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Issue 17 Ausact: the Australian Actor Training Conference 2019
www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’: -
At Play Fall-Winter 03.Qxd
representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH. -
Community Engagement in Independent Performance-Making in Australia: a Case Study of Rovers
THEMED ARTiclE Community Engagement in Independent Performance-making in Australia: A case study of Rovers KATHRYN KELLY AND EMILY COLEMAN This article offers a perspective on strategies for community engagement by independent performance-makers and cultural institutions in Australia today. Beginning with an overview of community engagement in Australian performance, the article then describes a specific case- study drawn from personal practice: Belloo Creative’s Rovers which was a new performance work based on the lives of its performers, Roxanne MacDonald and Barbara Lowing. As part of the production of Rovers, Belloo Creative, working with young Aboriginal artist Emily Coleman, trialled a community engagement project to welcome Aboriginal audiences to the 2018 Brisbane Festival. The article includes a personal reflection on Rovers that interleaves the commentary of Emily and Kathryn as the two artists who lead the community engagement project, and concludes by suggesting some key considerations for other independent companies who might wish to engage with community. Community Engagement and Australian Performance ommunity engagement is a broad term that Queensland across the last decade. QMF regularly Cembraces a diverse range of activities and practices commissions large-scale community engagement projects across sectors and disciplines in contemporary Australia, such as Boomtown in Gladstone in 2013, where a musical as noted in the introduction for this special edition of was co-created with the participation of 300 community Social Alternatives. Community engagement in the arts members and performed to an audience of over 20,000 is broadly defined by the Australia Council, the national (Carter and Heim 2015: 202). Community engagement funding organisation for arts and culture, as covering: projects are also now routinely showcased within the major programs of city-based festivals, for example, The [A]ll the ways that artists and arts organisations Good Room’s I’ve Been Meaning to Ask You: a work can connect with communities. -
ERICA ANDERSON.Indd
ERICA ANDERSON GRADUATE 2014 ACTING PHOTO: TIM LEYES TIM PHOTO: National Theatre School OF Canada 5030 St. Denis Street, Montréal, Qc, Canada H2J 2L8 ACTING 514 842-7954 [email protected] www.ent-nts.ca ERICA ANDERSON [email protected] Height: 5' 6'' Hair colour: BLONDE Weight: 115 lbs. Eye colour: HazEL Vocal range: SOpranO Languages: EngLISH, BASIC FREncH ROLES AT THE NATIONAL THEATRE SCHOOL Year Role Play Author Director 2014 TBA New Words Festival – The Circle Geoffrey Simon Brown Ann-Marie Kerr TBA New Words Festival – Prey Britney Tangedal Ann Hodges Isabella, Diaphanta The Changeling Thomas Middleton / William Rowley David Latham 2013 Duckling, Lt. Will Dawes Our Country’s Good Timberlake Wertenbaker Tadeusz Bradecki Sue, Jill, Virgin Mary, Lion in the Streets Judith Thompson Ravi Jain understudy for Isobel Hermia, Mustardseed, A Midsummer Night’s Dream William Shakespeare Joseph Ziegler Moonshine Victoria Solo Show – The List Erica Anderson Adam Lazarus / Jodi Essery Yakov The Seagull Anton Chekhov / Martin Crimp Tanja Jacobs Irina, Natalia, Olga Scene Study – Three Sisters Anton Chekhov Laszlo Marton 2012 Courteous Safari David Yee Nina Lee Aquino Miss Julie Scene Study – After Miss Julie Patrick Marber Yael Farber Various Vocal Masque – Independence Erica Anderson Paul Dunn / Damien Atkins Reagan King Lear William Shakespeare Jonathan Goad 2011 Hedda, Thea Scene Study – Hedda Gabler Henrik Ibsen Martha Burns TRAINING AT THE NATIONAL THEATRE SCHOOL – under the direction of Alisa Palmer and Sherry Bie Acting: Nina Lee Aquino, -
South Coast Repertory Is a Professional Resident Theatre Founded in 1964 by David Emmes and Martin Benson
IN BRIEF FOUNDING South Coast Repertory is a professional resident theatre founded in 1964 by David Emmes and Martin Benson. VISION Creating the finest theatre in America. LEADERSHIP SCR is led by Artistic Director David Ivers and Managing Director Paula Tomei. Its 33-member Board of Trustees is made up of community leaders from business, civic and arts backgrounds. In addition, hundreds of volunteers assist the theatre in reaching its goals, and about 2,000 individuals and businesses contribute each year to SCR’s annual and endowment funds. MISSION South Coast Repertory was founded in the belief that theatre is an art form with a unique power to illuminate the human experience. We commit ourselves to exploring urgent human and social issues of our time, and to merging literature, design, and performance in ways that test the bounds of theatre’s artistic possibilities. We undertake to advance the art of theatre in the service of our community, and aim to extend that service through educational, intercultural, and community engagement programs that harmonize with our artistic mission. FACILITY/ The David Emmes/Martin Benson Theatre Center is a three-theatre complex. Prior to the pandemic, there were six SEASON annual productions on the 507-seat Segerstrom Stage, four on the 336-seat Julianne Argyros Stage, with numerous workshops and theatre conservatory performances held in the 94-seat Nicholas Studio. In addition, the three-play family series, “Theatre for Young Audiences,” produced on the Julianne Argyros Stage. The 20-21 season includes two virtual offerings and a new outdoors initiative, OUTSIDE SCR, which will feature two productions in rotating rep at the Mission San Juan Capistrano in July 2021. -
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This file is part of the following reference: Carless, Victoria Leigh (2008) Making invisible pathways visible : case studies of Shadow Play and The Rainbow Dark. PhD thesis, James Cook University. Access to this file is available from: http://eprints.jcu.edu.au/3565 Making Invisible Pathways Visible Case Studies of Shadow Play and The Rainbow Dark A thesis submitted with creative work in fulfilment of the requirement for the award of the degree of Doctor of Philosophy at James Cook University by VICTORIA LEIGH CARLESS B. Theatre (Hons) School of Creative Arts 2008 STATEMENT OF SOURCES: DECLARATION I declare that this thesis is my own my work and has not been submitted in any form for another degree or diploma at any university or other institution of tertiary education. Information derived from published or unpublished work of others has been acknowledged in the text and list of references if given. ………………………………… ………………………………… (Victoria Carless) (Date) ii STATEMENT OF ACCESS I, the undersigned, the author of this work, understand that James Cook University will make this thesis available for use within the University Library, and via the Australian Digital Theses network, for use elsewhere. I understand that, as an unpublished work, a thesis has significant protection under the Copyright Act and I do not wish to place any further restriction on access to this work. ………………………………… ………………………………… (Victoria Carless) (Date) iii ELECTRONIC COPY OF THESIS FOR LIBRARY DEPOSIT DECLARATION I, the undersigned, the author of this work, declare that the electronic copy of this thesis provided to the James Cook University Library is an accurate copy of the print thesis submitted, within the limits of the technology available. -
In Kindergarten with the Author of WIT
re p resenting the american theatre DRAMATISTS by publishing and licensing the works PLAY SERVICE, INC. of new and established playwrights. atpIssuel 4,aFall 1999 y In Kindergarten with the Author of WIT aggie Edson — the celebrated playwright who is so far Off- Broadway, she’s below the Mason-Dixon line — is performing a Mdaily ritual known as Wiggle Down. " Tapping my toe, just tapping my toe" she sings, to the tune of "Singin' in the Rain," before a crowd of kindergarteners at a downtown elementary school in Atlanta. "What a glorious feeling, I'm — nodding my head!" The kids gleefully tap their toes and nod themselves silly as they sing along. "Give yourselves a standing O!" Ms. Edson cries, when the song ends. Her charges scramble to their feet and clap their hands, sending their arms arcing overhead in a giant "O." This willowy 37-year-old woman with tousled brown hair and a big grin couldn't seem more different from Dr. Vivian Bearing, the brilliant, emotionally remote English professor who is the heroine of her play WIT — which has won such unanimous critical acclaim in its small Off- Broadway production. Vivian is a 50-year-old scholar who has devoted her life to the study of John Donne's "Holy Sonnets." When we meet her, she is dying of very placement of a comma crystallizing mysteries of life and death for ovarian cancer. Bald from chemotherapy, she makes her entrance clad Vivian and her audience. For this feat, one critic demanded that Ms. Edson in a hospital gown, dragging an IV pole. -
Fence En Français
FENCE, UN RESEAU INTERNATIONAL DE COLLABORATION D’AUTEURS ET METTEURS EN SCENE AU SERVICE DU THEATRE 1 SOMMAIRE Jonathan METH, directeur/coordinateur du réseau FENCE (biographie) p.3 Sélection et présentation de 10 compagnies coproductrices de FENCE p. 6 Présentation d’une sélection de 35 auteurs/metteurs en scène/interprètes p. 10 parmi les 170 membres actifs de FENCE Liste non exhaustive de compagnies rattachées à des participants de FENCE p.28 Autres connections internationale des membres de FENCE p. 29 Présentation de WONDERLAND, prochain grand projet de FENCE p. 30 2 JONATHAN METH /DIRECTEUR Nationalité Britannique 51 ans Expérience professionnelle 2003 – 2013 : Directeur et fondateur, The Fence L’association FENCE (réseau international d’auteurs et de metteurs en scène de théâtre) Fence est un réseau international de créateurs de théâtre (écrivains, dramaturges, metteurs en scène et directeurs de théâtre à travers l’Europe et au-delà). À l’origine Fence a fut lancée en 2003 sous l’impulsion d’un partenariat entre Writernet (UK), Le British Council et Creative Renewal, et en association avec IETM, réseau international pour les arts du spectacle, afin d’explorer la pratique de l’écriture dramatique contemporaine dans différents contextes culturels européens. Depuis le réseau s’est développé avec succès et compte aujourd’hui plus de 170 écrivains de théâtre et opérateurs culturels provenant de plus de 40 pays différents. Ils organisent régulièrement des rencontres comme à Budapest, Graz, Belgrade, Tampere, Utrecht/Amsterdam, Leeds, Istanbul, Timisoara, Glasgow, Guadeloupe, Paris/Bondy, Rabat et Toscan/Rome entre autres. Les activités du group ce génèrent de façon organique a travers le réseau entier, réunissant traditionnellement des groupes composés de 2 a 6 personnes. -
LOJ Invite 14 V2.Indd
Jewish Federation OF NORTHERN NEW JERSEY Women’s Philanthropy Lion of Judah Luncheon Donna Rosen Karen Scharfstein Ellen Schweitzer Lion of Judah Luncheon Co-Chairs Committee (in formation) Lauri Bader Karen farber anne Kanter Jayne Petak Gale S. Bindelglass Merle fish Devra Karger Pearl Seiden Geri Cantor Eva Lynn Gans Donna Kissler Paula Shaiman Marcia Chapman Gayle Gerstein Ruth Kornheiser Louise Tuchman Judy Cook Sari Gross Joan Krieger fran Weingast Gail Billig Jodi Heimler Rina Lerner Bambi Epstein arline Herman Susan Liebeskind Jodi Epstein Marjorie Immerman Susan Penn Rena Klosk Carol Newman Dana Post adler Karen farber Women’s Philanthropy Women’s Philanthropy Co-Presidents Campaign Co-Vice Presidents Betty Hershan Geri Cantor Women’s Philanthropy Lion of Judah Endowment Honorary Campaign Vice President Chair Zvi S. Marans, MD Stephanie Goldman-Pittel President 2015 Campaign Chair Jason M. Shames Gary Siepser Robin Rochlin Chief Executive Officer & Chief Development Officer Managing Director Executive Vice President Endowment foundation Jodi Heimler Barbara Joyce Joann Goldstein Managing Director Women’s Philanthropy Women’s Philanthropy Development Director Development associate 50 Eisenhower Drive, Paramus, New Jersey 07652 201-820-3953 • fax: 201-488-1507 • www.jfnnj.org/lionluncheon • [email protected] Daryl Roth Meet Daryl Roth, the Co-Producer of Wiesenthal, The Play. Jewish Federation “I’m a risk taker at heart,” says producer Daryl Roth. “I think OF NORTHERN NEW JERSEY my career is based on not being afraid to try things, not being Women’s Philanthropy afraid to suffer failure. I’m able to just be a tenacious person and do what I love.” cordially invites you to the Roth has combined tenacity and fearlessness to become a major figure in New York theatre. -
GREG V. FIEBIG 952 Gustave Place Marion, in 46952 765-243-2321 [email protected] [email protected]
Fiebig Vitae - 1 GREG V. FIEBIG 952 Gustave Place Marion, IN 46952 765-243-2321 [email protected] [email protected] EDUCATION Doctor of Philosophy, Speech Communication, University of Missouri, Columbia, Missouri, 2000 Graduate study, Alcoholism and Other Drug Dependencies, University of Utah, Salt Lake City, Utah, 1990 Master of Divinity, Religious Education, Midwestern Baptist Theological Seminary, Kansas City, Missouri, 1985 Master of Arts, Theatre, Central Missouri State University, Warrensburg, Missouri, 1982 Bachelor of Arts, Speech & Sociology, Southwest Baptist University, Bolivar, Missouri, 1977 VOCATIONAL PURSUITS – Academe INDIANA WESLEYAN UNIVERSITY (Marion, IN) Division Chair, Division of Communication & Theatre, 2014-present Division includes a full-time professional television station, a full-time student managed radio station, a student newspaper (The Sojourn), a university theatre program, and a local chapter of PRSSA. Responsibilities include: curriculum development, faculty evaluation and development, budgeting, and calendar planning as well as advising students. Professor of Communication/Theatre, IWU Theatre Technical Director, 2009-present Associate Professor of Communication/Theatre, IWU Theatre Technical Director, 2006-2009 Taught the following courses: Introduction to Theatre; Stagecraft; Lighting Design; StageDesign I & II; Stage Management; Theatre Management; Photojournalism; Public Speaking; Introduction to Human Communication; Communication Theory; Symbols and Imaging; Organizational Communication; Conflict -
At Play Spring Summer 02
representing the american theatre byy DRAMATISTS publishing and licensing the workss Obie Award Winner Pamela Gien PLAY SERVICE, INC. of new and established playwrights.. Julia Miles on the state of Women Playwrights the Wit initiative a tpIssuel 8, Spring/Summera 2002y WOMEN PLAYWRIGHTS A scene from Kia Corthron’s A scene from La Femme Kia While we usually do one-on- one interviews here at DPS, with scheduling conflicts, Director of Professional Rights Robert Lewis Vaughan and playwright Kia Corthron ended up communicating by e-mail. Robert asked several seemingly small questions to get the ball rolling, and he and Kia planned to talk in Seeking the Genesis person later — to finish off the interview. But that wasn’t necessary. Kia answered the questions (or as she put it, “Those weren’t small questions, those were BIG questions!”). Obviously we here at DPS love Kia’s writ- ing, and we decided to just let her tell you all about her- self in her own words. We’re sure you’ll fall in love . Photo by Joan Marcus with her too — Continued on page 2 I grew up in Cumberland, a factory/mill town in Circle Rep LAB; and afterwards was produced by stu- his hide, he came from the South and went back down Western Maryland. The skinny part of Maryland, kiss- dents at Ramapo, a small state college in New Jersey. I South. For good. That was husband number one. They ing Pennsylvania and West Virginia. From my house it did massive rewrites every time. Ultimately I submit- was three. -
Theatre 332 (W): Sex & Race in Plays & Films: Dramatizing Diversity
Theatre 332 (W): Sex & Race in Plays & Films: Dramatizing Diversity (GER 4C & 6) di·ver·si·ty n 1. a variety of something such as opinion, color, or style 2. ethnic variety and socioeconomic and gender variety, in a group, society, or institution 3. discrepancy, or a difference from what is normal or expected Professor: FJ Tanglao-Aguas, PBK224, Office Hours: X:XX-Y:YYPM, [email protected]. 1-2684, on FB and Twitter Course Description: Study of socio-cultural history and aesthetics of plays and films dramatizing cultural, ethnic, racial, and national pluralism in order to perform/produce a play/show/film. This dual approach prepares students to critically analyze and assess the position and value of cultural pluralism in constructing national identity and society. Through this study, students should be able to discern the relationship between (a) media portrayal and (b) societal consideration of diversity, empowering them to express their self-discerned position artistically. Fulfillment of GER 4C: 1. The course is designed to explore cultural pluralism and diversity as students investigate the milieu of plays and films dramatizing diversity. 2. Course material emphasizes critical events, institutions, ideas, or literary/artistic achievements; and 3 . Material exhibits the intersections and divergences of inter and cross-cultural experiences in a plethora of societies. Fulfillment of GER 6: 1. Students will study the artistic process of creating works of theatre, performance art, and film. 2. Students will engage in written and practical project assignments requiring artistic choices. 3. Students apply their comprehension of creative theatre and film theory by creating works of film and theatre.