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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. -
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience. -
Case Studies Into the Invisible Presence of Aboriginal People
School of Media, Creative Arts and Social Inquiry Faculty of Humanities Connecting the Dots: Case Studies into the ‘Invisible Presence’ of Aboriginal People Living in Victoria Jessi Coyle This thesis is presented for the Degree of Doctor of Philosophy of Curtin University January 2019 To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgement is made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Signed: Date: 15 January 2019 ABSTRACT Aboriginal Victorians have been rendered as an ‘invisible presence’ by the various discourses of race and culture that emerged in 19th-century forms of colonialism, which remain influential today. This thesis demonstrates how (white) belonging is constructed within national narratives by drawing on case study analyses of contemporary Victoria’s central and western goldfields districts, and of Aboriginal Victorian participation in Australian (Rules) Football. Semi-structured interviews were conducted across two case studies, with 28 Aboriginal participants and four non- Aboriginal participants. Interviews were analysed using a grounded theory framework, which prioritises culturally respectful and transparent research by positioning the research around participant testimony rather than the 19th-century colonial research conventions that are still influential and popular today. Working within critical theory, this thesis draws on race and settler colonialism to position the invisible presence of Aboriginal people within the ‘(white) settler colonial psyche’. A central feature of the (white) settler colonial psyche is the maintenance of settler sovereignty, as imagined through (white) belonging. -
The Effects of Satire and Farce in the Plays of David Williamson
i “Sugared Placebos”? The effects of satire and farce in the plays of David Williamson Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Education Faculty of Human Development Victoria University By Elvira Sammut DipTeach(WASTC), BEd(ECU), MEd(ECU), LTCL(Drama) 2008 ii Declaration This Thesis contains no material which has been submitted for examination in any other course or accepted for any degree or diploma in any University. To the best of my knowledge and belief, it contains no material previously published or written by another person, except where due reference is made in the text Signed …………………………………………………………………………… Elvira Sammut. July 2008 iii This Thesis is dedicated to the memory of my Mother, Elena Suarez Gallagher Corbett, whose passion and vision instilled in me her love of reading and her deep belief in education. She travels with me. iv Acknowledgements I would like to express my thanks to Dr. Tarquam McKenna and Dr. Mary Weaven at Victoria University for supervising this thesis. I am very grateful for their generous support, constructive criticism, and many kindnesses. And for the sheer niceness of their manner. This thesis was commenced at Curtin University, Perth, Western Australia. Mention must be made of Dr. Donald Pulford and Dr. Paul Genoni who supervised the drafts of the early chapters. Thank you both. I am grateful to Dr. Felicity Haynes of University of Western Australia for her expertise, help and encouragement in enabling me to complete this project. I am also deeply indebted to Victoria University, Footscray, Victoria, for giving me the opportunity to complete this work. -
Up for Grabs Coprorate Vibes Playtexts 2.P65
i 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), Corporate Vibes and Face to Face (both in 1999) and The Great Man (2000). 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. David Williamson has won the Australian Film Institute film script award for Petersen (1974), Don’s Party (1976), Gallipoli (1981) and Travelling North (1987) and has won eleven Australian Writers’ Guild AWGIE Awards. -
David Williamson's
WORLD PREMIERE DAVID WILLIAMSON’S 14 FEB – 9 APR 2020 WELCOME SYNOPSIS What a privilege and pleasure it is to direct David Williamson’s last ever play. His Steve is the typical Aussie bloke, self- work always has a finger on the pulse of contemporary issues and CRUNCH TIME assured, social and sports-mad. Recently sits right at the heart of the ongoing debate about the right to die with dignity. retired from a high-flying career, he’s But the main theme stems from within the family nucleus so CRUNCH TIME is passed the family business over to his son also about parents and children, husbands and wives, betrayal and ultimately Jimmy — a chip off the old block. But his love. It also happens to be very funny. eldest son Luke, an engineer with more of an interest in algebra than AFL, has never If there is a message in David’s amazing 50 year career in writing plays, it is this: quite seen eye-to-eye with his dad and be tolerant. Accept people with all their flaws, foibles and idiosyncrasies. Find a they haven’t spoken in seven years. When way to work together, and then you can move forward. I couldn’t think of a better Steve suddenly falls ill, time is running out message at this time in the world. Enjoy CRUNCH TIME and this wonderful cast to repair their broken relationship — and working with an incredible writer. Thank you David, it has been an honour. Luke and Jimmy will have to go to extreme Mark Kilmurry lengths to fulfil their father’s final wishes. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sácala (del closet): Unapologetic Queer Sexualities in Mexican and Latinx Melodrama Permalink https://escholarship.org/uc/item/3xj006xv Author Rivera, Oscar Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sácala (del closet): Unapologetic Queer Sexualities in Mexican and Latinx Melodrama A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Spanish by Oscar Rivera September 2020 Dissertation Committee: Dr. Freya Schiwy, Co-Chairperson Dr. Ivan E. Aguirre Darancou, Co-Chairperson Dr. Alessandro Fornazzari Dr. Richard T. Rodriguez Copyright by Oscar Rivera 2020 The Dissertation of Oscar Rivera is approved: Co-Chairperson Co-Chairperson University of California, Riverside Acknowledgements First and for most, I thank the inmenso apoyo granted by Dr. Freya Schiwy who allowed and stimulated my pursuit of jotería when I, naively, was afraid/embarrassed to engage with explicit sexuality in an academic setting. Her continuous supportive embrace, availability, constant chats that extended beyond office hours and gracious patience has made my career at the University of California, Riverside an unforgettable and marvelous experience. I will forever be indebted to her por cambiar mi mundo by teaching myself (and cohort) to question everything we took for granted. I would like to thank my other professors who have profoundly shaped my knowledge and allowed my queer readings and essays in their classes even when that was not part of their syllabus, for it permitted a remarkable growth opportunity on my part: Dr. -
David Williamson's LET the SUNSHINE
World Premiere David Williamson’s LET THE SUNSHINE With: JUSTIN STEWART COTTA, EMMA JACKSON, ANDREW McFARLANE, GEORGIE PARKER, KATE RAISON & WILLIAM ZAPPA Director: SANDRA BATES Designer: GRAHAM MACLEAN Lighting Designer: MATTHEW MARSHALL This brand new David Williamson, with trade-mark comedy bite, asks what happens when people of widely different political views are forced to co-exist. Toby (William Zappa), a maker of hard hitting documentaries, flees Sydney in shame when the press finds out he inadvertently used a bogus witness in his latest film. He convinces his reluctant wife Ros (Georgie Parker) to travel north with him to Noosa, a haven in Queensland fondly remembered from visits in his youth. Problem is, it has now moved from a simple fishing village to a chic, upmarket, manicured playground of the wealthy and privileged. Ros meets an old school friend, Natasha (Kate Raison), who is married to Ron (Andrew McFarlane), a hugely wealthy property developer. Ros and Natasha had little in common even at school, and to say Toby and Ron are like chalk and cheese would be understating it. The connection between the two couples seems destined to be brief and acrimonious save for one thing. Power lawyer Emma (Emma Jackson), the daughter of Natasha, and drop-out musician Rick (Justin Stewart Cotta), son of Ros, happen to meet. And then, in typical Williamson fashion, it’s on for young and old. Ensemble’s Artistic Director, Sandra Bates has assembled a stellar cast for this production, her 4th Williamson World Premiere, and her 12th Williamson production in her 24 years at the theatre’s helm. -
Instant Replay Article Preliminary Outline 09-13-14
INSTANT REPLAY: A CONTEMPORARY LEGAL ANALYSIS Russ VerSteeg* & Kimberley Maruncic** Introduction ..................................................................... 156 I. History of Instant Replay: Beginnings & Evolution... 162 A. Before Instant Replay ............................................. 162 1. Fred Merkle: Cubs vs. Giants 1908 ..................... 162 2. Fifth Down and 6: Cornell vs. Dartmouth 1940 . 164 3. Don Chandler’s Field Goal: Western Conference Championship 1965.................................................. 166 4. Duane Sutter’s “Off-Side” Goal: Game 6 Stanley Cup Finals 1980 ....................................................... 168 5. Jorge Orta “Safe” at First: Game 6 World Series 1985 ........................................................................... 170 6. Howard Eisley’s 3-Pointer: Game 6 NBA Finals 1998 ........................................................................... 171 * Professor, New England Law | Boston. I would like to thank Barry Stearns and Brian Flaherty, Research Librarians at New England Law | Boston, for their exceptional efforts and help. Thanks also to Valentina Baldieri, New England Law | Boston Class of 2015 for research assistance. Special thanks to Rod Pasma and his staff in the NHL Situation Room in Toronto for allowing me to observe and discuss their operation. I’m especially grateful to my co-author, Kimberley Maruncic, for her work on this project; her insights and contributions were outstanding, and her encouragement made a difference. Lastly thanks to Connor Bush and the staff of the Mississippi Sports Law Review for their hard work and willingness to work with us. Kim and I take responsibility for any errors in the finished product. ** Northeastern University School of Law, Class of 2016. Special thanks to Professor VerSteeg for all his hard work and allowing me the opportunity to take part on this project. Thanks to the Mississippi Sports Law Review for working with us on this article. -
The Inventory of the Russell Baker Collection #1663
The Inventory of the Russell Baker Collection #1663 Howard Gotlieb Archival Research Center Baker, Russell #1663 11/5/04 Preliminary Listing I. Manuscripts by RB (see also Box 8-12). A. GROWING UP, autobiography, Congdon & Weed (New York, NY), 1982. Box 1 1. Draft, TS, returned by Tom Congdon, 10/28/81; photocopy. a. Title page to p. 178. [F. 1] b. Pp.179-479, with appendix (2 p). [F. 2-3] 2. Complete draft, hard copy; TS with occasional holograph conections. a. Table of contents and part 1, pp.1-126. [F. 4] b. Part 2, pp.127-289. [F. 5] c. Part 3, pp.290-448. [F. 6] d. Part 4, pp.467-471. e. Appendices A, B, 2 p. f. Title page. 3. Draft titled "Merry Point," photocopy; some holograph notes by RB and editor. a. Title page and table of contents. [F. 7] b. Pp.10-210. c. Pp. 211-481. [F. 8-9] 4. Draft, TS, incomplete and unedited; photocopy; pp. 1-481. [F. 10-11] 5. Draft, RB's carbon copy. a. Title page, pp.1-343. [F. 12-13] b. Transcript of conversation with Pat and Allen Robinson, Nov. 1979; CTS, 36 p. [F. 14] 6. Draft, revised, TS with holograph notes, Jan. 1981. a. Chapters 1-18, Dec. 1980 - Jan. 1981. [F. 15] b. Several chapters. [F. 16] 7. "Affable John" section from first version; draft, TS (photocopy) and CTS with holograph conections, 24 p. [F. 17] 8. Draft, 149 p. [F. 18] 9. Third draft, CTS with holograph corrections and some holograph pages. -
Odd Man out 19 January – 18 March 2017
DAVID WILLIAMSON’S ODD MAN OUT 19 JANUARY – 18 MARCH 2017 Odd Man Out - A5 Program v7.indd 1 20/12/16 2:22 pm DAVID WILLIAMSON’S ODD MAN OUT The action of the play takes place over a period of approximately 12 months. DIRECTOR ASSISTANT DIRECTOR MARK KILMURRY SAMANTHA YOUNG CAST CREW EMILY/POLLY ALICE DESIGNER GAEL BALLANTYNE LISA GORMLEY ANNA GARDINER RYAN EVAN/NEVILLE LIGHTING DESIGNER JUSTIN MATT MINTO CHRISTOPHER PAGE STEWART COTTA GARY/POLICE SOUND DESIGNER CARLA OFFICER ALISTAIR WALLACE RACHEL GORDON BILL YOUNG STAGE MANAGER DANI IRONSIDE WARDROBE COORDINATOR RENATA BESLIK SPECIAL THANKS: THOMAS KUZMA, TOM TUTTON AND JOSHUA DODD RUNNING TIME APPROX 2 HOURS INCLUDING INTERVAL THANK YOU FOR YOUR $2 DONATION, IT HELPS COVER THE PRODUCTION OF OUR PROGRAMS 02 9929 0644 • ensemble.com.au Odd Man Out - A5 Program v7.indd 2 20/12/16 2:22 pm DAVID WILLIAMSON – PLAYWRIGHT David Williamson is Australia’s best known and most widely performed playwright. Some of his more than forty-five produced plays include THE REMOVALISTS, DON’S PARTY, THE CLUB, TRAVELLING NORTH, THE PERFECTIONIST, SONS OF CAIN, EMERALD CITY, MONEY AND FRIENDS, BRILLIANT LIES, DEAD WHITE MALES, AFTER THE BALL, THE JACK MANNING TRILOGY, THE GREAT MAN, UP FOR GRABS, SOULMATES, SCARLETT O’HARA AT THE CRIMSON PARROTT, NOTHING PERSONAL, WHEN DAD MARRIED FURY, MANAGING CARMEN, CRUISE CONTROL, RUPERT, DREAM HOME 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 (THE CLUB in 1979 and RUPERT in 2014 at the Kennedy Centre as well as a season at the Theatre Royal, Sydney). -
FEMALE PUBLIC NUDITY in BELLE ÉPOQUE PARIS by LELA LOVETT FELTER-KERLEY a DISSERTATION PRESENTED to the GRADUATE SCHOOL OF
FEMALE PUBLIC NUDITY IN BELLE ÉPOQUE PARIS By LELA LOVETT FELTER-KERLEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2006 Copyright 2006 by Lela Lovett Felter-Kerley This life-long dream would not have been possible without the vision and encouragement of my parents and the numerous sacrifices of my husband John and daughter Adyla. ACKNOWLEDGMENTS Let me begin by saying that nothing could be more foreign, more out-of-character, for me than to write a dissertation on nudity. Raised in a puritanical, middle-class military household during the conservative years of the Reagan administration (lest we forget Edwin Meese?), the closest I came to naked bodies was seeing my baby sister race around the house after having her nightly baths. For years I have thought very little of those first visions and memories of my childhood until now. However the context for my thinking about nudity some twenty odd years later is radically different. Through a series of chance happenings and unforeseen events, I am now confronting my innermost feelings, frustrations, and fascinations with the naked body. It has been as much a taboo for me to think, speak, and write about as it has been for many of closest friends and family members to hear. The University of Florida, its College of Liberal Arts and Sciences, and its Department of History granted me the academic freedom and financial wherewithal to explore this subject. The Council for European Studies’ generous pre-dissertation fellowship afforded me the opportunity to conduct preliminary research abroad.