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A Strategy for Representing Difference and Cultural Diversity on Stage, and Jump for Jordan: a Play

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A Strategy for Representing Difference and Cultural Diversity on Stage, and Jump for Jordan: a Play University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2016 Dialogic interplay: A strategy for representing difference and Cultural Diversity on stage, and Jump for Jordan: a play Donna T. Abela University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Abela, Donna T., Dialogic interplay: A strategy for representing difference and Cultural Diversity on stage, and Jump for Jordan: a play, Doctor of Creative Arts thesis, School of the Arts, English and Media, University of Wollongong, 2016. https://ro.uow.edu.au/theses/4801 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Dialogic Interplay: A Strategy for Representing Difference and Cultural Diversity on Stage, and Jump for Jordan: a Play A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Creative Arts from University of Wollongong by Donna Abela BA (Visual Arts) New South Wales Institute of the Arts BA (Communications) New South Wales Institute of Technology MA (Theatre Studies) University of New South Wales Faculty of Law, Humanities and the Arts School of the Arts, English and Media 31 May 2016 1 THESIS CERTIFICATION I, Donna Abela, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Creative Arts, in the School of the Arts, English and Media, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Donna Abela 31 May 2016 2 TABLE OF CONTENTS Creative Work Jump for Jordan 8 Production photographs of Jump for Jordan 85 Exegesis Chapter One - Introduction 88 Chapter Two - Evaluation 101 Chapter Three - Excavation 135 Chapter Four - Disturbance 153 Chapter Five - Artefact 163 Chapter Six - Analysis 187 Bibliography 200 3 LIST OF SPECIAL NAMES AND ABBREVIATIONS Australasian Association for Theatre, Drama and Performance Studies (ADSA) Australian Elizabethan Theatre Trust (AETT) Australian Major Performing Arts Group (AMPAG) Australian Theatre for Young People (ATYP) Community cultural development (CCD) Culturally and linguistically diverse (CALD) Community Youth Support Scheme (CYSS) Melbourne Theatre Company (MTC) National Institute of Dramatic Art (NIDA) Non-English Speaking Background (NESB) Playwriting Australia (PW) Powerhouse Youth Theatre (PYT) Revolutionary Association of the Women of Afghanistan (RAWA) Sydney Church of England Girls’ Grammar School (SCEGGS) Sydney Morning Herald (SMH) Theatre for Young People (TYP) Theatre in Education (TIE) University of New South Wales (UNSW) University of Sydney (USyd) Women in Theatre and Screen (WITS) 4 ABSTRACT Dialogic Interplay: A Strategy for Representing Difference and Cultural Diversity on Stage is a practice-led research project that consists of a play Jump for Jordan, which had its premier production at the Griffin Theatre Company in 2014, and an exegesis. The purpose of the study was to discover dramaturgical strategies which could effectively place culturally diverse characters, and a lesbian protagonist, on an Australian main stage, and thereby address a gap in the contemporary Australian theatre repertoire. The structure of Jump for Jordan is analogous to a disturbed archaeological dig site. Fragments of the narrative, and levels of the protagonist’s psyche, collapse in on each other, appear out of sequence and context, and forge associations and meanings beyond temporal and spatial boundaries and denotative categories. This transmissible structure resists the ideological containment of difference or otherness inherent in traditional dramatic form, and emerged from a methodological engagement with feminist theatre practice which operates as a “sphere of disturbance” (Aston 1999, 18), and provided three active verbs - to oppose, to disturb, to activate - which became key tools in the creative dig for the play’s nascent patterns, inner logic, and ultimate aesthetic. The stages of an archaeological dig provide the five-part structure of the exegesis: Evaluation identifies the tenets by which the playwright wrote outside of her ethnic context, and contextualises Jump for Jordan through a discussion of the contemporary Australian theatre landscape; Excavation discusses how feminist tools were used to develop character, discern structure, create language-led associative causality, and activate dream logic and psychic space; Disturbance describes the challenges which steered the first draft towards the tragic mode; Artefact explains how the study of comic theory and language-led playwriting enabled the playwright to complete the work within a comic frame of play, reclaim an affinity for ironic and dark comedy, and identify the polyvocal “dialogic imperative” (Castagno 2001, 149) which has characterised her plays and playwrighting practice. Analysis summarises the audience and critical response to the theatrical production of Jump for Jordan. 5 This study concludes that feminist theatre practice, together with comedy’s driving force of freedom, and the interactive “linguistic playing field” (Castagno 2001, 152) activated by language-led playwriting, provided the tools and dramaturgical strategies which enabled the playwright to write a play which effectively placed difference and cultural diversity on an Australian main stage. The resultant dialogic organising principle transformed Jump for Jordan from a sphere of disturbance into a sphere of being, from a mechanical to an organismic creation, which privileged a female and lesbian and Arabic-Australian subjectivity and psyche, and de-centred the monologic and authoritarian discourses of patriarchy, compulsory heterosexuality, and Orientalist xenophobia. However, reaching beyond the categories of sex and binary logic, the dialogic interplay which came to organise Jump for Jordan is finally understood and described not in feminist terms, but in playwriting terms, as “a way of governance through sharing” (Castagno, 2001, 14). 6 ACKNOWLEDGEMENTS Sincere thanks go to my supervisors Dr Joshua Lobb, Dr Catherine Fargher, Dr Margaret Hamilton, Dr Cath McKinnon and Dr Leigh Dale. I am also very grateful for the guidance, insight and support I received from colleagues, fellow travellers and friends: Camilla Ah Kin, Alice Ansara, Fayssal Bazzi, Jane Bodie, Claudia Chidiac, Elizabeth Connolly, Dana Dajana, Nate Edmundson, Aimée Falzon, Eddi Goodfellow, Edwina Guinness, Dr Laura Ginters, Sheradin Harbridge, Jo Kennedy, Anna Houston, Lee Lewis, Dr Alison Lyssa, Jennifer Medway, Julia Ohannessian, Lyn Pierce, Billie Rose Prichard, Jane Quayle, Nicholas Rayment, Gabrielle Rogers, Tim Roseman, Pip Runicman, Cristina Santolin, Gina Schien, Carlos Schröder, Sal Sharah, Martin Shaynd, Iain Sinclair, Salene Souza, Doris Younane, Gina Zaglhoul, the School of the Arts, English and Media, the Griffin Theatre Company, the Merrigong Theatre Company, Playwriting Australia, Kaleidoscope, and 7-ON Playwrights. 7 Jump for Jordan a play Donna Abela 8 CHARACTERS Sophie A would-be archaeologist. Sam / Student Sam / Truckie Sam Partner. Loren Sister. Mara / Young Mara Mother. From Jordan. Sahir / Young Sahir Father. From Palestine. Azza / Avenging Azza Aunt. From Jordan. SETTING The play is set in Sydney’s west and inner west. More broadly, it is set in Sophie’s fluctuating levels of consciousness: reality, memory, dream, fantasy projection, and conversations with the dead. PRODUCTION NOTES Like the strata of occupation in a disturbed archaeological dig site, the scenes in this play are often constructed of layers of narrative that collapse in on each other. A sequential reading is interrupted, and only fragments of what happened are offered. Attention must be on context as well as content. The borders between scenes are intended to be porous. LANGUAGE NOTES Jump for Jordan is a bi-lingual play written almost entirely in English. Generally, when characters speak in their first language, the syntax is complex; when they speak in their second language, the syntax is simple. In the first production, accents were also used to denote first and
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