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The Boy from Boort: Remembering Hank Nelson
The Boy from Boort The Boy from Boort Remembering Hank Nelson Edited by Bill Gammage, Brij V. Lal, Gavan Daws Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Gammage, Bill, 1942- author. Title: The boy from Boort : remembering Hank Nelson / Bill Gammage, Brij V. Lal, Gavan Daws. ISBN: 9781925021646 (paperback) 9781925021653 (ebook) Subjects: Nelson, Hank, 1937-2012. Historians--Australia--Biography. Military historians--Australia--Biography. College teachers--Australia--Biography. Papua New Guinea--Historiography. Other Authors/Contributors: Lal, Brij V., author. Daws, Gavan, author. Dewey Number: 994.007202 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 Nic Welbourn and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Preface . vii Hyland Neil (‘Hank’) Nelson . ix Part I: Appreciation 1 . Farm Boys . 3 John Nelson 2 . The Boy from Boort . 5 Bill Gammage 3 . Talk and Chalk . 15 Ken Inglis 4 . Boort and Beyond . 19 Gavan Daws 5 . ‘I Don’t Think I Deserve a Pension – We Didn’t Do Much Fighting’: Interviewing Australian Prisoners of War of the Japanese, 1942–1945 . 33 Tim Bowden 6 . Doktorvater . 47 Klaus Neumann 7 . Hank, My Mentor . 55 Keiko Tamura 8 . Papua New Guinea Wantok . 63 Margaret Reeson 9 . -
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. -
Diplomarbeit
View metadata, citation and similarbrought COREpapers to youat core.ac.ukby provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „The Plays of Richard Bean: Development and Interpretation“ Verfasserin Martina Theissl angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Diplomstudium Anglistik und Amerikanistik Betreuerin: Univ.-Prof. Dr. Margarete Rubik Acknowledgements I would like to express gratitude to Richard Bean, who allowed me to interview him in August 2011. The conversation gave me interesting insights into his work as a playwright and it was highly beneficial for this thesis. I also thank Aleks Sierz for taking the time for sharing his knowledge about London's theatrical landscape in a personal talk. I would like to thank Professor Rubik for encouraging me to pursue my interest in this project and Professor Huber for his help during my research. Being able to realise my dream of researching in London was due to their generous help. I am also deeply grateful to the people who helped me with corrections and revisions. I dedicate this thesis to my family, who did not only help me through the more difficult phases while writing this thesis, but who were also my constant support during my studies. I am tremendously thankful for their continuing encouragement of my passions. TABLE OF CONTENTS 1. Introduction ................................................................................................................ 1 2. Becoming Richard Bean – Some Biographical Observations ................................. 4 3. Bean's Initial Phase as a Playwright (1996 - 2002) .................................................. 7 3.1. Linearity and Conventionality ........................................................................... 7 3.2. Toast (1999) ..................................................................................................... 10 3.2.1. Introduction and General Information ............................................ -
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. -
Staging Climate Change: the Last Ten Years
Staging climate change: the last ten years By Dr Bradon Smith - [email protected] Some years ago the environmentalist Bill McKibben wrote a piece for OpenDemocracy lamenting the lack of climate change art (McKibben, 2005). Given the enormity of the issue, he couldn't understand why so few artists, novelists and musicians had grappled creatively with it. The writer and academic Robert Macfarlane wrote a similar piece for the Guardian around the same time asking the same question (Macfarlane, 2005). Both articles appeared in 2005 and they were right to observe a cultural gap that existed around climate change. But a change was afoot: Macfarlane’s article was partly spurred by his attendance at Tipping Point’s1 first conference/gathering of artists and scientist in Oxford to prepare the ground for artistic work around climate change; that year Cape Farewell2 took their third group of artists and scientists to the high Arctic to inspire them to do the same; and the RSA launched the (now ceased) Arts&Ecology3 programme. In 2006 when I co-founded the Cultures of Climate Change programme it was in response to a lack (perceived or actual) of academic fora to discuss climate change from the perspective of the arts and humanities.4 One of the questions McKibben’s article memorably asks is: where are ‘the goddam operas’ about climate change? It is an indication that much has changed in the last 8 years that this piece will briefly discuss three ‘climate change operas’ (And While London Burns, We Turned on the Light, The Walk from the Garden) but it could have also included many others, both already produced or in development: Seven Angels, Auksalaq (a multi-site telematic opera, its New York premiere was postponed due to Hurricane Sandy), Climate refugees the opera (2013, Jonathan Dove, Alasdair Middleton), Found Voices (Tipping Point commission, Soup collective, 2013). -
An Investigation of the Dynamics of Cultural Policy Formation
AN INVESTIGATION OF THE DYNAMICS OF CULTURAL POLICY FORMATION: The States’ Patronage of Film Production in Australia 1970–1988 A thesis submitted in fulfilment of the requirements for the award of the degree of Doctor of Philosophy Thomas Vincent O’Donnell, MA S9400063K School of Applied Communication Portfolio of Design and Social Context RMIT University Melbourne December 2005 ii AN INVESTIGATION OF THE DYNAMICS OF CULTURAL POLICY FORMATION: The States’ Patronage of Film Production in Australia 1970–1988 Declaration by Candidate I, Thomas Vincent O’Donnell, candidate for the award of the degree of Doctor of Philosophy, declare as follows: 1. Except where due acknowledgement has been made, the work is that of the candidate alone; 2. The work has not been submitted previously, in whole or in part, to qualify for any other academic award; 3. The content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; 4. Any editorial work, paid or unpaid, carried out by a third party is acknowledged. Thomas Vincent O’Donnell 30 December 2005 iii Abstract In Australia, the decades of the 1960s, 1970s and 1980s were times of a great nationalist revival and cultural self-discovery. In the visual arts, theatre, popular and classical music, and especially in cinema and television, a distinct Australian voice could be heard that was accepted as culturally valid and nationally relevant. The renaissance of local production for cinema and television was reliant on the patronage of the state, first the Commonwealth government with the establishment of the Australian Film Development Corporation and the Experimental Film and Television Fund in 1970 and, later, the Australian Film and Television School. -
STUDY GUIDE: Don's Party
CurrenCy Press STUDY GUIDE The performing arts publisher www.currency.com.au DAVID WILLIAMSON’S DON’s PARTY by John McCallum . Introducing the play 1 2. The critics’ views 1 3. Questions for discussion 1 4. Further reading 1. Introducing the play detail which gives a ‘shock of recognition’ to audiences. All the trappings of an Australian Don’s Party arrived on the theatre scene in middle-class, trendy party are there: the beer, the Australia in 1972 with the same sort of impact Twisties, the home-made pizzas, the bawdy jokes that the character Cooley has when he arrives at and cracking-on by the men, the women talking the party in the play. It was energetic and fun; about their husbands in the corner (although it was exhilaratingly frank and, in the process, the details of their conversation were shocking gloriously obscene; and it deflated a lot of the to some in 1972) and the gradual decline into pretensions of the new young professionals who drunken argument. The play caused a national came to the theatres and who are represented in wave of confession by people who said that they’d the play. Above all, for the critics and audiences been to parties just like that. at the time at least, it was Australian. As the The characters are, or were, a perfect selection critic H.G. Kippax said, ‘There isn’t a line, and not a of types of a certain class of Australians. They character, that hasn’t the ring—just off-key—of represent the new professional class of teachers, one part of Australia, larger than life.’ psychologists, lawyers and others whom one This accurate social observation of Australian social commentator has called ‘sons of ocker’. -
Jack Manning Trilogy Prelims.P65
A JUSTICE THAT HEALS i THE JACK MANNING TRILOGY ii THE JACK MANNING TRILOGY A JUSTICE THAT HEALS iii 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, Don’s Party, 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, Rupert, Nearer the Gods, and Sorting out Rachel. He has had over fifty plays produced. His plays have been translated into many languages and performed internationally, including major productions in London, Los Angeles, New York and Washington. As a screenwriter, Williamson 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. The adaptation of his play Face to Face, directed by Michael Rymer, won the Panavision Spirit Award for Independent Film at the Santa Barbara International Film Festival. Williamson was the first person outside Britain to receive the George Devine Award (for The Removalists). His many awards include twelve Australian Writers’ Guild AWGIE Awards, five Australian Film Institutes’ Awards for Best Screenplay and, in 1996 the United Nations Association of Australia Media Peace Award. In 2005 he was awarded the Richard Lane Award for services to the Australian Writers’ Guild. -
2007 Chevrolet Aveo Owner Manual M
2007 Chevrolet Aveo Owner Manual M Seats and Restraint Systems ....................... 7 Instrument Panel ....................................... 129 Front Seats .............................................. 8 Instrument Panel Overview ................... 132 Rear Seats ............................................. 13 Climate Controls ................................... 150 Safety Belts ............................................ 19 Warning Lights, Gages, Child Restraints ...................................... 39 and Indicators ................................... 157 Airbag System ........................................ 68 Secondary Information Center (SIC) ...... 175 Restraint System Check ......................... 84 Audio System(s) ................................... 186 Features and Controls ................................ 87 Driving Your Vehicle ................................. 219 Keys ....................................................... 88 Your Driving, the Road, Doors and Locks .................................... 94 and Your Vehicle .............................. 220 Windows ............................................... 101 Towing ................................................. 257 Theft-Deterrent Systems ....................... 103 Starting and Operating Your Vehicle ..... 107 Service and Appearance Care .................. 261 Mirrors .................................................. 124 Service ................................................. 264 Storage Areas ...................................... 126 Fuel ..................................................... -
1 Event Overviews Team Building
Event Overviews H = High-Tech Program or High-Tech Versions Available Team Building Amazing Chase (H) Teams have an amazing time chasing down locations where they acquire points for performing physical, mental and creative challenges. This versatile activity is highly customizable. Great for product launches and other events where you want to highlight company information or reinforce meeting content. Beach Buggy Battle Teams create their own version of a beach buggy out of cardboard and a variety of tropical decorating materials. Once complete, all beach buggies battle it out for the best time on an obstacle course. Two team members “drive” the buggy but all members of the team must participate in the challenges they face along the course! Chariots Afire These sweet chariots may swing low, but spirits are sure to be high! Teams build chariots to carry them home across the finish line of an obstacle-filled racecourse. We supply carts, building and decorating materials. Participants supply creativity and horsepower to get around the course. Crunch Time Teams participate in a series of short physical challenges using unexpected items. Teams have a certain amount of time to practice each game but points only accrue when it’s crunch time! Escape Experiences – Crack The Code & Unlock The Mystery A typical Escape Experience involves locking a small group in a prop-filled room who must solve a series of clues and puzzles to break out. But, in our versions any size group can participate anywhere! In Crack The Code, teams use an iPad to escape three virtual areas. And, in Unlock The Mystery, teams receive an assortment of props at a team table in addition to those placed around the room – making this a highly customizable program - and are challenged with breaking into a locked box at the front of the room. -
Family Conversations on Sustainability Conducting Effective, Multi-Generational Meetings on Building a Shared Purpose
Family Conversations On Sustainability Conducting effective, multi-generational meetings on building a shared purpose September 2015 1 Authors and Acknowledgements FBN International is grateful to the Polaris Committee for their leadership in developing Family Conversations on Sustainability. Polaris, launched in October 2014, is a sustainability framework and guide customised for family businesses. About the Polaris Committee Comprising FBN members, executives, sustainability and family business professionals, the Polaris Committee spans cultures, geographies, industry sectors and generations. Dennis Jaffe, Ph.D. Lead Author Andrew Wates Wates Group, UK Chair, Polaris Committee Arjun Chowgule Chowgule, India Vice Chair, Polaris Committee Lina Wang Singbee Group, China Vice Chair, Polaris Committee Dirk Vyncke Vyncke NV, Belgium Co-chair, Polaris Impact Assessment Farhad Forbes Forbes Marshall, India Co-chair, Polaris Impact Assessment Eliane Garcia Melgaço Grupo Algar, Brazil Yang Yue Lin IMC, Singapore Law Gin Kye Law Associates, Malaysia Winson Yeung Singbee Group, China Bertrand Gacon Lombard Odier, Switzerland Simon Torres Grupo Contempo, Colombia Seema Arora CII, India Bart Houlahan Founder, B Corp Gaia Marchisio Kennesaw State University, USA Lucia Artena FBN Ecuador Albert Jan Thomassen FBN Netherlands Alexis du Roy FBN International Andrew Bryson Co-author, Sustainability Specialist Caroline Seow Co-author, FBN International & EWCDC Dennis Jaffe is an organisational consultant and clinical psychologist, working with multi-generational families to develop governance tools and the capability of next generational leadership. References: Guide to Polaris, Oct 2014, FBN International Talking it Through, Dennis Jaffe and Stacey Allred, June 2014, Wise Counsel Research 2 Contents Introduction 4 Setting Up the Family meeting 11 Holding the meeting 18 Following Up 24 planning the Next Family meeting 26 Appendix A. -
Brilliant Lies.Pdf
DAVID WILLIAMSON is Australia’s best known and most widely performed playwright. His first full-length playThe 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.