Notes
Introduction: performing cosmopolitics
1 Unattributed feature article, Australian, 16 September 2000, p. 6. 2 Although the riots resulted directly from a series of locally staged tensions revolving around beach territoriality and male youth culture, the anti-Arab sentiments expressed by demonstrators and circulated by the media tapped into a much wider context of racism provoked by Australia’s participation in the US-led anti-terrorism alliance, the bombings of Australian tourists in Bali by Islamic militants, and a high-profile case of the rape of Caucasian girls by a gang of Lebanese youths in 2002. 3 Federal Government of Australia. (1994) Creative Nation: Common- wealth Cultural Policy.
Chapter 1 (Anti-)cosmopolitan encounters
1 Untitled review of Chinese opera at the Prince of Wales Theatre, Melbourne, Argus, 2 November 1860, p. 5. 2 Untitled review of Foiled by W. C. Cooper, Table Talk, 10 January 1896, p. 6.
213 214 Notes
3 In this play, the heroine also makes the claim (unusual for its time) that she would prefer to marry an Aboriginal than her unwelcome suitor and have ‘a man for a husband’ rather than ‘be chained for life to some senseless noodle’ (quoted in Margaret Williams, 1983: 202). 4 A review of The Mikado’s 1885 Australian premiere praises the ‘gorgeous’ costumes and general look of the production, relating it to a growing interest in Japanese cultural artefacts. ‘The Mikado; or the Town of Titipu’, Sydney Morning Herald, 16 November 1885, p. 7. 5 Henry Parkes, Premier of New South Wales five times between 1872 and 1891, famously declared in 1890 that a federated Australian nation would be united by the ‘crimson thread of kinship’. The phrase soon became the buzzword for the federation movement (McGrath, 2003: 37). 6 Untitled review of White Australia, or the Empty North by Randolph Bedford, Bulletin, 1 July 1909, pp. 8–9.
Chapter 2 Indigenizing Australian theatre
1 Although citizenship and voting rights had already been granted to indi- genous groups, what was significant about these amendments is that an over- whelming proportion of the population voted in a referendum to approve them, thus symbolically casting aside notions that Aboriginals simply did not count. 2 On the same day in the erstwhile imperial centre, Koori elder Burnum Burnum planted an Aboriginal flag at Dover to symbolically claim Britain for his people. 3 See Gilbert (1998a: 51–95 passim) for a detailed discussion of the ways in which the three plays – The Dreamers (1982), No Sugar (1985) and Barungin (1988) – and Davis’s earlier work, Kullark (1979), engage with the effects of European colonization in Australia. 4 Sidetrack was similarly in the minority of ‘multicultural’ companies to tackle the subject of Aboriginality in ways that complicated the general black–white framework for discussing race-relations between indigenous and non-indigenous communities. Its experimental performance piece, Whispers in the Heart, a self-reflexive take on constructions of black Australians in histor- ical and anthropological discourses, was developed specifically as a bicenten- nial ‘intervention’ by the company’s multiethnic ensemble (see Burvill, 1998). 5 This inquiry was initiated in 1987 to investigate why a disproportionate number of Aboriginals had been dying in police custody and in prisons. Despite some evidence of systematic harassment and abuse by law enforce- ment personnel, no charges were ever laid. The Commission’s final report made numerous recommendations, some of which were implemented, but mortality rates have not significantly improved to date. 6 The Native Title Act did not actually grant land rights, but rather set up mechanisms for dealing with Aboriginal demands for ownership over tradi- tional land and sea resources. In 1998, the Act was subjected to a series of amendments, including a sunset clause, to restrict such claims. 7 Council for Aboriginal Reconciliation. (2000) ‘The Council – Charting the Way’, Reconciliation: Australia’s Challenge.
8 These include The Sunshine Club (1999), Wesley Enoch and John Rodgers’s musical about mixed-race dance clubs in the 1950s; and Magpie (2005), Richard Frankland and Melissa Reeves’s exploration of black–white contact in urban Australia. 9 Human Rights and Equal Opportunity Commission. (1997) Bringing Them Home.
22 Perth International Arts Festival 2003:
Chapter 3 Asianizing Australian theatre
1 Federal Government of Australia. (1994) Creative Nation: Commonwealth Cultural Policy.
Chapter 4 Marketing difference at the Adelaide Festival
1 Adelaide Festival of Arts, ‘How It Started.’
Asia-Pacific region instead suggests that the concept of Australia as Asian was too controversial. 4 This connection between culture, trade and politics is also demonstrated by the fact that Hunt addressed government and business leaders from Japan, Indonesia and Australia at various meetings in the lead-up to the festival and during some of its special programmes. 5 Aside from Yang’s work, the 1994 Festival also featured dance by Chin Kham Yoke, and an Asian-Aboriginal intercultural musical performance by shakuhachi player Riley Lee with Matthew Doyle on didgeridoo. 6 In the lead up to the festival, Hunt is reported to have blamed slow ticket sales on the public’s ‘unconscious racism’. Overt racism was also articulated by a small segment of the press, with one critic apparently saying that she had seen plenty of this ‘incomprehensible’ ‘Asian stuff’ in Europe (quoted in Bunbury, 1994: 13). 7 In addition to the usual festival administration, Sellars brought in nine Australian associate directors who represented a broad platform of interests including indigenous art, food, architecture, community arts, film and performing arts. Assisted by advisory committees, the associate directors were responsible for executing the process of community consultation and participation as both art producers and audiences. 8 The festival helped to facilitate a community project with Maralinga Tjaratjura people, who had no previous history of painting with acrylic on canvas. The community produced 25 artworks that were exhibited to coincide with the stage production of The Career Highlights of Mamu. 9 Unlike Hunt, Nattrass worked with local communities using ‘multicultural ambassadors’ from many different nationalities to talk with residents and develop audience participation in the festival (Owens, 2002: 41). 10 Other possible factors include disruptions to the programme development phases of the festival and late programme announcements, the destabil- izing effect of terrorist attacks on New York and negative sentiment among traditional festival audiences. Adelaide Festival of Arts. ‘History.’
Chapter 5 Crossing cultures: case studies
1 The term ‘canonical stage’ is used to suggest productions of canonical texts that have been mounted in major venues; we do not include amateur, student or fringe productions of such texts. 2 Initially, Tovey had planned a more political project, a pastiche in which Aboriginal actors in Elizabethan costume would present a version of the play to colonial troops (see Cox, 2004b). Whether his decision to abandon this approach had anything to do with STC norms remains a matter for speculation. 3 In this respect, Denis Salter argues that ‘the appropriative gaze of Shakespeare as cultural institution’ can ‘never be entirely deflected’. Rather it ‘continues to be reflected through mimesis as a form of subtle but tyrannical aesthetic discipline’ that ‘recolonize[s] the times and places to which the Shakespearean text was supposed to have been adapted’ (1996: 128). 4 Incidentally, a similarly racialized Romeo and Juliet with indigenous Capu- lets and white Montagues was jointly staged in the same year in Brisbane by Kooemba Jdarra and La Boite (see Cox, 2004a). This general approach to the play is by no means new in international terms, though in Australia it was explicitly linked to reconciliation politics in both productions. 5 Here Burvill is working through Denise Varney’s account of the processual poetics of the APG in her unpublished MA thesis. 6 Wong is not Malay, but, like many other non-Anglo actors, he has func- tioned as the generic Asian in a number of Australian productions. 7 For instance, West Magazine’s feature article, titled ‘Asia: How Do We Fit In?’, 18 February 1995, pp. 8–13, carefully historicized the play’s critique of war while stressing that the imperatives of immigration and globalization had radically changed the Australian political landscape. 8 For a detailed discussion of this issue, see Sawada (1996). 9 Nobbs travelled to Melbourne in 1991 to participate in the preliminary workshops for the production and was included among the cast. 10 Frank Productions: Austral Asian Performance Ensemble, promotional folder, 1999: n.p. The company has been variously called Frank Productions, Frank Ensemble and Frank Theatre over the years. 11 These claims are scattered about interview material, promotional brochures and reviews of Frank’s work. 12 The company, founded in 1992 by Simon Woods and Lynne Bradley, was based in Japan from 1993–95. 13 There is already an established relationship between Viewpoints and the Suzuki Method: Bogart and Suzuki established the Saratoga International Theatre Institute in New York in 1992 to develop international cultural exchange and collaboration. 14 Zen Zen Zo Physical Theatre. ‘Company History.’
Chapter 6 Asian Australian Hybrid Praxis
1 In this respect, white diasporic populations (deriving from European settlers in various parts of the colonial world) are rarely labelled as such. The recognized Irish diaspora does not contradict this pattern since the Irish were regarded as coloured in some historical instances. 2 Written, performed and directed by Merlinda Bobis, Belvoir Street Theatre, Sydney, 22 September 1994. 3 Created by Anna Yen, Therese Collie and Hilary Beaton, directed by Therese Collie and performed by Yen, Cremorne Theatre, Brisbane, 26 August 1997. All cited quotations refer to this production. 4 Devised and performed by William Yang, with music by Stephen Rae, Perform- ance Space, Sydney, 6 October 1999. All cited quotations refer to this produc- tion. 5 Written and performed by Georgina Naidu, directed by Sally Sussman and produced by Theatre 4a at The Studio, Sydney Opera House, 21 September 2005. All cited quotations refer to this production. 6 South Asian Australians have historically been categorized as ‘Indian’ rather than ‘Asian’ within the popular imaginary; the latter term is reserved for so-called ‘Orientals’ from East and Southeast Asia. 7 Jebni. ‘Breed or Bleed.’ Weblog, 25 September 2004.
Chapter 7 Performance and asylum: ethics, embodiment, efficacy
1 Culture jamming is used here to describe subversive transformations of popular culture icons and every day images/discourses to critique their original message or implication. 2 Hage describes the detention of refugees as ‘ethnic caging’ in a polemical attempt to evoke connections between this human rights abuse and the genocidal practices of ‘ethnic cleansing’. Using the trope of ‘caging’, he also draws parallels between the nation’s treatment of refugees and Aboriginals (Hage, 1998: 105–16). 3 The so-called ‘Tampa crisis’, which caused a diplomatic row with Norway, was resolved with the ‘Pacific solution’ when the Australian government transferred the rescued asylum seekers to navy vessels and transported them to Nauru and Papua New Guinea for offshore processing. 4 Here, Salverson is working through the theories of Roger Simon and Claudia Eppert in relation to the witnessing of historical traumas through testimony. 5 Other productions have also used strategically racialized casting to invoke the various ethnic communities represented, though most of these performances 220 Notes
have been carefully framed to prevent the fixing of racial identities or the mimetic fusion of performer and character. 6 The fleshly reality of Parr’s performance contrasts with other images of lip- sewing circulating at the time, notably in an issue of the fashion magazine, Australian Style, which earlier that year had featured photographs of sultry models with (cosmetically) stitched lips in a gauche support gesture. Images of lip-sewing among asylum seekers themselves have not appeared in print or visual media, despite extensive coverage of hunger strikes at Woomera and elsewhere. 7 Information supplied via email communication with Dave Kelman, 31 March 2006. 8 The Al Abaddi family became something of a cause célèbre for refugee activists after their extensive legal battle to remain in Australia. In Our Name, the first subscriber-season refugee play to grace the nation’s stages, also featured an ex-detainee (previously untrained as a performer) in one of the leading roles. 9 version 1.0:
Conclusion: cosmopolitics in the new millennium
1 In 2001, the federal parliament passed a bill that excised specific northern Australian islands from the Migration Zone, effectively invalidating claims for asylum made from those territories. The government has attempted to add further areas, mostly occupied by Aboriginals, to this excised zone but has thus far been blocked by the Senate. 2 Hung Le and John Harding premiered Black and Tran II – The Two Marketeers at the 2004 Melbourne International Comedy Festival. The second production extended the critique of racial stereotypes to include issues of cultural and artistic ownership. Bibliography
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Aboriginal/s, assimilation, 39, 42, 44, Appiah, Kwame Anthony, 6, 8, 167 64, 210; see also Stolen Archer, Robyn, 121 Generations Akwanso – Fly South, 116 dance, 48, 69, 75, 80–1, 116, 137 Arts market, Australasian, 72–3, 77–8, protocol, 68, 78, 80, 127, 139 87, 105–11 representations of, 27–9, 36–46 Arts policy, 19, 87; see also Creative song cycle, 70, 210 Nation policy Aboriginal and Torres Strait Island colonial, 24–5, 108 Commission (ATSIC), 68, 72 international, 6, 15, 18, 19, 49, Aboriginal theatre/performance, 47–81 72–81, 90, 105, 107, 110, 112, canonical, 132–42 122, 130, 131, 140, 156, 159, ceremonial, see Indigenous 164, 205, 206, 208, 212 ceremony Armfield, Neil, 128, 135–6 contemporary, history of, 47–50 Asche, Oscar, 29–30 in festivals, 116, 117–18, 123–4, Asian Australian identity, 20, 82, 89, 126–9; see also Festival of the 103, 120, 149, 169–70, 181, 184–5 Dreaming theatre, 20, 88, 89, 93, 103, 119, as spectacle, 1–2; see also 166–85 Corroboree, Circus Asia/Asian, enmeshment campaign, see also Cross-cultural theatrical 82, 85–7, 106, 111, 117, 130, 142, collaboration 149, 156, 165, 171 Actors for Refugees, 191 invasion drama, 32–9, 211 Something to Declare, 193–4 literacy, 85, 111, 118, 119 Affect/affective communication, 64, performing aesthetics, 83–105; see 188, 200–1, 203–4 also Martial arts Agamben, Giorgio, 186 theatrical representations, 55, 83, Albert, Stephen Baamba, 60, 135 88, 144; see also Stereotypes Alterity/otherness, 6, 9, 10, 15, 21, 26, turn, 83, 85, 86–111, 117, 146, 171 27, 28, 30, 31, 33, 34, 35, 36, 37, Asia Pacific Triennial, 86 44, 45, 46, 47, 50, 73, 83, 92, 111, Film Festival, 86 113, 115, 128, 129, 134, 148, 153, Asianizing Australian theatre, terms of 159, 162, 164, 165, 170, 172, 175, reference, 82 176, 180, 181, 183, 184, 187, 188, Asialink Centre, 86, 88, 89, 107 189, 192, 193, 197–8, 201, 203, Association for Asia Pacific Performing 204, 205, 206, 211, 212 Arts Festivals, 109 Anderson, Benedict, 7 Association of Asia Performing Arts Ang, Ien, 32–3, 170 Centres, 109 and Jon Stratton, 85, 110 Asylum seekers, performance about, Aotearoa/New Zealand, 17, 25, 66, 20, 186–206; see also Refugees and 108, 123 asylum seekers, treatment of Appadurai, Arjun, 7, 10, 56 Attwood, Bain, 63, 79
236 Index 237
Australasia, definition, 17 Twelfth Night, 134–5 Australia Council for the Arts, 75, 87, Uncle Vanya, 135 100, 105, 107 Waiting For Godot, 136 Aboriginal and Torres Strait Island Black Tent Theatre, 150 Arts Board, 49 Blackface, 23, 28, 30, 36, 45, 51 Performing Arts Board, 86 minstrelsy, 27 Australian Performing Arts Market see also Casting, cross-race (APAM), 49, 73–4, 108 Blakstage Alliance, 49 Australian Performing Group (APG), Bobis, Merlinda, 166, 179 40, 142–6, 147, 153 Cantata of the Warrior Woman, Australian Aboriginal Theatre Daragang Magayon, 173–6 Initiative, 76 Ms Serena Serenata,89 Australia–Japan Year of Exchange, 77 Body politics, 187, 198, 202; see also Authentic/authenticity, discourse Embodiment about, 18, 58, 73, 115, 140, Bollywood, 181 158, 159 Border security, 32, 75, 187, 211 critique of, 170, 175–6, 183 Brand, Mona, Here Under Heaven, 41–2 experience, 76, 194 Brechtian dramaturgy, 36, 99, 144, Autobiographical monologue, 48, 76, 145, 146, 176 178–84, 191 Brennan, Timothy, 7, 8, 12, 14 Austrade, 107 Bringing Them Home Report, 63–4; see also Stolen Generations Bakhtin, Mikhail, 168–9 Broinowski, Anna, The Gap,88 Bangarra Dance Theatre, 71, 73, Brook, Peter, The Mahabharata, 118, 127 105, 115 Fish, 66, 68 Brooke, G. V., Sardanapulus,29 Skin, 123, 124 Bulyan Players, Basically Black, 116 Triple Bill: Rush, Unaipon, Kabar Bunraku, 91–4, 95, 118, 148–51 Kabur, 129 Butoh, 97, 100–2, 106, 115, 161, Bedford, Randolph, White Australia, or 162, 163 the Empty North, 34–7, 38 Behdad, Ali, 162, 165 Canonical theatre, Asian/Asianized Bell Shakespeare Company, 109, 132, interpretations, 157, 159–63 134, 141 indigenous interpretations, 131–42; Belvoir Street Theatre, 49, 53, 55, 67, see also Ong Keng Sen 89, 137 Carleton, Stephen, Constance As You Like It, 135–6 Drinkwater and the Final Days of Belvoir Street Theatre Sydney Asian Somerset, 210–11 Theatre Festival, 89, 103, 171 Casting, colour-blind, 62, 132–3, 134 Bennett, Roger, Up the Ladder, 66, 77 cross-gender, 144–5 Betzien, Angela, Wicked Bodies, cross-race, 45, 49, 54–5, 80, 93, 133, 163, 165 135–6, 144–5, 149–51; see also Bhabha, Homi, 166–7, 170, 186 Blackface Bharucha, Rustom, 133, 157 Centenary of Federation celebrations, Bicentenary celebrations, 50–1 75, 137 anti-bicentennial protests, 51–2 Chan, Charlie, 177 theatrical responses, 52–6 Chan, Dean, 172 Black Swan Theatre Company, 49, 123 Chan, Kai Tai, 137, 170 The Floating World, 149 see also One Extra Dance Company 238 Index
Chan, Mark, 149 democracy, 5, 7 Chandrabhanu, Bharatam Dance discrepant, 4, 186, 212 Company, 170 Enlightenment, 6, 10 Chapel of Change, The Descent, 101 moral, 5, 44; see also Ethical Cheah, Pheng, 6, 7 connection/responsibility and Bruce Robbins, 12 neo-Kantian, 6, 113, 186; see also Cheetham, Deborah, White Baptist Kant, Immanuel Abba Fan, 66, 75 new, 4–11, 12, 147, 148, 166, 186, Chi, Jimmy, and Kuckles, Bran Nue 187, 211 Dae, 57–60, 135 patriot, 8 Chikamatsu Monzaemon, 93 political, 6, 205 Chinese opera, 23–4, 99, 170 postcolonial, 4, 8, 10 Peking, 84, 88, 97, 104 subject/community, 5–6, 7, 9, 12, Circus, 17, 24–6, 84–5, 91, 98–100, 126 87, 186, 187, 190, 192, 193, Aboriginal influence, 25 195, 197, 200, 202, 203, 211 Chinese influence, 25, 84, 98–9, 118 thin/naive, 9–10, 20, 63, 168, 208 Japanese influence, 25–6 vernacular, 166–7, 179, 183, 184, 186 see also Physical theatre working class, 4–5, Circus Oz, 53, 98–9, 126, 190–1 Cosmopolitics, 11, 13, 19, 33, 112, Cirque du Soleil, 98 154, 156, 168, 197, 204 Citymoon Vietnamese Australian cosmopolite, 87, 182 Theatre Company, 171 Crawford, Jim, Rocket Range, 45–6 Colonialism, 6, 10, 16, 34, 36, 39, 40, Creative Nation policy, 15–16, 67, 87 42, 51, 106, 108, 114, 115, 121, Cronulla Beach riots, 3–4 123, 135, 138, 139, 173, 177, 190, Cross-cultural theatrical collaboration, 206, 207, 210–11 74, 210 colonial theatre, 21–32, 85 Asian-Aboriginal, 77–8, 209–10 Commoditization, 9, 11, 16, 20, 50, Black–White, 50, 61–3, 66, 69, 70, 72–4, 80, 82, 87, 90–1, 104, 111, 76, 78–9 113, 125, 139, 164, 176 Cultural, activism, 125, 173, commodity value, 9–10, 78, 79, 88, 189–90, 206 130, 132, 137, 134, 141, democracy, 125 155, 162 diplomacy, 72–3, 86–7, 107, 110 Company B, see Belvoir Street Theatre drag, 36, 97, 141 Copeman, Peter, Hearts and Minds, jamming, 189–90 94–5 pillaging, 84, 90, 95, 97, 164 Corroboree, 21–3, 28, 40, 43, 72, 123 Curatorial imaginary, 113, 115, 118, Cosmopolitanism, 1–20, 21, 29, 30, 120, 121, 126, 129–30 33, 38, 50, 55, 70, 71, 75, 79, 80, 82, 86, 88, 95, 97, 99, 105, 107, 111, 112, 114, 121, 122, 130, 131, Dairakudakan, 100, 101 132, 135, 140, 158, 164, 166–7, Dalang I Made Sidia, 96 182, 184–5, 186, 189, 192, 202, Dampier, Alfred, and J. H. Wrangham, 204, 206, 211–12 Marvellous Melbourne, 31–2 autochthonous, 29, 80, 208 and Garnet Walch, Robbery Under colonial, 6, 10, 25, 101, 166, 210 Arms,27 commercial, 16, 91, 97, 184 Dann, George Landen, Fountains critical, 4, 10 Beyond, 43–4, 45 cultural, 8–11 In Beauty It Is Finished, 40–1 Index 239
Dann, Lucy and Mayu Kanamori, performance, 53, 62, 63, 65, 134, Heart of the Journey, 209–10 191–204 Davis, Jack, 50 Exotic/exoticism, 9, 11, 12, 19, 20, 23, Barungin, 53, 116 27, 29, 31, 44, 55, 57, 72, 73, 76, The Dreamers,77 92, 101, 103, 111, 113, 127, 134, First Born Trilogy, 52–3 148, 157, 160, 162, 176, 181, de Quincey, Tess, 101–2 206, 211 Democracy/democratic/democratize, Export Oz, 108 1, 7, 10, 186, 198, 203, 208 cosmopolitanism, 7 Femininity, representations of, 3, 33, cultural, 120, 125 35–6, 37–8, 40–3, 61–2, 88, 92, 96, deliberative, 6 136, 163, 173–5, 176–8, 180–3; see global, 1, 5, 207 also Race and gender; compare nation, 46 Masculinity, representations of phallic, 208 Festival, international arts, 18, 19, 79, Department of Foreign Affairs and 104, 112–14 Trade (DFAT), 72, 87, 107 Adelaide, 19, 49, 84, 91, 94, 96, 109, Derrida, Jacques, 165, 204 112–30, 155 Diaspora, Asian, 84, 103, 119, 167, Ancient Future – Australian Arts 170, 176, 178, 179, 180, 181 Festival Japan, 107 Didgeridoo, 68, 116, 205 Brisbane, 106 Djakapurra Munyarryun, 1, 72, 73 Confederation of Australian and Banduk Marika, Body Dreaming, International Arts Festivals, 109 128 Edinburgh, 114 HeadsUp, London, 74–6, 80 Eckersall, Peter, 100, 101, 104 Hong Kong, 108, 109 Embodiment, 3, 6, 12, 13, 18, 20, 92, Jakarta, 109 131, 167, 186–206, 212 market, 18, 90, 94, 105, 122 Aboriginal, 22–3, 43–4, 61, 65, 73, Melbourne, 64, 106, 130, 143, 152, 80–1, 131–42 190, 205 Asian Australian, 166–85 Olympic, 67–8, 70, 98 Asian training, 91, 97–105, 154–65 Perth, 57, 84, 130, 143, 149: mixed-race, 43–4, 55; see also Indigenous Arts Showcase 2003, Miscegenation 74 Enoch, Wesley, 133, 139 Salisbury, 76 and Deborah Mailman, The 7 Stages Seoul Modern Dance, 108 of Grieving, 61–3, 77–8 Shanghai, 109 Capricornia,55 Singapore, 106, 108, 109, 130 Romeo and Juliet, 141–2 Sydney, 84, 130 Stolen, 64–6, 75, 76 Tokyo, 77, 130, 143 The Story of Miracles at Cookie’s Zurich, 61 Table,77 Festival of the Dreaming, 61, 66–72, Ethics, of cross-cultural interaction, 122, 140, 141 5–6, 8, 13, 20, 74, 113, 191, Awakening Ceremony, 70–1 207, 211 Fitzpatrick, Peter, 83–4 of appropriation, 160, 164 Flying Fruit Fly Circus, 98–9 of dissent, 50 Footscray Community Arts Centre, 171 Ethical connection/responsibility, 80, Frank Theatre, 154, 157–61, 162, 163, 187–9, 204, 207, 208 164, 165 240 Index
Frankland, Richard, Conversations with Howard, government, 14–16, 64, 70, the Dead,76 71, 75, 110, 138, 188, 202, Frost, Stephen, 85 207, 208 John, Prime Minister, 75, 188 Human rights, 7, 10, 63, 187, 188, Gallasch, Keith, 17, 18, 97, 106, 128–9 189, 193, 207; see also United Gamelan, 96 Nations Commission of Human Gandhi, Leela, 8, 10 Rights Gantner, Carrillo, 86, 88, 98 Hung Le and Ningali Lawford, Black Gilbert, Kevin, The Cherry Pickers,76 and Tran, 209 Gilbert and Sullivan, The Mikado,29 Hunt, Christopher, 116–21, 125, 127 Global, context/culture/order, 1, 4, 7, Hybrid/hybridity, cultural, 5, 11, 20, 72, 74, 83, 113, 114, 125, 131, 47, 55, 58, 99, 100, 103, 105, 167, 137, 142, 145, 154, 184, 206 168, 170, 177, 182, 185, 210 citizenship, 1, 5, 7, 12, 187, 212; see form/formal, 106, 131, 158, 159, also Cosmopolitan subject/ 173–4, 175, 176 community fusion/happy hybridity, 105, 168–9, economic globalization, 6, 7, 8, 15, 172–3, 174–5, 176, 183–4 68, 70, 87, 96, 104, 108, 110, intentional, 168–9, 175, 176, 178, 112, 133, 168, 186, 204, 180, 183–4 207, 211 organic, 168–9 ‘glocal’/global-local, 4, 131, 208 racial, 41, 42, 44, 87, 179–82; see Gow, Michael, 1841, 53, 118 also Miscegenation Gulpilil, David, Gulpilil, 126, 128–9 Gurr, Michael, 194, Ilbijerri Aboriginal and Torres Strait Sex Diary of an Infidel,88 Islander Theatre Co-operative, 48, 64, 77 Hage, Ghassan, 36, 42, 46, 87, 189, Indian classical dance, 84; see also 207, 208 Chandrabhanu Hall Stuart, 8, 185 Indigenizing Australian theatre, terms Hanamichi, 90, 147–8 of reference, 49–50 Hannerz, Ulf, 8, 11, 111, 187 Indigenous ceremony, 128, 139 Hanson, Pauline, One Nation Party, Awakening, 70–1, 126, 127 15, 71, 88 Kaurna Palti Meyunna, 123 Harrison, Jane, Stolen, 64–6, 75–6, 77–8 Jagera Jarjum fire, 139 Hawke, Bob, government, 56, 85 Jukurrpa Dreaming, 118 Healy, Chris, 47, 52, 56 see also Olympics opening ceremony Held, David, 6 Intercultural theatre, 45, 49, 115, 121, History/histories, Aboriginal, 50, 60–6 153, 206 Aboriginal–Asian contact, 210 Islam/Muslim, 3, 200 Aboriginal–European contact, 71 anti-Islam, 15, 189 re-enactment, 210 theatricalizing historiography, 61, Jack Charles is Up and Fighting, 45–6 62–3, 178 Jagera Jarjum Aboriginal Dance Horin, Ros, Through the Wire, 194–5 Group, 138, 139 Hospitality, 5–6, 10, 186–7, 189, 191, James, Andrea, Yanagai! Yanagai! 76 196, 197, 204, 206, 207–8; see also Jamieson, Nigel, The Theft of Sita, Kant, Immanuel 96–7, 105, 122 Homer, The Odyssey, 162–3 In Our Name, 201–2 Index 241
Jamieson, Trevor, 60 Mahabharata, 116; see also Brook, and Scott Rankin, The Career Peter, The Mahabharata Highlights of Mamu, 76, 123–4 Mailman, Deborah 134, Janaczewska, Nöelle, Songket,89 136 Janson, Julie, Black Mary,66 and Wesley Enoch, The 7 Stages of Japan Foundation, 77, 110 Grieving, 61–3, 77–8 Japanese–Aboriginal theatrical Malcomson, Scott, 184, 186, 212 productions, 77–8 Maori theatre, 66 Johnson, Eva, Murras,52 Marrugeku Company, 69, Jose, Nicholas, 87 78–9 Dead City,88 Burning Daylight, 210 Crying Baby, 76, 79 Kabuki, 25, 90, 100, 106, 147–8, 106, Mimi, 66–7, 68, 79 149, 155 see also Stalker Kant, Immanuel, 5–6, 10, 113, 186, Martial arts, Asian, 99, 102, 104, 176, 197, 204 177, 210 Kantor, Michael, 171 Masculinity, representations of, 36, Kathakali, 97 83, 136, 144, 160, 178–80; see also Kazuo, Ohno, 100, 115 Race and gender; compare Keating, government, 8, 15–16, 85–7 Femininity, representations of Paul, Prime Minister, 59, 82 Maza, Bob, 136 Keene, Daniel, Cho Cho San, 92, 93 The Keepers,52 Kellaway, Nigel, 101, 102 Maza, Rachel, 132, 134 Keller, Bruce, 171 McCallum, John, 140, 183 Kelly, Veronica, 30, 31, 47, 48, 159, 164, 178 Melbourne Theatre Company, 49, 53, Kershaw, Baz, 204 137, 143, 145–6 Kooemba Jdarra Indigenous Melbourne Workers Theatre, 49, Performing Arts, 43, 48, 61, 76 67, 200 Kosky, Barrie, 121, 134 Mellor, Aubrey, 88, 152 Kyogen, 118, 119 Melodrama, 23, 27–9, 30, 34–9, 83, 90, 210 La Boite Theatre, 136 Middle East/Eastern, 3, 12, 101, 160, Land rights, 3, 15, 56, 58, 59, 70, 76, 192, 205 135, 207, 209 Mignolo, Walter, 6, 10 Lawford, Josie Ningali, 60, 135 Milroy, David, Windmill Baby,76 Ningali,66 Miscegenation, 33, 35, 39–45, 54, 55, and Hung Le, Black and Tran, 209 59, 135, 136, 169, 209, 210–11; Lawler, Ray, The Summer of the see also Mixed blood and Seventeenth Doll, 160–1 Hybridity, racial Le Quy, Duong, Meat Party, 89, 171 mise-en-scène, 90, 100, 145–6, Lee John, The Propitious Kidnapping of 160 the Cultured Daughter, 88, 170 Mixed blood/race, 39, 42, 44, 57–60, Legs on the Wall, 98, 100 103, 104, 183, 210; see also Lepage, Robert, 105 Miscegenation and Hybridity, Lightfoot, Louise, 84 racial Lip sewing, as protest, 189, 190, Moore, Mary, Masterkey, 105 197–202; see also Parr, Mike Multicultural art/theatre, 9, 97, 102, Lucashenko, Melissa, 57, 72 134, 135, 137 242 Index
Multiculturalism, 1–4, 8, 152 Noonucal, Oodgeroo and Vivian in Australia, 14–17, 18, 19, 21, 46, Walker, The Rainbow Serpent,52 51, 56, 71, 87, 117, 144, 146, Not Yet It’s Difficult (NYID), 102, 170, 173, 175, 182, 183 103–5 in the USA, 5, 14 and Gekidan Kaitaisha, Journey To Multimedia theatre, 48, 52, 76, 96–7, Con-Fusion, 104–5 106, 108, 118, 123, 171, 176, 210 Nowra, Louis, Capricornia, 53–5 Radiance,77 with David Page, Page 8,76 Naidu, Georgina, 193 Nussbaum, Martha, 5 Yellowfeather, 180–4 and Joshua Cohen, 7 Nanjing Acrobatic Troupe, 98–9 National Black Playwrights Conference, 51 OzArts, 49 Nation/nationhood, 1–4, 7–8, 12, Onnagata, 90 14–17, 18–19, 31, 33, 34–9, 41, Ong Keng Sen, Desdemona, 105, 122 49, 51–2, 53, 55, 57, 58, 61, 63, Lear, 105 64, 66–8, 70, 71, 72, 80, 85–8, 95, and Jonathan Mills, Sandakan 106, 107, 110, 112, 117, 132, 133, Threnody, 106–9 143–54, 160, 169–70, 184–5, 189, One Extra Dance Company, 170 197, 198, 199, 202, 203, 206, Othello, 137 211–12 see also Chan, Kai Tai nationalism, 5, 6–8, 14, 15, 55, 83, Ocker, 146 144, 146, 177, 206, 208 Orientalism, 11–12, 30, 84, 89–90, nationalist theatre, 18 92–3, 101, 110, 119, 135, 148, nation-building 8, 28, 32, 33, 37, 149, 154, 157, 160, 162, 164–5, 41, 57, 60, 68, 208 176, 177, 180, 205 nation-space, 206, 207 modernist, 29, 84, 165 nation-state, 4, 6, 7, 8, 14, 27, Neo-/post-orientalism, 12, 29, 110, 207 82, 173 paranoid nationalism 207 pictorialist, 29–31, 33, 90, 115, 149 Native title, 38, 57, 59, 71 see also Stereotypes, Asian Nattrass, Sue, 122, 124, 125 Olympic Games, Sydney, 67, 71 Naturalism/naturalist dramaturgy, 18, closing ceremony, 122 48, 83, 100, 148, 155, opening ceremony 1–3, 4, 16, 179 122, 202 anti-naturalistic, 146, 153; see also values, 1–2, 70, 71 Brechtian dramaturgy see also Festival, Olympic Arts Necropolitics, 203 Nerrpu Dhawu Rrurambuwuy,74 Page, David, with Louis Nowra, New-wave theatre, 51, 142 Page 8,76 Ngundalelah Godotgai/Waiting for Page, Stephen, 71, 72, 125–130; see Godot, 66, 141 also Bangarra Dance Theatre Nikouseresht, Afshin and Dave Panoramic logic, 119, 112–13, 121; see Kelman, There is Nothing Here, 200 also Curatorial imaginary Nimrod Theatre, 145 Pantomime, 23, 27, 29, 30, 33 Nindethana Company, 40, 45 Parfitt, Trevor, Kelton Pell, Geoff Nishimoto, Noriko, 91, 93, 149 Kelso and Phil Thomson, Noh, 100, 149, 155 Bidenjarreb Pinjarra, 61, 62–3, 66 Index 243
Parr, Mike, Close the Concentration racial difference, staging, 27–46, Camps, 198, 200 54–6, 145, 166–85; see also Aussie, Aussie, Aussie, Oi, Oi, Oi: Stereotype; compare Casting, Democratic Torture, 198–9 colour-blind and cross-race Perez, Tony, On the North Diversion racism/racist, 3–4, 15, 104, 120, Road,88 142, 145, 183, 209, 211 Performance Syndicate, 84 see also Miscegenation and Mixed Performance training organizations, blood/race 49, 60, 99, 109 Radic, Therese, Madame Mao,99 Performing Lines, 108 Rakutendan theatre, 77–8 Phillips, Simon, The Tempest, 132, Ramayana, 96, 116 137–9 Randai, 97 Physical theatre, 20, 69, 75, 90, 91, Realism/realist, 23, 38, 40, 42, 44, 45, 98, 99–105, 108, 118, 154–65, 90, 95, 99, 133, 161, 171 171, 191, 202; see also Circus pseudo-realist, 30 Platform 27, with Melbourne Workers Reconciliation, 1, 16, 19, 49, 56, 68, Theatre, The Waiting Room, 200 70, 71, 72, 89, 122, 123, 128, 129, Playbox Theatre, 49, 64, 77, 88–9, 98, 153, 208 99, 102, 149, 150, 151, 153, 155, theatrical responses, 57–66, 75, 78, 156, 159, 170, 171 79, 80, 82, 124, 132, 136, Playwriting competition, 88, 171 137–9, 142, 149, 171 Pledger, David, 103 Red Dust Theatre, Train Dancing, Pram Factory, 142, 145 123, 124 Primitivism, 23, 29, 137, 162, 165 Refugees and asylum seekers, Pritchard, Katharine Susannah, treatment of, 186–9, 207, 209, Brumby Innes, 39–40, 45 211; see also Asylum seekers, Pugliese, Joseph, 189, 197–8, 202, performance about 204–5, 211 Republican movement, 8, 16, 208 and Suvendrini Perera, 173 Robbins, Bruce, 167 Pulvers, Roger, Yamashita,88 and Pheng Cheah, 12 Puppetry, 91–7, 100, 115 Roberts, Rhoda, 66, 68–9, 70, 71, 74 Chinese, 84, 88, 91 Romeril, John see also Bunraku, Wayang kulit, and Love Suicides, 93–4 Water puppetry Red Sun – Red Earth, 121 Purcell, Leah, 60 The Floating World, 20, 83, 142–54 Box the Pony, 66, 75 Ross, Andrew, 50, 57, 134, 149
Queensland Theatre Company, 49, 132, 137, 138 ‘Sorry business’, 60, 64, 65, 69, 71, Queer politics, 136, 178 75, 136 Said, Edward, 11, 30; see also Race, 3, 10, 24, 51, 133, 144, 170, 185, Orientalism 208 Salverson, Julie, 191–2, 193, 205 and gender, 18, 92–3, 173–5, 176–7, Sankai Juku, 100, 101 178, 179; see also Femininity, Sato, Makoto, 150–1, 153–4 representations of and Sawada, Keiji, 77–8, 153 Masculinity, representations of Sellars, Peter, 122–5, 126, 127 purity, 180 Sewell, Stephen, Hate,53 race politics, 15, 71, 87, 88, 146–53 Shafaei, Shahin, 194–7 244 Index
Shakespeare, indigenous staging, 66, Tai chi, 97, 99, 103 131–42 Tampa, 189, 190, 202 Shamisen 25, 91 Tanaka, Min, 100, 101–2 Sharman, Jim, 132 Tanaka, Chikao, The Head of Mary, Shadow and Splendour,90 150, 151–3 Shearer, Jill, Shimada,90 Terrorism, global, 4, 14, 75, 208 Shingeki theatre, 100, 152 Testimony, see witnessing Sidetrack Performance Group, 49, Theatre 4a, 88, 171 102, 171 Théâtre du Soleil, Le Dernier Citizen X, 192–3, 194, 199–200 Caravansérail, 205–6 Silat, 97, 210 Thorne, Mémé, Burying Mother, Singapore, Esplanade – Theatres on 102–3, 171 the Bay, 108 Tokyo Performing Arts Market, 108 with Arts Victoria, Memorandum of Tovey, Noel, A Midsummer Night’s Understanding, 108–9 Dream, 66, 140–1 Smith, Jo, Girl of the Never Never, 37–8 Transnational/transnationalism, 4–11, Song Ngoc Vietnamese Water 56, 105, 106, 113, 119, 167, 186, Puppetry Troupe and Canberra 211, 212 Youth Theatre, Water Stories,95 St Claire, Andrish, Trepang, 210 Umiumare, Yumi, 101, 171 Stalker, 69, 118; see also Marrugeku United Nations, 7 State Theatre Company of South Commission of Human Rights, 73 Australia, 149 Convention on Refugees, 186, 189 Stereotype, 26–8, 150, 209 Universal/universalism, 4, 5, 6, 10, 13, Aboriginal, 45, 135, 137, 141 70, 78, 113, 115, 126, 127, 142, Asian, 31–2, 34, 83, 84, 92, 93, 135, 152, 154–5, 158, 165, 166 145, 170, 171, 173, 177, 182–3 universal hospitality, 186, 197; see Stolen Generations, 39, 63–6, 71, 75, also Hospitality 129, 138, 184, 201; see also Urban Theatre Projects, 49, 125, 171 Bringing Them Home Report Storytelling, 48, 61–5, 66, 68, 69, 74, Verbatim theatre, 191–206 118, 123, 124, 174, 176 Verdi, Madame Butterfly,92 Subaltern, 166, 210, 212 Otello, 137 Sussman, Sally, 97 version 1.0, CMI (A Certain Maritime Suzuki Tadashi, 17, 20, 101 Incident), 202–3 Suzuki Method, 100, 102–5, 131, Vertovec, Steven, and Robin Cohen, 154–65 5, 6, 7 The Chronicle of Macbeth, 88, 102, Vietnam War, theatre about, 81, 83, 103, 105, 106, 155–6, 159 94–5, 171 The Trojan Women, 155, 157 Vu, Chi, 171 Swain, Rachel, 78–9 Sydney Front, 101 Wada, Yoshio, 77, 78 Sydney Opera House, 69, 109, 146, Wadjularbinna, 207–8 148, 182, 194 Walch, Garnet, Australia Felix – or Sydney Theatre Company, 49, 67, Harlequin Laughing Jackass and the 140, 143, 146, 148, 149 Magic Bat,27 and Alfred Dampier, Robbery Under Ta, Binh Duy, The Return,89 Arms,27 Conversations with Charlie, 171 Walker, Kim, 137 Index 245
Water puppetry, 94–5, 118 Windmill Performing Arts, RiverlanD, Wayang, kulit, 91, 95–7, 118, 119, 126 148–9 Witnessing, through theatre, 64–5, golek, 96 192, 196, 200–1 Weber, Carl, 157, 173 Wong, Anthony, 148 Werbner, Pnina, 4–5, 169, 184 Worthen, W. B., 133, 137, 140 Western Australia Theatre Company, 53, 57 Yang, William White Australia Policy, 4, 16, 24, Bloodlinks, 178–80 32–3, 38, 40, 83, 170, 210 Sadness, 119, 179 Whiteness, 3–4, 19, 33, 36, 38, 44, 55, Shadows, 124 138, 208, 211 Yen, Anna, Chinese Take Away, 176–8 theatrical critique of, 32, 35, 42, 54, Yin-Lo, Cheryl, 89 136, 140, 145, 153, 182, 211 Yirra Yaakin Noongar Theatre, 48 Williams, David, 135 Yuki-za Troupe, 150 Williamson, J. C., and Bert Royle, Djin Djin, or the Japanese Bogeyman,33 Wilson, Peter J., 96, 97 Zen Zen Zo, 88, 154, 157, 161–5 Wilson, Peter Lyndon, 91 Zhu, David, Black Eyes,89