaikōrero Ka mihi tuatahi kia Papatuanuku e takoto nei I greet the earth mother beneath us raua ko Ranginui ki runga and the sky father above us. Te whare ō Central School of Speech & I greet the house of Central tena koe School of Speech and Drama Annie Ruth - A huge welcome to you and thank you for coming today, I want to acknowledge you in the words that I said before. I acknowledged our ancestors yours and mine, I acknowledged the earth mother and the sky father and this place in which we are now gathered. I started with a Karanga with words that were particularly given to me to use in these kinds of occasions, Because this is not when you normally do a Karanga, but I wanted to do something of that sort to give you a visceral feel of what some elements of the Pōwhiri are like so you know a little of what I’m talking about as we go forward.
    [Show full text]
  • Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives
    Law Text Culture Volume 14 Law's Theatrical Presence Article 13 2010 ‘Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives Mamari Stephens Victoria University, New Zealand Follow this and additional works at: https://ro.uow.edu.au/ltc Recommended Citation Stephens, Mamari, ‘Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives, Law Text Culture, 14, 2010, 220-246. Available at:https://ro.uow.edu.au/ltc/vol14/iss1/13 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] ‘Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives Abstract As the 21st century advances, the Māori language (te reo Māori) has remained the primary language of the marae ātea, the bounded space usually positioned in front of the meeting house of a marae complex (Te Puni Kōkiri 2008: 31). Important language components of the rituals of encounter carried out on the marae ātea are also used for similar ritualistic purposes in the Parliamentary debating chamber. These shared language components have been able to survive, in Parliament, throughout 142 years of Māori representation. In fact it appears that the language used in both types of spaces has enabled the formation of an important linguistic and performative framework that has fostered the survival of Māori collective memory as well as Māori political participation. This journal article is available in Law Text Culture: https://ro.uow.edu.au/ltc/vol14/iss1/13 ‘Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives Māmari Stephens1 1 Introduction As the 21st century advances, the Māori language (te reo Māori) has remained the primary language of the marae ātea, the bounded space usually positioned in front of the meeting house of a marae complex (Te Puni Kōkiri 2008: 31).
    [Show full text]
  • Verbatim and Māori Theatre Techniques
    Verbatim and Māori Theatre Techniques: Documenting People’s Experiences of Hauora Francis Kewene An thesis submitted for a Masters in Arts at the University of Otago, Dunedin New Zealand June 2016 i Karakia Whakataka te hau ki te uru, Whakataka te hau ki te tonga. Kia mākinakina ki uta, Kia mātaratara ki tai. E hī ake ana te atakura He tio, he huka, he hauhū. Haumi e! Hui e! Tāiki e!1 Get ready for the westerly, And prepare for the southerly. It will be icy cold inland, And icy cold on the shore. May the dawn rise red-tipped on ice, And snow, on frost. Join! Gather! Intertwine! 1 Karakia was first published in Māori Mementos, by Charles Davis in 1855. Retrieved 29th April from http://folksong.org.nz/whakataka_te_hau/ ii Abstract The theatrical review group Maranga Mai, emerging out of the political unrest of the 1970s, used drama to challenge New Zealand’s ideology of one people and dispel the myth that Māori and Pākehā2 (a person of predominantly European descent) lived in racial utopia. Maranga Mai used agit-prop theatre to dramatise Māori grievances and struggles against Pākehā hegemony, which were seen as a direct threat to Pākehā definitions of reality (Potiki “Whatungarongaro” 62). Despite the amateur nature of these early Māori theatre groups, it was the power of these Māori-centred stories being told by Maranga Mai that caused social disruption at the time (Walker 226). Looking to Māori activism, through theatre, in the 1970s, and the development of Marae theatre in the 1980s and 90s has been pivotal in considering how I might use theatre to address the current health inequities that exist between Māori and non- Māori in Aotearoa New Zealand.
    [Show full text]
  • Reverse Chameleon in the Kiwi Jungle
    Reverse chameleon in the Kiwi jungle: Identity construction of Pasifika theatre makers Thesis submitted in partial fulfilment for the requirements for the Degree Doctor of Philosophy University of Canterbury Kata Fülöp 2012 Word count: 98,765 1 Contents Contents ........................................................................................................................................ 2 1. Chapter 1: Introduction ...................................................................................................... 11 1.1 Thesis structure........................................................................................................... 13 1.2 Methods ...................................................................................................................... 15 1.3 Positioning .................................................................................................................. 15 1.4 Style ............................................................................................................................ 16 2. Chapter 2: Conceptual framework ..................................................................................... 17 2.1 Pacific migration to New Zealand ............................................................................... 17 2.2 Biculturalism and multiculturalism in New Zealand ................................................... 19 2.2.1 Biculturalism ........................................................................................................... 19 2.2.2
    [Show full text]
  • THEATRE 2019 Cellfish, 'Male Lead' Taki Rua Productions, Dir: Jason Te Kare & P?Pai In‘Te Kuia Me Te P?Ng?Werewere
    Jason Te Kare Hair Black Eyes Brown Height 5'9'' / 175 cm DOB 1977 Notes: photographs by Andi Crown FEATURE FILM 2006 Eagle VS Shark, 'The Mountaineer' Whenau Films, Dir: Taika Waititi 2004 King Kong, 'Native' Universal Pictures, Dir: Peter Jackson TELEVISION 2017 Murder is Forever, 'Garcia' M Forever Ltd, Dir: various 2008 Aftershock, 'The Stranger' Gibson Group, Dir: Brendon Donavan 2003 HUNKS (pilot), 'Troy' Greenstone, Dir: Nik Ward 1998 Hercules, 'Flectus' Pacific Renaissance Pictures, Dir: Rick Jacobson 1995 Crimewatch, 'Featured' Kotuku 1994 True Life Stories, 'Malcolm' Communicado THEATRE 2019 Cellfish, 'Male Lead' Taki Rua Productions, Dir: Jason Te Kare & P?pai in‘Te Kuia me te P?ng?werewere 17-18 Midsummer Nights Dream, 'Theseus/Oberon' Pop Up Globe, Dir: Miles Gregory 17-18 Merchant of Venice, 'Prince of Morocco ' Pop Up Globe, Dir: Miles Gregory 2006 100 Cousins, 'Reuben' Massive Company, Dir: Sam Scott 2005 Fallow, 'Christian' Tawata Productions, Dir: Hone Kouka 2004 Oho Ake: The Awakening, 'Tracker' Tawata Productions, Dir: Hone Kouka 2003 Books in Homes Tour, 'Various' Dir: Christian Penny 2002 Play 2, 'Moi' Auckland Theatre Company, Dir: Oliver Driver 2002 The Prophet, 'Ty' Dir: Hone Kouka 1998 Waiora, 'Boy' Taki Rua National tour 1996 Flat Out Brown, 'Various' Taki Rua/Maidment Youth Theatre SHORT FILM 2010 Whakatiki, 'Seb' Floodlight Film Productions, Dir: Louise Leitch 2006 The Goodbye, 'Dad' Dir: Rob George 1997 Purea Nei, 'Mako' Dir: Adrienne Rikihama 1997 Nightfall, 'Featured' Dir: Dale Corlett 1995 Mananui, 'Pita' James Wallace Productions AWARDS 2019 Actor of the Year Wellington Theatre Awards 2011 Director of the Year Chapman Tripp Theatre Awards 2011 Most Promising Director of the Year Chapman Tripp Theatre 1996 Best Newcomer Chapman Tripp Theatre VOICE WORK 01-04 Hui Hopping: season I - III RNZ Radio plays 2003 Tu RNZ Radio plays 2002 Hitler & Me RNZ Radio plays TRAINING 2001 Bachelor of Performing and Screen Arts Toi Whakaari, New Zealand Drama School SKILLS Horse Riding Voice Artist p.
    [Show full text]
  • Tensions and Possibilities the Interplay Of
    Tensions and Possibilities The Interplay of ‘Traditional’ Cultural Elements and the Creation of ‘Contemporary’ Rapanui, Māori and Samoan diasporic Theatre He Moto, He Koa Te Hakapiri o te Haka Ara e te Api ki te Aŋa o te A‘amu Api ki Rapanui, Māori e ko Sāmoa Tensiones y Posibilidades La Integración de Elementos Culturales ‘Tradicionales’ en la Creación ‘Contemporánea’ de Teatro Rapanui, Māori y diasporico Samoano Moira Sofia Fortin Cornejo A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2016 Abstract This thesis focuses on notions of ‘traditional’ and ‘contemporary’ theatre in two Pacific Island contexts, Aotearoa and Rapa Nui. It explores how notions of ‘tradition’ are imagined, recreated, and performed through the ‘contemporary’ creative arts, with a particular focus on theatre. It offers insight about culturally-situated understandings of ‘tradition’, and seeks to acknowledge diverse meanings and perceptions of theatre that exist across diverse Pacific Island cultures, languages, and epistemologies. Ideas about what constitutes ‘tradition’ have been significantly impacted by colonial histories, and that these culturally and historically situated ideas have wide-ranging implications for creative possibilities in the ‘contemporary’ performing arts. ‘Traditional’ performances are often seen as acceptable and relevant to Indigenous communities in Aotearoa and Rapa Nui, contributing to processes of cultural reclaiming and revitalisation. Although cultural continuity is a significant theme in Indigenous theatre in Aotearoa and Rapa Nui, the different emphasis placed upon notions of ‘tradition’ across these comparative contexts has led to very different artistic possibilities being available.
    [Show full text]