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Experiencing the Identity(Ies) of the Other(S)
Experiencing the identity(ies) of the other(s), finding that of one’s own on/through the stage in Wertenbaker’s play Our Country’s Good Autor(es): Kara, enay Publicado por: Imprensa da Universidade de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/43216 DOI: DOI:https://doi.org/10.14195/978-989-26-1483-0_9 Accessed : 25-Sep-2021 07:37:43 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. pombalina.uc.pt digitalis.uc.pt ANA PAULA ARNAUT ANA PAULA IDENTITY(IES) A MULTICULTURAL AND (ORG.) MULTIDISCIPLINARY APPROACH ANA -
Towards a Minor Theatre: the Task of the Playmaker in Our Country’S Good
Wenshan Review of Literature and Culture.Vol 5.2.June 2012.25-48. Towards a Minor Theatre: The Task of the Playmaker in Our Country’s Good Carol L. Yang ABSTRACT Timberlake Wertenbaker’s play Our Country’s Good (1988), as an adaptation of Thomas Keneally’s novel The Playmaker (1987), traces how a group of convicts, who are isolated in an eighteenth-century Australian penal colony, work together to produce George Farquhar’s The Recruiting Officer in celebration of the birthday of King George III. Arguably, Our Country’s Good is characterized by a kind of metatheatrical minorization of the major, a subtraction of the official State representatives, such as history, power structure, society, language, and text; the play is characterized by a polemicizing the sense of other spaces, and a form of threshold traversing that is rendered possible in the context of translation/adaptation and dramatic text/performance text in the theatre. This paper aims to analyze Wertenbaker’s Our Country’s Good in terms of Gilles Deleuze’s and Félix Guattari’s theories—such as the concepts of deterritorialization, reterritorialization, lines of flight, and minor theatre—in order to explore how the dispossessed convicts traverse the threshold of “becoming other” via the historicized immigration of transportation, which opens up lines of flight and generates the unceasing mapping of a new life. I would like to suggest that Wertenbaker’s Our Country’s Good presents a subtle counterpoint between the major theatre and the minor theatre: whereas a major theatre seeks to represent and to reproduce the power structure of the dominant state apparatus, the minor theatre operates by disseminating, varying, subverting the structures of the state and major theatre. -
Cushing, Nancy
How to cite: Cushing, Nancy. “Animal Mobilities and the Founding of New South Wales.” In: “Visions of Australia: Environments in History,” edited by Christof Mauch, Ruth Morgan, and Emily O’Gorman. RCC Perspectives: Transformations in Environment and Society 2017, no. 2, 19–25. doi.org/10.5282/rcc/7905. RCC Perspectives: Transformations in Environment and Society is an open-access publication. It is available online at www.environmentandsociety.org/perspectives. Articles may be downloaded, copied, and redistributed free of charge and the text may be reprinted, provided that the author and source are attributed. Please include this cover sheet when redistributing the article. To learn more about the Rachel Carson Center for Environment and Society, please visit www.rachelcarsoncenter.org. Rachel Carson Center for Environment and Society Leopoldstrasse 11a, 80802 Munich, GERMANY ISSN (print) 2190-5088 ISSN (online) 2190-8087 © Copyright of the text is held by the Rachel Carson Center. Image copyright is retained by the individual artists; their permission may be required in case of reproduction. Visions of Australia 19 Nancy Cushing Animal Mobilities and the Founding of New South Wales We sailed from the Cape of Good Hope on the 12th of November 1787 . [hav- ing] provided ourselves with every Article, necessary for the forming a civilized Colony, Live Stock, consisting of Bulls, Cows, Horses Mares, Colts, Sheep, Hogs, Goats Fowls and other living Creatures by Pairs. Thus Equipped, each Ship like another Noah’s Ark, away we steered for Botany Bay, and after a tolerably pleasant Voyage of 10 Weeks & 2 Days Governour Phillip, had the Satisfaction to see the whole of his little Fleet safe at Anchor in the said Bay. -
Salome: the Image of a Woman Who Never Was
Salome: The Image of a Woman Who Never Was Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer By Rosina Neginsky Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer, By Rosina Neginsky This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Rosina Neginsky All rights for this book reserved. No part of this book 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 permission of the copyright owner. ISBN (10): 1-4438-4621-X, ISBN (13): 978-1-4438-4621-9 To those who crave love but are unable to love. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Epigraph: Poem “Salome” by Rosina Neginsky ........................................ xv Preface ...................................................................................................... xxi Introduction ................................................................................................. 1 Part I: Creation of the Salome Myth Chapter One ................................................................................................. 8 History and Myth in the Biblical Story Chapter Two ............................................................................................. -
Genealogy and Family History John Clarke Wenham
GENEALOGY AND FAMILY HISTORY of the Descendants of JOHN CLARKE of WENHAM, MASSACHUSETTS and EXETER, NEW HAMPSHIRE Compiled by MARLENE A. HINKLEY Bath, Maine Copyright 1968 Marlene A. Hinkley FOREWARD The main purpose in mind in compiling this genealogy was to combine research material obtained from many sources into one book to be of assistance to others in searching their ancestry. As will be seen, there are many family lines throughout this book about which nothing could be found, due to the lack of public records in many instances. Many abbreviations have been used in this book, some of which are as follows: b. born d. died m. married (marriage unm. unmarried int. intentions div. divorced res. resided (residence) emp. employed use U.S. Census The system used in compiling the information in this book is a rela tively easy one to follow. Each child is listed under his or her parent, in order of birth, if known, and, if the child bad issue which is not listed on the same page, that child is given a number which is inserted in the margin to the left of his or her name. Further information concerning that child and his or her children may be obtained by following through the book the numbers to the extreme left of each page, indicating those descendants who are heads of a household. There is an index at the end of this book which consists of the names of all persons contained herein. Any particular ancestor may be easily found by checking this index. A list of all sources from which material and information have been obtained for the preparation of this book may be found at the very end just preceding the index. -
Convicts, Characters, and Conventions of Acting in Timberlake Wertenbaker's Our Country's Good1
Connotations Vol. 7.3 (1997/98) Convicts, Characters, and Conventions of Acting in Timberlake Wertenbaker's Our Country's Good1 VERNA N. FOSTER Few plays endorse the social and cultural value of theatre as explicitly as Timberlake Wertenbaker's Our Country's Good. like Thomas Keneally's novel The Play maker, on which it is based, Our Country's Good recounts an historical event, the first production of a play in Australia: The Recruiting Officer, performed by convicts in Sydney Cove in 1789. The convicts' participation in the rehearsal and performance of George Farquhar's play reforms their manners, enables them to become a community that cares about and is prepared to make sacrifices for something larger than the individual, allows them to undermine at least in small ways oppressive authority, and gives to each of the actors a sense of self worth and hope for the future. The production of the play also transforms Ralph Clark, the officer who directs it.2 From a timid, self-serving individual who originally undertakes the task to curry favor with the Governor, he becomes someone willing to make a personal sacrifice for the play and able to appreciate the convicts as individuals with their own points of view. Our Country's Good concludes with the beginning of the first scene of The Recruiting Officer performed to the music of Beethoven's Fifth Symphony and the laughter and applause of the First Fleet audience, in which the actual theatre audience joins. In accordance with the author's wishes, Wertenbaker's play shows ''how theater can be a humanizing force" for victims of brutalization.3 Theatre critics in both London and New York have generally praised Our Country's Good as a celebration of "the redemptive powers of theatre.,,4 Several academic critics, however, have noted some problematic erasures and unresolved tensions underlying the optimistic progress and triumphant conclusion of Our Country's Good. -
View and Download La Belle Époque Art Timeline
Timeline of the History of La Belle Époque: The Arts 1870 The Musikverein, home to the Vienna Philharmonic, is inaugurated in Vienna on January 6. The Metropolitan Museum of Art in New York is established on April 13, without a single work of art in its collection, without any staff, and without a gallery space. The museum would open to the public two years later, on February 20, 1872. Richard Wagner premieres his opera Die Walküre in Munich on June 26. Opening reception in the picture gallery at the Metropolitan Museum of Art, 681 Fifth Avenue; February 20, 1872. Wood engraving published in Frank Leslie’s Weekly, March 9, 1872. 1871 Giuseppe Verdi’s opera Aida premieres in Cairo, Egypt on December 24. Lewis Carroll publishes Through the Looking Glass, a sequel to his book Alice’s Adventures in Wonderland (1865). James McNeill Whistler paints Arrangement in Grey and Black No. 1, commonly known as “Whistler’s Mother”. John Tenniel – Tweedledee and Tweedledum, illustration in Chapter 4 of Lewis Carroll’s Through the Looking Glass and What Alice Found There, 1871. Source: Modern Library Classics 1872 Claude Monet paints Impression, Sunrise, credited with inspiring the name of the Impressionist movement. Jules Verne publishes Around the World in Eighty Days. Claude Monet – Impression, Sunrise (Impression, soleil levant), 1872. Oil on canvas. Musée Marmottan Monet, Paris. 1873 Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs (Co-operative and Anonymous Association of Painters, Sculptors, and Engravers) (subsequently the Impressionists) is organized by Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley in response to frustration over the Paris Salon. -
Our Country's Good
Otterbein University Digital Commons @ Otterbein 1999-2000 Season Productions 1991-2000 2-1-2000 Our Country's Good Otterbein University Theatre and Dance Department Follow this and additional works at: https://digitalcommons.otterbein.edu/production_1999-2000 Part of the Acting Commons, Dance Commons, and the Theatre History Commons Recommended Citation Otterbein University Theatre and Dance Department, "Our Country's Good" (2000). 1999-2000 Season. 2. https://digitalcommons.otterbein.edu/production_1999-2000/2 This Book is brought to you for free and open access by the Productions 1991-2000 at Digital Commons @ Otterbein. It has been accepted for inclusion in 1999-2000 Season by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. Ottt Country's Go^ by Timberlake Wertenbaker ' :-T FEBRUARY 1-10,2000 Cowan Hall «'* ■^■■■^ '?S Directed by Dcniiis Romcr Scenic i Lighting Design by J) dgn vlSa&biU, Jf Costume Design by J)ayi(| Sound Design by Kcya MycFS-Alkii Dialect Coaching by Phil Thompson ,X- Our Country's Good is presented through special arrangement with DRAMATIC PUBLISHING. Cast JOHN WISEHAMMER & CAPTAIN ARTHUR PHILLIP............................Joe Dallacqua ABORIGINAL AUSTRALIAN & BLACK CAESAR...................................................Jason Marion CAPTAIN WATKIN TENCH & JOHN ARSCOTT............................................ AylerEvan CAPTAIN DAVID COLLINS & ROBERT SIDEWAY..............................Micah Fitzgerald 2nd LIEUTENANT RALPH CLARK........................................................... -
Aesthetic Movement to Degeneration
• The Aesthetic Movement in England was related to other movements such as Symbolism or Decadence in France and Decadentismo in Italy. • British decadent writers were influenced by Walter Pater who argued that life should be lived intensely with an ideal of beauty. • It was related to the Arts and Crafts movement but this will be traced back to the influence of British decorative design, the Government Schools of Design and Christopher Dresser. • In France, Russia and Belgium Symbolism began with the works of Charles Baudelaire who was influenced by Edgar Allan Poe. • It is related to the Gothic element of Romanticism and artists include Fernand Khnopff, Gustave Moreau, Gustav Klimt, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, and Edvard Munch. These artists used mythology and dream imagery based on obscure, personal symbolism. It influenced Art Nouveau and Les Nabis (such as Édouard Vuillard, Pierre Bonnard and Maurice Denis). • In Italy, Gabriele D’Annunzio (1863-1938) promoted irrationality against scientific rationalism. 1 Simeon Solomon (1840-1905), Walter Pater, 1872, pencil on paper, Peter Nahum Ltd, Leicester Galleries Walter Pater (1839-1894) • Essayist, literary and art critic and fiction writer. His father was a physician but died when he was young and he was tutored by his headmaster. His mother died when he was 14 and he gained a scholarship to Queen’s College, Oxford in 1858. • He read Flaubert, Gautier, Baudelaire and Swinburne and learnt German and read Hegel. He did not pursue ordination despite an early interest. He stayed in Oxford and was offered a job at Brasenose teaching modern German philosophy. -
The Redemptive Power of Theatre and the Pursuit of Justice in Our Country’S Good
Sino-US English Teaching, January 2019, Vol. 16, No. 1, 33-40 doi:10.17265/1539-8072/2019.01.005 D DAVID PUBLISHING The Redemptive Power of Theatre and the Pursuit of Justice in Our Country’s Good CHEN Jing-xia Central University of Finance and Economics, Beijing, China This paper aims to understand Timberlake Wertenbaker’s Our Country’s Good in the context of theatre in crisis in the 1980s Britain and attempts to find the contemporary resonance of this history play. Through exploring the adaptation and workshop of the play, discussing the transformative influence of rehearsals on the convicts in the Australian penal colony, and expounding on theatre as an important venue for rehabilitation and justice in contemporary society, the paper intends to disclose the playwright’s commitment to theatre, her reassertion of the social role of theatre in contemporary Britain and her critique of Mrs. Thatcher’s philistinism which impaired art, particularly theatre, to a great degree. Keywords: theatre in crisis, transformative influence, rehabilitation, justice, Mrs. Thatcher Introduction On 4 Dec., 1988, a conference on Theatre in Crisis was held at University of London Goldsmiths’ College in association with New Theatre Quarterly, discussing the urgent issues facing the mainstream theatre, fringe theatre, and the questions of alternative funding and subsidy. It was the theatrical world’s response to Mrs. Thatcher’s new art policies under which substantial cuts in the Arts Council’s1 funding to theatre impaired the British theatre and redefined its cultural status. The Conference Declaration emphasized the distinct and important role theatre has played in the full and free development of all cultural activity and asked for sufficient funding for the sustainability of theatre’s vigorous social role. -
Critical Beauty: the Decorative, the Grotesque and the Explicit in the Work of Aubrey Beardsley and Kara Walker
Critical Beauty: The Decorative, the Grotesque and the Explicit in the work of Aubrey Beardsley and Kara Walker Natalya Hughes School of Art Theory/ Art History College of Fine Arts University of New South Wales STATEMENT OF ORIGINAL AUTHORISHIP ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….............. ii ABSTRACT This research project centres on a representative mode in the visual arts marked by seemingly contradictory operations. Made through a particular use of decorative form, this mode combines the operations of aesthetic pleasure and a more challenging or destabilising affect. It co-implicates formal beauty and a critical content usually associated with so-called anti-aesthetic art practices. The written component analyses the occurrence of this contradictory logic of representation in the work of late Victorian artist Aubrey Beardsley, and contemporary African American artist Kara Walker. Here I argue that while existing criticism on Beardsley and Walker points to the co-existence of these seemingly contradictory operations, it consistently privileges one term (i.e. -
Drama and Theatre Studies
Hi, We are really excited to be working with you on your A Level in Drama and Theatre Studies. To arrive really well prepared for this exciting course we suggest that you complete the tasks below but to dip in and out rather than trying to work through all of them in order (The fun stuff is at the end!): ANTIGONE • This is a set text that we study and it would be really useful if you have read it and done some research around it. As it is a play from Ancient Greece there are free copies of the text available online: https://www.poetryintranslation.com/PITBR/Greek/Antigone.php https://assets.aspeninstitute.org/content/uploads/files/content/docs/SOPHOCLES_ANTIGONE_(A S08).PDF https://mthoyibi.files.wordpress.com/2011/05/antigone_2.pdf • In terms of research you should be discovering as much about ancient Greek theatre as possible – the buildings, actors, playwrights, design features and audiences. Also research Sophocles who wrote the play and find out how his life experiences and views are represented in Antigone. https://www.youtube.com/watch?v=VeTeK9kvxyo&list=PL8dPuuaLjXtONXALkeh5uisZqrAcPKCee &t=0s https://www.youtube.com/watch?v=nGlQkaoIfBI&list=PL8dPuuaLjXtONXALkeh5uisZqrAcPKCee& t=0s OUR COUNTRY’S GOOD If you are accepted to study Drama at A Level with Turton you will be required to purchase the play ‘Our Country’s Good’ by Timberlake Wertenbaker. These can be bought on Amazon – you can usually purchase a second hand copy quite cheaply. You will study this text with Miss Helmn- should you need any help with this work during this time please feel free to contact me via Microsoft Teams or via email at [email protected] There is a lot of work here that we will be revisiting but by doing this now, it will ensure that we are in a really strong position to start the course and will also give us more time to practically explore the play when we begin work in September.