Changing Patterns of Reef Tourism
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DAVID WILLIAMSON Is Australia's Best Known and Most Widely
DAVID WILLIAMSON is Australia’s best known and most widely performed playwright. His first full-length play The Coming of Stork was presented at La Mama Theatre in 1970 and was followed by The Removalists and Don’s Party in 1971. His prodigious output since then includes The Department, The Club, Travelling North, The Perfectionist, Sons of Cain, Emerald City, Top Silk, Money and Friends, Brilliant Lies, Sanctuary, Dead White Males, After the Ball, Corporate Vibes, Face to Face, The Great Man, Up For Grabs, A Conversation, Charitable Intent, Soulmates, Birthrights, Amigos, Flatfoot, Operator, Influence, Lotte’s Gift, Scarlet O’Hara at the Crimson Parrot, Let the Sunshine and Rhinestone Rex and Miss Monica, Nothing Personal and Don Parties On, a sequel to Don’s Party, When Dad Married Fury, At Any Cost?, co-written with Mohamed Khadra, Dream Home, Happiness, Cruise Control and Jack of Hearts. His plays have been translated into many languages and performed internationally, including major productions in London, Los Angeles, New York and Washington. Dead White Males completed a successful UK production in 1999. Up For Grabs went on to a West End production starring Madonna in the lead role. In 2008 Scarlet O’Hara at the Crimson Parrot premiered at the Melbourne Theatre Company starring Caroline O’Connor and directed by Simon Phillips. As a screenwriter, David has brought to the screen his own plays including The Removalists, Don’s Party, The Club, Travelling North and Emerald City along with his original screenplays for feature films including Libido, Petersen, Gallipoli, Phar Lap, The Year of Living Dangerously and Balibo. -
After the Ball David Williamson
David Williamson’s first full-length play, The Coming of Stork, premiered at the La Mama Theatre, Carlton, in 1970 and later became the film Stork, directed by Tim Burstall. The Removalists and Don’s Party followed in 1971, then Jugglers Three (1972), What If You Died Tomorrow? (1973), The Department (1975), A Handful of Friends (1976), The Club (1977) and Travelling North (1979). In 1972 The Removalists won the Australian Writers’ Guild AWGIE Award for best stage play and the best script in any medium and the British production saw Williamson nominated most promising playwright by the London Evening Standard. The 1980s saw his success continue with Celluloid Heroes (1980), The Perfectionist (1982), Sons of Cain (1985), Emerald City (1987) and Top Silk (1989); whilst the 1990s produced Siren (1990), Money and Friends (1991), Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), Heretic (1996), Third World Blues (an adaptation of Jugglers Three) and After the Ball (both in 1997), and Corporate Vibes and Face to Face (both in 1999). The Great Man (2000), Up for Grabs, A Conversation, Charitable Intent (all in 2001), Soulmates (2002), Birthrights (2003), Amigos, Flatfoot (both in 2004), Operator and Influence(both 2005) have since followed. Williamson is widely recognised as Australia’s most successful playwright and over the last thirty years his plays have been performed throughout Australia and produced in Britain, United States, Canada and many European countries. A number of his stage works have been adapted for the screen, including The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Sanctuary and Brilliant Lies. -
Tropical North Queensland Tourism Opportunity Plan
Tropical North Queensland Tourism Opportunity Plan 2 0 1 0 - 2 0 2 0 DISCLAIMER – Tourism Tropical North Queensland and Tourism Queensland makes no claim as to the accuracy of the information contained in the Tropical North Queensland Tourism Opportunity Plan. The document is not a prospectus and the information provided is general in nature. The document should not be relied upon as the basis for financial and investment related decision. DISCLAIMER – STATE GOVERNMENT The Queensland Government makes no claim as to the accuracy of the information contained in the Tropical North Queensland Tourism Opportunity Plan. The document is not a prospectus and the information provided is general in nature. The document should not be relied upon as the basis for financial and investment related decisions. This document does not suggest or imply that the Queensland State Government or any other government, agency, organisation or person should be responsible for funding any projects or initiatives identified in this document. Executive Summary Dunk Island Purpose Catalyst Projects The purpose of this Tourism Opportunity Plan (TOP) is to Through the consultation and review process the following provide direction for the sustainable development of tourism in 18 catalyst projects have been identified for the Tropical North the Tropical North Queensland region. Queensland region. These projects are tourism investment or infrastructure projects of regional significance which are The TOP aims to: expected to act as a catalyst to a range of other investment, marketing and product development opportunities. < Identify new and upgraded tourism product that meets future visitor expectations and demands; 1 . Cairns Arts, Cultural and Events Precinct < Identify the need for new investment in infrastructure that 2 . -
October 2016 to Saturday 12Th November 2016
FROM THE PRESIDENT Dear Friends, I am pleased to report that our new curtain mechanism has been installed. The curtain is now operated by the press of a button! In some ways it was sad to see the old pulley go as it had been a part of the Playhouse Theatre for so long. I was so relieved that the curtain itself didn't fall apart when it came down. The theatre is continually being improved. I would like to welcome Nick Lahey as a Rep director. This is his first play for Hobart Rep. Thank you to Nick cast and crew for their dedication to Up For Grabs. I look forward to seeing the fruits of their labours. President Liz “on duty” in the Box Office during the run of Something’s Afoot We thank our volunteers and supporters. We could not function without you. A SLICE OF THEATRE LIFE You never know who you’ll see at The Playhouse during a theatrical run. Top left, well known actor Jeff Michel selling programs. Top right, Hobart Rep Secretary, Tony Webb and below, Heather Chong, a most beloved Sponsor. (We LOVE our Sponsors!) UP FOR GRABS A Fast Paced Comedy and Maybe a Hint of Satire When Simone Allen, an exclusive art dealer, is given the opportunity to sell a Brett Whitely, her behaviour becomes highly questionable as the pressure mounts. Driven by greed and aesthetics, just how far will Williamson’s characters go when more than just a beautiful work of art is up for grabs in this sexy comedy of manners? A fast paced show about money, greed, unhappy couples and expensive art. -
Year Play Director (**Unsure)
Year Play Director (**unsure) AT THE MENTONE CITY HALL 1945 Cuckoo in the Nest 1946 The House of Thrills Apple Pie Order Indoor Fireworks AT THE MECHANICS INSTITUTE HALL – MORDIALLOC Leave It To Leander The Evil That Men Do The Crimson Coconut Ladies In Waiting Postal Orders 1948 The Blue Goose Wise Tomorrow Strange Parallel Love In A Mist Down On The Farm 1949 Lady-Killer Candied Peel Five Minutes Quiet Weekend The Press Desires 1950 Fools Rush In Good Morning, Bill The Camel’s Back We Were Dancing Night Must Fall Rebecca It’s Quicker To Telephone 1951 Arsenic And Old Lace The Happiest Days of Your Life Jack Lawson Dark Victory Love From A Stranger Rookery Nook The Startled Saint 1952 The Girl In Question That Woman Fly Away Peter Lorraine Madsen Who Lies There? 1953 Message For Margaret Margaret Flynn Murder At The Vicarage A Woman’s Place 1954 The White Sheep Of The Family Audrey Downe Gaslight The Hollow One Wild Oat 1955 Blithe Spirit See How They Run Audrey Downe/Edna Robinson Freida Graham Hunter 1956 The Shop At Sly Corner Baa Baa Black Sheep Black Chiffon 1957 Intent To Murder Eric Heyes Madam Tic Tac Lorraine Madsen Man From Toronto As Long As They’re Happy 1958 The Secret Tent The Browning Version Running Riot Bill McLorinan Mad About Men Eric Heyes Bonaventure Master Dudley 1959 The House By The Lake The Gentle Rain The Pigeon With The Silver Foot Sailor Beware Edmund Thornton The Whole Truth Eric Heyes Dry Rot 1960 Toad In The Hole No Man’s Land The Girl Who Couldn’t Quite Something To Hide The Reluctant Debutant Edmund Thornton -
Living Lessons in Australia
LIVING LESSONS IN AUSTRALIA Established 1960 Phone for an 2015-16 EDUCATIONAL TOURS PROGRAM obligation free quote 1300 660 825 www.getours.com.au Why travel Australia with G.E.T Educational Tours? G.E.T Educational Tours sets the benchmark in the educational travel industry, with over 50 years of experience providing “Living Lessons” to Australian students. We have developed strong relationships with program partners throughout the country, ensuring we consistently deliver the highest quality product and service. Australia is a vast, diverse and fascinating nation, rich with opportunities for students to deepen their knowledge and understanding of its unique history, culture, people and environment. At G.E.T Educational Tours, our philosophy is to offer learning through a broad range of exciting, interactive, innovative, fun and challenging activities. Our range of Australian tour experiences includes the opportunity to explore Canberra’s inspiring landmarks, Tasmania’s pristine environment, Victoria’s wild shipwreck coast and historic goldfields, Queensland’s stunning coastline, Sydney and Melbourne’s exciting city life and Central Australia’s vast outback. With programs designed around the Australian Curriculum by experienced teachers, we have a number of tour packages available for you to choose from. With flexible group sizes and tour dates, we can also tailor-make an itinerary to suit your school’s specific requirements. You can rest assured that you will have the full support of an experienced, specialist educational tour consultant to make the tour planning process as smooth and stress-free as possible. t 1SJDFT CBTFE PO HSPVQT PG TUVEFOUT BOE UFBDIFSTFTDPSUT USBWFMMJOH GSPN Melbourne, Sydney and Canberra t 5PVSDPTUTGPSHSPVQTUSBWFMMJOHGSPN"EFMBJEF #SJTCBOF 1FSUIBOESFHJPOBMBSFBT available on request t 'MFYJCMFHSPVQTJ[FT UPVSEBUFTBOEJUJOFSBSJFT UFBDIFSFTDPSUUPTUVEFOUSBUJP t .FBMTBTTQFDJGJFE.FBMT,FZ#CSFBLGBTU-MVODI%EJOOFS Airfares Airfares can be included as an option, either as one-way or return flights. -
Australia Driving Guide
Australia Destination Guide 1300 656 601 www.autoeurope.com.au 1 Contents With so much to see and explore, the best way to discover Australia’s diversity is to travel by road. Auto Europe’s Self Drive Guide will help you plan your next driving holiday in Australia. Packed full of information about car hire and the rules of the road, you’ll also find great touring ideas and self drive suggestions. Taking a driving holiday by car or motorhome will give you the freedom to travel your preferred route at your own pace! Contents Page Renting A Car In Australia 3 Rental Vehicle Insurance 4 Driving in Australia 5 Australian Driving Laws & Car Rental FAQs 6 Australian Regions 7 New South Wales & Sydney 8 Self Drive Tours: Hunter Valley & Blue Mountains 9 Self Drive Tours: North & South Coasts, NSW 10 Self Drive Tours: Country NSW 11 Victoria & Melbourne 12 Self Drive Tours: Great Ocean Road & Yarra Valley 13 Self Drive Tours: The Grampians & Gippsland 14 Queensland 15 Self Drive Tours: Airlie Beach - Townsville & Cairns - Port Douglas 16 South Australia 17 Self Drive Tours: Mount Gambia - Victor Harbour & Port Augusta - Nullarbor 18 Tasmania 19 Self Drive Tours: Hobart - Port Arthur & Launceston - Wineglass Bay 20 Western Australia 21 Self Drive Tours: Perth - Margaret River & The Pilbara Coast 22 Northern Territory 23 Self Drive Tours: Darwin - Kakadu & Alice Springs - Uluru 24 Auto Europe - How to Book 25 1300 656 601 www.autoeurope.com.au 2 Renting a Car in Australia Class Fuel Capacity Type Transmission Fuel/Air Cond. M = Mini 0.8 - 1.0 B -
Fatal Journeys Tracking Lives Lost During Migration
IOM is committed to the principle that humane and orderly migration benefits migrants and society. As an intergovernmental organization, IOM acts with its partners in the international community to: assist in meeting the operational challenges of migration; advance understanding of migration issues; encourage social and economic development through migration; and uphold the human dignity and well-being of migrants. The opinions expressed in the book are those of the authors and do not necessarily reflect the views of the International Organization for Migration (IOM). The designations employed and the presentation of material throughout the book do not imply the expression of any opinion whatsoever on the part of IOM concerning the legal status of any country, territory, city or area, or of its authorities, or concerning its frontiers or boundaries. Publisher: International Organization for Migration 17 route des Morillons 1211 Geneva 19 Switzerland Tel: + 41 22 717 91 11 Fax: + 41 22 798 61 50 E-mail: [email protected] Website: www.iom.int ISBN 978-92-9068-698-9 © 2014 International Organization for Migration (IOM) Cover Photo: Overlooking the Mediterranean Sea from Lampedusa’s coastline stands Porta di Lampedusa - Porta d’Europa. Created by artist Mimmo Paladino in 2008, this monument is dedicated to those migrants who have died in search of a new life. Photo by Paolo Todeschini, 2010 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the publisher. -
DAVID WILLIAMSON Study Guide
What I Wrote David Williamson Teacher’s Notes Introduction This study guide to accompany What I Wrote: David Williamson has been written for senior secondary students. It provides information and suggestions for learning activities in English, Literature, Theatre Studies and Drama. What I Wrote: David Williamson is a DVD on Australian playwright David Williamson. Dr Tess Brady interviews Williamson and provides a critical introduction to The Removalists (1972), Don’s Party (1973), The Club (1978), Travelling North (1980), Gallipoli (1981) Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), The Great Man (2000), The Jack Manning Trilogy (2002), Soulmates (2003), and Influence (2005). The DVD also in� cludes an investigation of Williamson’s approach to writing for the stage. What I Wrote: David Williamson is one title from a series of DVDs spotlighting Australian playwrights. The series offers students information about the ideas and processes of the playwrights, as well as the opportunity to hear what the writers have to say about their work. Other titles available in the What I Wrote series include: Series 1: • What I Wrote: Matt Cameron • What I Wrote: Louis Nowra • What I Wrote: Hannie Rayson • What I Wrote: Katherine Thomson Series 2: • What I Wrote: Debra Oswald • What I Wrote: Andrew Bovell How to Buy the DVDs • What I Wrote: �������������oanna Murray������Smith The DVDs are available from Ronin Films at: http://www.roninfilms.com.au Find Out More Info Further information about the series and film trailers How to Buy the Play Scripts can be found at: http://www.whatiwrote.com.au or on The play scripts are available from Currency Press at: YouTube http://www.youtube.com/pinkcat1 http://www.currency.com.au/ About the Filmmakers Dr Tess Brady interactive websites and advertising. -
Australian Cinema Umbrella Australian Cinema
20152017 UMBRELLAUMBRELLA CATALOGUECATALOGUE AUSTRALIAN CINEMA UMBRELLA AUSTRALIAN CINEMA DVD DVD DCP DVD BD THE ADVENTURES OF BARRY MCKENZIE ANGEL BABY AUTOLUMINESCENT Reviled by the critics! This year marks the 20th Anniversary of this Containing a selection of rare footage and moving interviews Adored by fair-dinkum Aussies! landmark Australian Drama. with Rowland S. Howard, Nick Cave, Wim Wenders, Mick Harvey, Lydia Lunch, Henry Rollins, Thurston Moore, In this fan-bloody-tastic classic, directed by Bruce Beresford Winner of 7 AFI Awards, including Best Film, Best Director, Best Actor and Best Actress. Bobby Gillespie, and Adalita, AUTOLUMINESCENT traces (his first feature) Australia’s favourite wild colonial boy, the life of Roland S. Howard, as words and images etch Barry McKenzie (Barry Crocker), journeys to the old country Written and directed by Michael Rymer (Hannibal) and light into what has always been ‘the mysterious dark’. accompanied by his Aunt Edna Everage (Barry Humphries) starring Jacqueline McKenzie (Romper Stomper), John to take a Captain Cook and further his cultural and intellectual Lynch (In the Name of the Father) and Colin Friels (Malcolm), “ IF YOU MAKE SOMETHING THAT IS SO MAGICAL, SO UNIQUE education. this multi-award winning drama tells a tragic tale of love YOU WILL PAY THE PRICE... IT’S THE DEVIL’S BARGAIN.” between two people with schizophrenia as they struggle with LYDIA LUNCH life without medication. “ HEARTBREAKINGLY GOOD AND FILLED WITH A DESPERATE INTENSITY.” JANET MASLIN, THE NEW YORK TIMES FOR ALL ENQUIRIES REGARDING UMBRELLA’S THEATRICAL CATALOGUE umbrellaent.films @Umbrella_Films PLEASE CONTACT ACHALA DATAR – [email protected] | 03 9020 5134 AUSTRALIAN CINEMA BP SUPER SHOW DVD LOUIS ARMSTRONG One of the greatest musical talents of all time, Louis ‘Satchmo’ Armstrong raised his trumpet and delivered a sensational concert for the BP Supershow, recorded at Australia’s Television City (GTV 9 Studios) in 1964. -
Food Codes in Australian Drama
A Consuming Interest: Food Codes In Australian Drama by Gaye Poole A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts (Honours) School of Theatre and Film Studies University of New South Wales. August 1993 TABLE OF CONTENTS Abstract Acknowledgements i i List of illustrations iii Introduction 1-22 Chapter One: Background: food in drama. 23-43 Chapter Two: Australian plays based on a meal 44-77 Chapter Three: Food as currency for power and site of family politics in Australian drama. 7 8-1 04 Chapter Four: Food rituals in Australian drama: nostalgia, 'social' rituals and death 105-144 Chapter Five: Women and food: eating/not eating and women eaten. 145-194 Chapter Six: Conclusion 195-202 Appendix A: Sweets and Drinks on stage 203-224 Appendix B: Practicalities of food on stage 225-230 Bibliography 231-250 i ABSTRACT In the context of current critical attention to food in related disciplines, this thesis sets out to explore food codes in Australian drama. Chapter One gives a brief background to contemporary Australian food uses in drama and in so doing identifies some of the continuities, discontinuities and sh"ifts in the ways in which food has been incorporated into drama. Chapter Two focuses on plays whose entire proceedings or key scene take the form of a meal. It is observed that food on stage as a gathering and shaping element takes one of several forms: a communal event; the turning point of the play, or the interrupted meal. Chapter Three argues that food bestows power on its controllers. -
SCREENING MOTHERS: Representations of Motherhood in Australian Films from 1900 to 1988
SCREENING MOTHERS: Representations of motherhood in Australian films from 1900 to 1988 CAROLINE M. PASCOE B.A. (Honours) M.A. UNIVERSITY OF SYDNEY A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy September 1998 ii The work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text. The material has not been submitted, either in whole or in part, for a degree at this or any other university. CAROLINE MYRA PASCOE iii ABSTRACT Although the position of mothers has changed considerably since the beginning of the twentieth century, an idealised notion of motherhood persists. The cinema provides a source of information about attitudes towards mothering in Australian society which is not diminished by the fact that mothers are often marginal to the narrative. While the study recognises that cinematic images are not unconditionally authoritative, it rests on the belief that films have some capacity to reflect and influence society. The films are placed in an historical context with regard to social change in Australian society, so that the images can be understood within the context of the time of the making and viewing of the films. The depictions of the mother are scrutinised with regard to her appearance, her attitude, her relationship with others and the expectations, whether explicit or implicit, of her role. Of particular significance is what happens to her during the film and whether she is punished or rewarded for her behaviour. The conclusions reached after analysis are used to challenge those ideas which assume that portrayals of motherhood are unchangeable and timeless.