98Th ISPA Congress Melbourne Australia May 30 – June 4, 2016 Reimagining Contents
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Vanishing Point Shian
Presented by Arts House as part of Dance Massive Vanishing Point A Shian Law Image: James Wright H S Tue 14 – Sat 18 Mar, 8.45pm 60 mins 1 artshouse.com.au Creative Team Artist Statement Shian Law Benjamin Hurley A séance In a society that would have this Choreographer Understudy Phillip Adams Cam Mclachlan Creating the history mean nothing, there is something Collaborating Assistant Calling the never-born work from essential about the work that was Choreographer Alison Halit the grave, never quite made never made Deanne Butterworth Producer Collaborating Sheridan Gerrald, Living a life of purgatory along the The work being made as we speak Choreographer Thomas Woodman, margin of marginal dance histories Which is to say the work that cannot Jo Lloyd Benjamin Hurley, Milo in Australia be known before it is made, may be Collaborating Hyde, Cam McLachlan, Choreographer/ Luke Fryer, Ellen Davies, At the same time central, crucial never made Dramaturg Emma Riches, Mossy (The only ones, perhaps) But is wished for Matthew Adey Pebbles Though there are always margins to A work whose future is not known, Set & Lighting Designer Performers for James Wright Performance Lecture: the margins and history is kind to no but which we must nonetheless Video Artist/ Grey Area, FUCKDOG one once you’re dead create and make to ever see Cinematographer/Editor Michael McNab (The memory as a weak organ, or: But how to convince other people Christine Francis Musician for Performance Photographer Lecture: FUCKDOG a fact proved wrong by dance) that it is a work? -
Choreographic Performance Systems
Choreographic Performance Systems Johannes Birringer Digital Performance Around the turn of the millennium reviewers noted that the marriage of dance and technology had produced a few significant works which startled audiences and shifted attention to what we now call digital performance. While the growth of computer-based art is an accepted phenomenon in globalized technological cultures, the genre of digital performance is still adolescent and thus in need of historical and conceptual underpinnings.1 The more sustained lineage of dance on screen and multimedia performances which incorporate projections of screen images offers a background for understanding the compatibility between live dance and the moving image, yet the incursion of software into choreographic working process is a different matter. Digital performance, to begin, is not a screen-based medium. Rather, it is characterized by an interface structure and computational processes that are integral for composition, evolving content, aesthetic techniques, interactive configurations and delivery forms. In many instances, the integration of human-machine interfaces implies the design of interactive systems, with 3D motion sensing set ups (for example Kinect) or wearable instruments that control real-time synthesis of digital outputs. Installation architectures compete with the stage – contextual design of programmable systems becomes a new form of architecture, protocol, and bio-informatic space. In the following, I review the historical development of video-dance, motion capture, -
Seven Unveils Content Plans for 2019
SEVEN UNVEILS CONTENT PLANS FOR 2019 Slate includes new Bevan Lee drama and two supersized reality hits Geraldine Hakewill, Joel Jackson and Catherine McClements headline Miss Fisher spin-off MKR’s 10th anniversary season to launch the year “Top Gear meets food” in new Gordon Ramsay series New overseas dramas feature screen heavyweights Martin Clunes, Sheridan Smith, Kelsey Grammer and more (Sydney, Friday October 26): The Seven Network today unveiled its content plans for 2019. Four new local dramas, including the next offering from creator Bevan Lee; two supersized reality hits; a female spinoff to one of the year’s most heart-warming hits and the landmark 10th season of one of Australia’s biggest shows are just some of the programs set to take Seven into its 13th consecutive year of leadership. Commenting, Seven’s Director of Network Programming Angus Ross said: “After a close win last year, we promised to up our game in 2018, and the team has delivered in spades. We’ve broken records and dominated the ratings throughout the year. In fact, in every month we have never dropped below a 39% share, while our competitors have never been above 39%. Our worst is still better than their best. “What’s particularly pleasing is that this success is down to the strength and depth of our programming across the board. From 6am to midnight, we have the strongest spine of ratings winners, bar none. And with the AFL and Cricket locked up until 2022, Seven can guarantee those mass audiences, and certainty for our advertisers, for years to come.” NEW TO SEVEN IN 2019 BETWEEN TWO WORLDS From Australia’s most prolific creator/writer Bevan Lee (Packed to the Rafters, A Place To Call Home, All Saints, Winners & Losers, Always Greener) comes an intense, high concept contemporary drama series about two disparate and disconnected worlds, thrown together by death and a sacrifice in one and the chance for new life in the other. -
Annual Report 2013 Annual Report 2013
Annual Report 2013 Annual Report 2013 4 Objectives and Mission Statement 50 Open Door 6 Key Achievements 9 Board of Management 52 Literary 10 Chairman’s report Literary Director’s Report 12 Artistic Director’s report MTC is a department of the University of Melbourne 14 Executive Director’s report 54 Education 16 Government Support Education Manager’s Report and Sponsors 56 Education production – Beached 18 Patrons 58 Education Workshops and Participatory Events 20 2013 Mainstage Season MTC Headquarters 60 Neon: Festival of 252 Sturt St 22 The Other Place Independent Theatre Southbank VIC 3006 24 Constellations 03 8688 0900 26 Other Desert Cities 61 Daniel Schlusser Ensemble 28 True Minds 62 Fraught Outfit Southbank Theatre 30 One Man, Two Guvnors 63 The Hayloft Project 140 Southbank Blvd 32 Solomon and Marion 64 THE RABBLE Southbank VIC 3006 34 The Crucible 65 Sisters Grimm Box Office 03 8688 0800 36 The Cherry Orchard 66 NEON EXTRA 38 Rupert mtc.com.au 40 The Beast 68 Employment Venues 42 The Mountaintop Actors and Artists 2013 Throughout 2013 MTC performed its Melbourne season of plays at the 70 MTC Staff 2013 Southbank Theatre, The Sumner and The Lawler, 44 Add-on production and the Fairfax Studio and Playhouse at The Book of Everything 72 Financial Report Arts Centre Melbourne. 74 Key performance indicators 46 MTC on Tour: 76 Audit certificate Managing Editor Virginia Lovett Red 78 Financial Statement Graphic Designer Emma Wagstaff Cover Image Jeff Busby 48 Awards and nominations Production Photographers Jeff Busby, Heidrun Löhr Cover -
2013 Helpmann Awards Winners Announced! Full List of Winners At
HELPMANN AWARDS MEDIA RELEASE MONDAY 29TH JULY 2013 2013 HELPMANN AWARDS WINNERS ANNOUNCED! FULL LIST OF WINNERS AT www.helpmannawards.com.au The 13th Annual Helpmann Awards were presented tonight live in Sydney at the Joan Sutherland Theatre, Sydney Opera House and broadcast on Foxtel’s Arena. Co-hosts Eddie Perfect and Christie Whelan Browne kicked off the night’s proceedings with an incredibly entertaining opening number written specifically for the occasion by the multi-talented Mr Perfect himself. The Helpmann Awards recognise distinguished artistic achievement and excellence across the major disciplines of Australia's live performance industry. In total 43 awards were presented this evening by some of Australia’s most celebrated talent including, Tina Arena, Baz Luhrmann, Sarah Murdoch, John Waters, Hugh Sheridan, Marcus Graham, Elizabeth Debicki, Patrick Brammall, Chloe Dallimore, Erika Heynatz, Ashley Zukerman, Miranda Tapsell, Rob Mills, Sharon Millerchip, Toby Schmitz, Alison Bell, David Harris, Wayne Scott Kermond, Lynette Curran, Christen O’Leary, Russell Dykstra, Esther Hannaford, The Hon. George Souris, Ewen Leslie, Jennifer Vuletic and Helen Thomson. Further showcasing Australia’s unique and diverse live performance industry, show highlights included live performances by Tim Minchin, the casts of GREASE and HOT SHOE SHUFFLE, Sydney Dance Company, Silvie Paladino and the Sydney Children’s Choir, Emma Birdsall and Timomatic. In addition, as previously announced pop music icon Kylie Minogue OBE and Arts philanthropist David Blenkinsop CBE AM were co-recipients of the 2013 JC WILLIAMSON AWARD. By bestowing this award, Live Performance Australia (LPA) recognises individuals who have made an outstanding contribution to the Australian live entertainment industry and shaped the future of our industry for the better. -
THE ARCHITECT by AIDAN FENNESSY Welcome
THE ARCHITECT BY AIDAN FENNESSY Welcome The Architect is an example of the profound role theatre plays in helping us make sense of life and the emotional challenges we encounter as human beings. Night after night in theatres around the world, audiences come together to experience, be moved by, discuss, and contemplate the stories playing out on stage. More often than not, these stories reflect the goings on of the world around us and leave us with greater understanding and perspective. In this world premiere, Australian work, Aidan Fennessy details the complexity of relationships with empathy and honesty through a story that resonates with us all. In the hands of Director Peter Houghton, it has come to life beautifully. Australian plays and new commissions are essential to the work we do at MTC and it is incredibly pleasing to see more and more of them on our stages, and to see them met with resounding enthusiasm from our audiences. Our recently announced 2019 Season features six brilliant Australian plays that range from beloved classics like Storm Boy to recent hit shows such as Black is the New White and brand new works including the first NEXT STAGE commission to be produced, Golden Shield. The full season is now available for subscription so if you haven’t yet had a look, head online to mtc.com.au/2019 and get your booking in. Brett Sheehy ao Virginia Lovett Artistic Director & CEO Executive Director & Co-CEO Melbourne Theatre Company acknowledges the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which Southbank Theatre and MTC HQ stand, and we pay our respects to Melbourne’s First Peoples, to their ancestors and Elders, and to our shared future. -
Submission to the Creative Industries Strategy 2020-2024
ANZAC House Level 4,4 Collins Street Melbourne VIC 3000 melbourne.org.au T +61 (3) 9650 8800 E [email protected] ABN 56 203 402 373 Martin Foley MP Minister for Creative Industries Parliament House EAST MELBOURNE VIC 3002 Dear Mr Foley Submission to the Creative Industries Strategy 2020-2024 The Committee welcomes the opportunity to make a submission to the Victorian Government’s Creative Industries Strategy 2020-2024 (Creative Industries Strategy). Committee for Melbourne, (the Committee), is an apolitical, not-for-profit organisation that represents 150 members comprising Greater Melbourne’s business, academic, arts, and community sectors in advocating for the future of Greater Melbourne. The Committee has a passion for ensuring the liveability and economic and social sustainability of Melbourne as a leading global city in the world’s fastest-growing region. The Committee has a strong interest in the arts and culture sector and the strength and viability of creative industries in Greater Melbourne and across Victoria. The Committee has established an Arts and Culture Taskforce which works to create an integrated vision for Melbourne as a vibrant, global destination for arts, culture, and design. The Taskforce brings together leaders and individuals from Melbourne's diverse membership including business, academia, arts, not-for-profit, local councils and government to collaborate across issues facing the industry. As such, the Taskforce is well-placed to provide expertise and ideas for the future of the creative industries in Victoria. We attach our submission and look forward to keeping in touch on this key initiative for Melbourne, Victoria and Australia’s future creative industries. -
SOUTHBANK Urban Forest Precinct Plan 2015-2025
SOUTHBANK URban FOREst PRECINCT PLAN 2015-2025 Southbank Urban Forest Precinct Plan 2015 - 2025 City of Melbourne 1 CONTENTS A Message from Introduction to the precinct plans 4 the City of Melbourne How does Melbourne’s urban forest measure up? 8 The City of Melbourne’s urban What will the precinct plans achieve? 10 forest comprises around 70,000 trees in streets and parks as well Community priorities as approximately 20,000 trees 14 located in the private realm, in addition to a growing number of Southbank urban forest in 2015 green roofs and walls across the and its projected future 18 municipality. Prioritising tree planting in streets 20 The trees managed by the City of Melbourne in the public realm contribute significantly to the Map 1: Planting Priorities 22 character and identity of Melbourne. An increasing body of evidence Guiding principles and considerations and research informs us that urban for tree planting 28 Robert Doyle forests and green space are vital Lord Mayor to supporting a healthy community Map 2: Key planting constraints 30 as well as providing a means to adapting to climate change. Map 3: Natural and open space context 32 The Urban Forest Strategy completed Map 4: Strategic context 34 in 2012 identified the need to Map 5: Planting sub precincts 38 generate a new legacy for Melbourne and create a forest for future Map 6: Canopy cover and biodiversity outcomes 42 generations. This urban forest is to be diverse, robust and resilient in the Map 7: What should stay and what should change? 44 face of current and future challenges. -
Scientists' Houses in Canberra 1950–1970
EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 MILTON CAMERON Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Cameron, Milton. Title: Experiments in modern living : scientists’ houses in Canberra, 1950 - 1970 / Milton Cameron. ISBN: 9781921862694 (pbk.) 9781921862700 (ebook) Notes: Includes bibliographical references and index. Subjects: Scientists--Homes and haunts--Australian Capital Territority--Canberra. Architecture, Modern Architecture--Australian Capital Territority--Canberra. Canberra (A.C.T.)--Buildings, structures, etc Dewey Number: 720.99471 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 or otherwise, without the prior permission of the publisher. Cover design by Sarah Evans. Front cover photograph of Fenner House by Ben Wrigley, 2012. Printed by Griffin Press This edition © 2012 ANU E Press; revised August 2012 Contents Acknowledgments . vii Illustrations . xi Abbreviations . xv Introduction: Domestic Voyeurism . 1 1. Age of the Masters: Establishing a scientific and intellectual community in Canberra, 1946–1968 . 7 2 . Paradigm Shift: Boyd and the Fenner House . 43 3 . Promoting the New Paradigm: Seidler and the Zwar House . 77 4 . Form Follows Formula: Grounds, Boyd and the Philip House . 101 5 . Where Science Meets Art: Bischoff and the Gascoigne House . 131 6 . The Origins of Form: Grounds, Bischoff and the Frankel House . 161 Afterword: Before and After Science . -
Annual Report 2017–2018
Annual Report 2017–2018 LIVE PERFORMANCE AUSTRALIA Cover: 2018 Helpmann Awards Act II Finale - Funny Girl - The Musical Inside: 2018 Helpmann Award Winner - Mona Foma In 2017, the Australian live performance industry generated $1.88 billion in ticket sales with over 23 million attendances - that is more than the combined attendances at AFL, NRL, soccer, Super Rugby and cricket.* ( LPA Ticket Attendance and Revenue Survey 2017) *Australian Sporting Attendances 2017, Stadiums Australia ANNUAL REPORT 2017 – 2018 1 Contents About About Page 3 President & Chief Executive’s Report 4 Major Achievements 5 Industry Wide Initiatives 6 Workplace Relations 8 Live Performance Australia (LPA) is the peak body for Australia’s Policy & Programs 10 live performance industry. Established 101 years ago in 1917 Annual Ticket Attendance and registered as an employers’ organisation under the Fair and Revenue Report 11 Work (Registered Organisations) Act 2009, LPA has over 400 2017 Centenary Awards 12 Members nationally. We represent commercial producers, music 2018 Helpmann Awards 14 promoters, major performing arts companies, small to medium Member Services 18 companies, independent producers, major performing arts LPA Staff 20 centres, metropolitan and regional venues, commercial theatres, Financial Report 21 stadiums and arenas, arts festivals, music festivals, and service Executive Council 42 providers such as ticketing companies and technical suppliers. Members 44 Our membership spans from small to medium and not-for-profit Acknowledgements 46 organisations to large commercial entities. Current LPA Member Resources 48 LPA’s strategic direction is driven by our Members. LPA Members are leaders in our industry and their expertise is crucial to ensuring positive industry reform, whether by providing input to submissions or serving as a Member of LPA’s Executive Council. -
Volgei Nescia: on the Paradox of Praising Women's Invisibility*
Matthew Roller Volgei nescia: On the Paradox of Praising Women’s Invisibility* A funerary plaque of travertine marble, originally from a tomb on the Via Nomentana outside of Rome and dating to the middle of the first century BCE, commemorates the butcher Lucius Aurelius Hermia, freedman of Lucius, and his wife Aurelia Philematio, likewise a freedman of Lucius. The rectangular plaque is divided into three panels of roughly equal width. The center panel bears a relief sculpture depicting a man and woman who stand and face one another; the woman raises the man’s right hand to her mouth and kisses it. The leftmost panel, adjacent to the male figure, is inscribed with a metrical text of two elegiac couplets. It represents the husband Aurelius’ words about his wife, who has predeceased him and is commemorated here. The rightmost panel, adjacent to the female figure, is likewise inscribed with a metrical text of three and one half elegiac couplets. It represents the wife Aurelia’s words: she speaks of her life and virtues in the past tense, as though from beyond the grave.1 The figures depicted in relief presumably represent the married individuals who are named and speak in the inscribed texts; the woman’s hand-kissing gesture seems to confirm this, as it represents a visual pun on the cognomen Philematio/Philematium, “little kiss.”2 This relief, now in the British Museum, is well known and has received extensive scholarly discussion.3 Here, I wish to focus on a single phrase in the text Aurelia is represented as speaking. -
19 May Southbank Theatre, the Lawler World Premiere
MELBOURNE THEATRE COMPANY PRESENTS HUNGRY GHOSTS BY JEAN TONG 3 — 19 MAY SOUTHBANK THEATRE, THE LAWLER WORLD PREMIERE — Cast — Emina Ashman Jing-Xuan Chan Bernard Sam — Production — Director Petra Kalive Set Designer Eugyeene Teh Costume Designer Sophie Woodward Lighting Designer Emma Valente Composer & Sound Designer Darius Kedros Movement Director Lyndall Grant Lighting Secondment Marty Shlansky Sound Secondment Rory Tyzack Directing Secondments Karla Livingston-Pardy, Ryan A. Murphy Stage Manager Lisette Drew Production Photographer Jeff Busby — About the play — When you’re a young queer Chinese-Malaysian Australian, how do you work out where you belong in the world? Criss-crossing between our unnamed protagonist, the disappearance of flight MH370 and an unsolved mystery, Hungry Ghosts offers an unconventional take on the complexities of contemporary life. Hungry Ghosts was commissioned with the support of the Joan & Peter Clemenger Trust. Developed with the support of The Cybec Foundation through MTC’s Cybec Electric Playreading Series as part of the 2017 AsiaTOPA Festival, directed by Mark Zhuang Yi and read by Emina Ashman, Jing-Xuan Chan and Gareth Yuen. Melbourne Theatre Company acknowledges the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which Southbank Theatre, MTC HQ and Arts Centre Melbourne stand, and we pay our respects to Melbourne’s First Peoples, to their ancestors past and present, and to our shared future. Jing-Xuan Chan (top), Bernard Sam and Emina Ashman From the playwright JEAN TONG Jing-Xuan Chan When did you first realise sense of loss, or an inability to speak do these labels fail, and what other that your three parallel stories in due to either the suppression or expectations come with those new Hungry Ghosts could work together lack of knowledge, or the wistful identities or categories? Language in a full-length play? melancholy for something missing.