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Publications for Ian Maxwell 2020 2019 2018 2017 2016 2015 2014 Publications for Ian Maxwell 2020 Maxwell, I., Peschel, L., Toltz, J., Hunt, K. (2017). Prince Maxwell, I., Seton, M., Szabo, M. (2020). 'Part of the job': Bettliegend: A Cabaret from Terezin. Seymour Centre, Sydney, Actors' experiences of bullying and harassment. Fusion, 17, 79- Australia: Performing the Jewish Archive. <a 95. <a href="https://fusion-journal.com/part-of-the-job-actors- href="https://vimeo.com/246407843">[More Information]</a> experiences-of-bullying-and-harassment/">[More Maxwell, I. (2017). Teaching Performance Studies with Information]</a> Brecht's Lehrstuck Model: The Measures Taken. Brecht de Quincey, T., Maxwell, I. (2020). A Future Body. In Teresa Yearbook, 41, 77-96. Brayshaw, Anna Fenemore, Noel Witts (Eds.), The Twenty- Maxwell, I. (2017). The Limits of Ritual. Ritual and Cultural First Century Performance Reader, (pp. 166-173). London: Performance Hui and Symposium, Otago: Performance of the Routledge. <a href="http://dx.doi.org/10.4324/9780429283956- Real Research Theme, University of 22">[More Information]</a> Otago. Szabo, M., Maxwell, I., Cunningham, M., Seton, M. (2020). Maxwell, I. (2017). Theatrical Bowerbirds: Received Alcohol Use by Australian Actors and Performing Artists: A Stanislavsky and the Tyranny of Distance in Australian Actor Preliminary Examination from the Australian Actors' Training. In Jonathan Pitches, Stefan Aquilina (Eds.), Wellbeing Study. Medical Problems of Performing Artists, Stanislavsky in the World: The System and its Trasnformations 35(2), 73-80. <a Across Continents, (pp. 325-346). London: Bloomsbury. <a href="http://dx.doi.org/10.21091/mppa.2020.2012">[More href="http://dx.doi.org/10.5040/9781472587916">[More Information]</a> Information]</a> 2019 2016 Maxwell, I. (2019). 'What I thought university would be like ..' Maxwell, I. (2016). "Turtles All the Way Down": Mind, close reading as collaborative performance. Higher Education Emotion and Nothing. Humanities, 5(3), 1-14. <a Research and Development, 38(1), 63-76. <a href="http://dx.doi.org/10.3390/h5030078">[More href="http://dx.doi.org/10.1080/07294360.2018.1527824">[Mor Information]</a> e Information]</a> Maxwell, I. (2016). 12 Hours before the Mast. Performance Szabo, M., Cunningham, M., Seton, M., Maxwell, I. (2019). Research: a journal of the performing arts, 21(2), 58-62. <a Eating Disorder Symptoms in Australian Actors and Performing href="http://dx.doi.org/10.1080/13528165.2016.1162539">[Mor Artists. Medical Problems of Performing Artists, 34(4), 171- e Information]</a> 178. <a href="http://dx.doi.org/10.21091/mppa.2019.4028">[More Information]</a> 2015 Maxwell, I. (2015). A Stunning Reworking of Brecht at the Maxwell, I. (2019). Thinking With Performance. In Stuart Sydney Festival. The Conversation. <a Grant, Jodie McNeilly-Renaudie, Matthew Wagner (Eds.), href="http://theconversation.com/a-stunning-reworking-of- Performance Phenomenology: To the Thing Itself, (pp. 311- brecht-at-the-sydney-festival-35042">[More Information]</a> 327). Cham: Palgrave Macmillan. <a href="http://dx.doi.org/10.1007/978-3-319-98059-1_15">[More Seton, M., Maxwell, I., Szabo, M. (2015). Introduction: The Information]</a> Lives of Actors. About Performance, 13, 1-4. <a href="https://search.informit.org/doi/10.3316/informit.49985221 Seton, M., Maxwell, I., Szabo, M. (2019). Warming up/cooling 7388204">[More Information]</a> down: managing the transition on and off stage. Theatre, Dance and Performance Training, 10(1), 127-141. <a Maxwell, I. (2015). My Big Fat Greek Baptism. In Stuart href="http://dx.doi.org/10.1080/19443927.2018.1551813">[Mor Grant, Jodie McNeilly, Maeva Veerapen (Eds.), Performance e Information]</a> and Temporalisation: Time Happens, (pp. 65-76). Basingstoke: Palgrave Macmillan. <a 2018 href="http://dx.doi.org/10.1057/9781137410276_5">[More Information]</a> Maxwell, I., Seton, M., Szabo, M. (2018). The Precarious Lives of Actors. Australasian Drama Studies, 72, 149-174. <a Prior, R., Maxwell, I., Szabo, M., Seton, M. (2015). href="http://dx.doi.org/10.3316/ielapa.648271094050757">[Mo Responsible care in actor training: effective support for re Information]</a> occupational health training in drama schools. Theatre, Dance and Performance Training, 6(1), 59-71. <a 2017 href="http://dx.doi.org/10.1080/19443927.2014.993568">[More Information]</a> Maxwell, I. (2017). Mayakovsky's Hammer: Experimental Theatre as Romantic Modernism, Sydney, 1968-1970. Maxwell, I., Seton, M., Szabo, M. (2015). The Australian Australasian Drama Studies, 71, 112-136. <a Actors' Wellbeing Study: A Preliminary Report. About href="http://dx.doi.org/10.3316/informit.304828167819614">[ Performance, 13, 69-113. <a More Information]</a> href="http://dx.doi.org/10.3316/informit.499926749273237">[ More Information]</a> Maxwell, I. (2017). Parallel Evolution: Performance Studies at the University of Sydney [republication]. About Performance, Maxwell, I., Seton, M., Szabo, M. (2015). The Lives of Actors. 14/15, 229-246. About Performance, 13. <a href="https://search.informit.org/toc/10.3316/aboper.2015_n013 ">[More Information]</a> visceral. In Maaike Bleeker (Eds.), Anatomy Live: Performance and the Operating Theatre, (pp. 49-66). 2014 Amsterdam: Amsterdam University Press. Maxwell, I. (2014). "Do What You Want, Matey": Serious Play, Maxwell, I. (2008). 'All Exercise Sessions to Take Place in Risk, and The Chaser's War on Everything. About Complete Silence': Performance Syndicate and the Rise and Performance, 12, 63-82. <a Fall of the Grotowskian Ideal 1969-1974. Australasian Drama href="http://dx.doi.org/10.3316/informit.650375045402078">[ Studies, 53(October), 17-41. More Information]</a> Maxwell, I. (2008). Being There: After-Proceedings of the 2006 Maxwell, I. (2014). Review of ''We're People Who Do Conference of the Australasian Association for Drama, Theatre Shows': Back to Back Theatre: Performance Politics Visibility', and Performance Studies. Sydney: edited by Helena Grehan and Peter Eckersall. Theatre Research http://ses.library.usyd.edu.au/handle/2123/2470. International, 39(3), 244-245. <a Maxwell, I. (2008). The ritualization of performance (studies). href="http://dx.doi.org/10.1017/S0307883314000315">[More In Graham St John (Eds.), Victor Turner and contemporary Information]</a> cultural performance, (pp. 59-75). Oxford, New York: Maxwell, I. (2014). Review of Sara Brady, 'Performance, Berghahn Books. Politics, and the War on Terror: "Whatever It Takes"' and Maxwell, I. (2008). There's no there there. In Gerry Bloustien, Jenny Spencer, ed. 'Political and Protest Theatre after 9/11: Margaret Peters and Susan Luckman (Eds.), Sonic synergies: Patriotic Dissent'. Performance Paradigm, 10, 104-108. <a music, technology, community, identity, (pp. 79-89). Aldershot, href="http://www.performanceparadigm.net/index.php/journal/a UK: Ashgate. rticle/view/149">[More Information]</a> Maxwell, I. (2014). Sydney Festival review: 'Cadavre Exquis'. 2007 The Conversation. <a href="http://theconversation.com/sydney- Maxwell, I., Buckley, D., Pepper, M., Murphy, B. (2007). festival-review-cadavre-exquis-22220">[More Information]</a> Australia's International Profile: Panel Discussion. In John 2013 Clarke, Peter Mccallum and Ian Maxwell (Eds.), Australian Arts: Where the Bloody Hell Are You? Australian Arts in an Maxwell, I. (2013). Review of 'The Rise of Performance International Context: Proceedings of a Symposium held at Studies: Rethinking Richard Schechner's Broad Spectrum', University of Sydney on 8 December 2006, (pp. 23-50). Sydney, edited by James M. Harding and Cindy Resenthal. Australia: Sydney University Press. Contemporary Theatre Review, 23(3), 442-443. Clark, J., McCallum, P., Maxwell, I. (2007). Australian Arts: Maxwell, I. (2013). The Calculus of Risk: Rex Cramphorn's Where the Bloody Hell Are You? Australian Arts in an 1988 'Measure for Measure'. Australasian Drama Studies, 62, International Context: Proceedings of a Symposium held at 6-24. <a University of Sydney on 8 December 2006. Australian Arts in href="http://dx.doi.org/10.3316/ielapa.157011232427459">[Mo an International Context: Symposium held at University of re Information]</a> Sydney, Sydney: Sydney University Press. 2012 Maxwell, I. (2007). Introductory Essay: Advocating Australian Arts. In John Clarke, Peter Mccallum and Ian Maxwell (Eds.), Maxwell, I. (2012). Seas as Places: Towards a Maritime Australian Arts: Where the Bloody Hell Are You? Australian Chorography. Shima: the international journal of research into Arts in an International Context: Proceedings of a Symposium island cultures, 66(1), 22-24. held at University of Sydney on 8 December 2006, (pp. 1-22). Sydney, Australia: Sydney University Press. 2011 Maxwell, I. (2007). Music as a Cultural System: Sensibility and Maxwell, I. (2011). Review of 'Contesting Performance: Global Interpretation. Context: Journal of Music Research, 31, 5-20. Sites of Research', edited by Jon McKenzie, Heike Roms and C. J. W.-L. Wee. Performance Paradigm, 7. <a 2006 href="http://www.performanceparadigm.net/index.php/journal/a rticle/view/112">[More Information]</a> Maxwell, I. (2006). "Runnin' Amok". An Acoustemology of Place Resounding in Penrith, Western Sydney. In Gay 2010 McAuley (Eds.), Unstable Ground: Performance and the Politics of Place, (pp. 45-61). Brussels, Belgium: P.I.E. Peter Maxwell, I. (2010). 'Do You Really Want It?'. Australasian Lang S.A. Drama Studies, 57, 10-13. Maxwell, I. (2006). Another menace to lead the youth astray. 2009 The Australian. Maxwell, I. (2009). A heterodox view from Sydney: Rex Maxwell,
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