Pub Date : 2021-01-02DOI: 10.1080/14452294.2021.1987073
Susan Davis, Joanne O’Mara
As we head towards the end of 2021 and areas in Australia set to break world records for most days spent in hard lockdown (Bond, 2021), it has been sobering to realise the whole world has now discovered liminality (Wayland, 2021). The liminal space is one that has long fascinated theatre practitioners, artists, philosophers and researchers. The liminal space is a space of transition, of being on the threshold, in-between, a space of disruption and uncertainty, a space of possibility. These spaces and states of intrigue and tension are ones we play with in drama and theatre, dancing between the real and imagine, the ‘real’ and the fictional, the embodied, the virtual, the here and now and the not yet realised. For good or ill, many of us have now become what Victor Turner – whose seminal work has often been drawn upon by drama researchers – called, ‘liminal personae’:
{"title":"Liminality, longing, love: the reflections of in-between times and liminal personae","authors":"Susan Davis, Joanne O’Mara","doi":"10.1080/14452294.2021.1987073","DOIUrl":"https://doi.org/10.1080/14452294.2021.1987073","url":null,"abstract":"As we head towards the end of 2021 and areas in Australia set to break world records for most days spent in hard lockdown (Bond, 2021), it has been sobering to realise the whole world has now discovered liminality (Wayland, 2021). The liminal space is one that has long fascinated theatre practitioners, artists, philosophers and researchers. The liminal space is a space of transition, of being on the threshold, in-between, a space of disruption and uncertainty, a space of possibility. These spaces and states of intrigue and tension are ones we play with in drama and theatre, dancing between the real and imagine, the ‘real’ and the fictional, the embodied, the virtual, the here and now and the not yet realised. For good or ill, many of us have now become what Victor Turner – whose seminal work has often been drawn upon by drama researchers – called, ‘liminal personae’:","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"67 1","pages":"1 - 5"},"PeriodicalIF":1.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77045125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14452294.2021.1939507
Sandra Gattenhof
ABSTRACT Language is powerful. How we choose to describe what we do, who we engage with, and how we undertake our practice defines both the scope and scale of what we do and what we can achieve. As we look to define our vision around arts engagement in a new decade it is timely to reflect on the language we have used to date to articulate arts and cultural engagement with children, young people and their communities, and examine its continued serviceability. At such a time of change we may need to look to alternative frames such as social impact, creative placemaking and storymaking to speak more forcefully about the value of arts encounters to governments, funding bodies and ourselves.
{"title":"Has not yet mastered headstands and other accidents in learning","authors":"Sandra Gattenhof","doi":"10.1080/14452294.2021.1939507","DOIUrl":"https://doi.org/10.1080/14452294.2021.1939507","url":null,"abstract":"ABSTRACT Language is powerful. How we choose to describe what we do, who we engage with, and how we undertake our practice defines both the scope and scale of what we do and what we can achieve. As we look to define our vision around arts engagement in a new decade it is timely to reflect on the language we have used to date to articulate arts and cultural engagement with children, young people and their communities, and examine its continued serviceability. At such a time of change we may need to look to alternative frames such as social impact, creative placemaking and storymaking to speak more forcefully about the value of arts encounters to governments, funding bodies and ourselves.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"368 1","pages":"6 - 19"},"PeriodicalIF":1.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77795709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14452294.2021.1981542
Carol Carter
{"title":"Alice Hoy is not a building: an ethnographic performance about women in academia (Drama Australia Monograph No.13)","authors":"Carol Carter","doi":"10.1080/14452294.2021.1981542","DOIUrl":"https://doi.org/10.1080/14452294.2021.1981542","url":null,"abstract":"","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"5 1","pages":"71 - 72"},"PeriodicalIF":1.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81019025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14452294.2021.1974679
C. Coleman
ABSTRACT The main content of this article is a piece of rewriting-in-role. This factionalised dramatic text allied with narrative inquiry and performance ethnography grounded is accounts of Cecily O’Neill’s 1992, Seal Wife workshop in Melbourne, Australia. A brief introduction explains the rationale for this approach and its connection to the wider methodology of critical arts based research. This example of rewriting-in-role details the workshop through a fictional character, raises new questions about a familiar drama work, and echoes beliefs about the potential of drama to critically unsettle and enlighten our world.
{"title":"Seal Wife saga: Rewriting O’Neill’s Melbourne workshop in role","authors":"C. Coleman","doi":"10.1080/14452294.2021.1974679","DOIUrl":"https://doi.org/10.1080/14452294.2021.1974679","url":null,"abstract":"ABSTRACT The main content of this article is a piece of rewriting-in-role. This factionalised dramatic text allied with narrative inquiry and performance ethnography grounded is accounts of Cecily O’Neill’s 1992, Seal Wife workshop in Melbourne, Australia. A brief introduction explains the rationale for this approach and its connection to the wider methodology of critical arts based research. This example of rewriting-in-role details the workshop through a fictional character, raises new questions about a familiar drama work, and echoes beliefs about the potential of drama to critically unsettle and enlighten our world.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"53 1","pages":"20 - 32"},"PeriodicalIF":1.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72811019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14452294.2021.1978144
Dr Megan Upton
ABSTRACT Malthouse Theatre’s The Suitcase Series celebrated ten years in 2020. As a participatory theatre making program for young people in Years 9 and 10 of secondary education, it holds a unique position in the Victorian and, arguably, the Australian theatre education landscape. Since 2010 Malthouse Theatre has commissioned an original script by a new playwright every two years, then challenging young people to give voice to their thoughts and feelings to the issue through the interrelated roles of creator-performer-audience-critical peer. This paper offers critical insight into the origin, intentions, process, and social and artistic impacts of the program across ten years. It positions the Malthouse as a key contributor to the field of participatory theatre programs in Australia, and considers how theatre can create ‘something very forceful, something that we believe, then offer to students in a way that doesn’t crush them’ (Lynch, 2010).
{"title":"The suitcase series: an enduring participatory theatre making program in even more urgent times","authors":"Dr Megan Upton","doi":"10.1080/14452294.2021.1978144","DOIUrl":"https://doi.org/10.1080/14452294.2021.1978144","url":null,"abstract":"ABSTRACT Malthouse Theatre’s The Suitcase Series celebrated ten years in 2020. As a participatory theatre making program for young people in Years 9 and 10 of secondary education, it holds a unique position in the Victorian and, arguably, the Australian theatre education landscape. Since 2010 Malthouse Theatre has commissioned an original script by a new playwright every two years, then challenging young people to give voice to their thoughts and feelings to the issue through the interrelated roles of creator-performer-audience-critical peer. This paper offers critical insight into the origin, intentions, process, and social and artistic impacts of the program across ten years. It positions the Malthouse as a key contributor to the field of participatory theatre programs in Australia, and considers how theatre can create ‘something very forceful, something that we believe, then offer to students in a way that doesn’t crush them’ (Lynch, 2010).","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"31 1","pages":"59 - 70"},"PeriodicalIF":1.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90102742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14452294.2021.1897250
N. E. Beaumont
ABSTRACT Drama is becoming increasingly valued in the context of additional language learning. Representing knowledge in multiple modes has been shown to support diverse students. The use of drama can enhance meaning and comprehension for language learners as it enlists the voice and body as additional semiotic tools. Sociocultural theory provides a framework for understanding this dynamic, as does the work of Kress and Jewitt in multimodal communication. This article reports on a hermeneutic phenomenological study centring of three English as an additional language or dialect (EAL/D) students during weekly Year 1 literacy classes where drama was used. The setting was a high diversity primary school in Western Sydney. In keeping with the research method, participants’ lived experiences were sought, and narrative interpretations were used to represent the collected data. The findings indicated that drama provided both multimodal comprehension support and increased sociocognitive motivation for the participants during these sessions.
{"title":"Drama as inclusive literacy in high diversity schools","authors":"N. E. Beaumont","doi":"10.1080/14452294.2021.1897250","DOIUrl":"https://doi.org/10.1080/14452294.2021.1897250","url":null,"abstract":"ABSTRACT Drama is becoming increasingly valued in the context of additional language learning. Representing knowledge in multiple modes has been shown to support diverse students. The use of drama can enhance meaning and comprehension for language learners as it enlists the voice and body as additional semiotic tools. Sociocultural theory provides a framework for understanding this dynamic, as does the work of Kress and Jewitt in multimodal communication. This article reports on a hermeneutic phenomenological study centring of three English as an additional language or dialect (EAL/D) students during weekly Year 1 literacy classes where drama was used. The setting was a high diversity primary school in Western Sydney. In keeping with the research method, participants’ lived experiences were sought, and narrative interpretations were used to represent the collected data. The findings indicated that drama provided both multimodal comprehension support and increased sociocognitive motivation for the participants during these sessions.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"115 3 1","pages":"120 - 131"},"PeriodicalIF":1.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86453837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14452294.2021.1949807
S. Davis, Joanne O’Mara
As the challenges that marked the year 2020 so indelibly on our minds continue to impact, we can identify so much about our lives that has changed, but also value the anchors and touchstones that hold firm. Kathleen Gallagher writes, ‘the social value of art has never been more important . . . Art has become a point of contact, an urgent communication and a hope’ (Gallagher, 2020). This is also confirmed by research that identifies the rise of a loneliness pandemic, with young people being most significantly impacted by feelings of social isolation. The suggestion that ‘schools can be important points of intervention’ (Weissbourd in Walsh, 2021) would be no surprise for readers of this journal. Ongoing rounds of education reviews and course rationalisation mean that educators are continually forced to advocate and argue for their space in the curriculum. Yet, the power of drama and arts education remains potent with the capacity for enabling human contact, communication and hope. This NJ issue captures and responds to some of these concerns and possibilities through the presentation of research from across different sectors. The authors present work that interrogates the experiences of these times for drama educators, their students with their diverse abilities and needs, and ways they have adapted and innovated upon their practice. COVID-19 times have prompted many drama educators and practitioners to come to grips with facilitating drama learning with and through technology. This field of work has historically been taking place on the fringes of our drama education world, but there is a strong body of work pioneered by people including the late John Carroll and many others in our drama education community (see, for instance, Carroll et al., 2006). Many of our readership shared insights into their shifts to online teaching and a broad spectrum of practice when they responded to a ‘Teaching and learning during COVID-19 times’ survey in 2020. Davis and Phillips now present findings from the data drawn from responses by Drama and Performing Arts teachers. The analysis revealed most educators experienced a rapid shift to using different technologies and online tools and an extensive increase in workload. Teachers expressed concern for those students who became ‘invisible’, and for the ‘invisible’ aspects of the classroom and learning that were difficult to replicate online. The research highlighted the importance of the ‘human dimensions’ of learning in our art forms and the important role played by professional networks. While for many teachers, just surviving and getting through was the priority, for some they were able to experiment with using technologies not only for instructional purposes but also for creating and presenting drama, establishing creative and relational spaces and some innovations in learning for their students. The theme of unexpected innovation is outlined and reflected upon by Linda Lorenza through her description of an alter
随着2020年在我们脑海中留下不可磨灭印记的挑战继续产生影响，我们可以认识到我们生活中的许多变化，但也重视坚定的锚和试金石。凯瑟琳·加拉格尔写道，“艺术的社会价值从未如此重要……艺术已经成为一种接触点，一种紧急的交流和一种希望”(Gallagher, 2020)。研究也证实了这一点，该研究确定了孤独感的流行趋势，年轻人受到社会孤立感的影响最大。“学校可以成为重要的干预点”(Weissbourd in Walsh, 2021)的建议对于本杂志的读者来说并不奇怪。不断进行的教育审查和课程合理化意味着教育工作者不断被迫倡导和争论他们在课程中的空间。然而，戏剧和艺术教育的力量仍然是强大的，有能力使人类接触、交流和希望。本期《新泽西月刊》通过介绍来自不同部门的研究，捕捉并回应了其中的一些担忧和可能性。作者提出的工作，审问这些时代的经验为戏剧教育家，他们的学生与他们的不同能力和需求，以及他们已经适应和创新的方式在他们的实践。COVID-19时代促使许多戏剧教育工作者和从业者开始着手利用技术和通过技术促进戏剧学习。历史上，这一领域的工作一直处于我们戏剧教育界的边缘，但包括已故的约翰·卡罗尔(John Carroll)和戏剧教育界的许多其他人在内的人们开创了大量的工作(例如，卡罗尔等人，2006)。我们的许多读者在回应2020年“2019冠状病毒病期间的教学”调查时，分享了他们对在线教学转变和广泛实践的见解。戴维斯和菲利普斯现在从戏剧和表演艺术教师的反馈数据中得出了研究结果。分析显示，大多数教育工作者都经历了使用不同技术和在线工具的快速转变，工作量也大幅增加。老师们表达了对那些“隐形”学生的担忧，以及对课堂和学习中难以在网上复制的“隐形”方面的担忧。这项研究强调了在我们的艺术形式中学习“人的维度”的重要性，以及专业网络所起的重要作用。虽然对许多教师来说，生存和度过难关是首要任务，但对一些教师来说，他们能够尝试使用技术，不仅是为了教学目的，而且是为了创造和呈现戏剧，建立创造性和关系空间，以及为学生提供学习方面的一些创新。意想不到的创新主题是由Linda Lorenza通过她对一个替代项目的描述进行概述和反思的，该项目是在计划中的NJ: DRAMA AUSTRALIA JOURNAL 2020, VOL. 44, NO. 1时开发的。2,63 - 65 https://doi.org/10.1080/14452294.2021.1949807
{"title":"Editorial – The anchor points of our humanity amidst shifting sands","authors":"S. Davis, Joanne O’Mara","doi":"10.1080/14452294.2021.1949807","DOIUrl":"https://doi.org/10.1080/14452294.2021.1949807","url":null,"abstract":"As the challenges that marked the year 2020 so indelibly on our minds continue to impact, we can identify so much about our lives that has changed, but also value the anchors and touchstones that hold firm. Kathleen Gallagher writes, ‘the social value of art has never been more important . . . Art has become a point of contact, an urgent communication and a hope’ (Gallagher, 2020). This is also confirmed by research that identifies the rise of a loneliness pandemic, with young people being most significantly impacted by feelings of social isolation. The suggestion that ‘schools can be important points of intervention’ (Weissbourd in Walsh, 2021) would be no surprise for readers of this journal. Ongoing rounds of education reviews and course rationalisation mean that educators are continually forced to advocate and argue for their space in the curriculum. Yet, the power of drama and arts education remains potent with the capacity for enabling human contact, communication and hope. This NJ issue captures and responds to some of these concerns and possibilities through the presentation of research from across different sectors. The authors present work that interrogates the experiences of these times for drama educators, their students with their diverse abilities and needs, and ways they have adapted and innovated upon their practice. COVID-19 times have prompted many drama educators and practitioners to come to grips with facilitating drama learning with and through technology. This field of work has historically been taking place on the fringes of our drama education world, but there is a strong body of work pioneered by people including the late John Carroll and many others in our drama education community (see, for instance, Carroll et al., 2006). Many of our readership shared insights into their shifts to online teaching and a broad spectrum of practice when they responded to a ‘Teaching and learning during COVID-19 times’ survey in 2020. Davis and Phillips now present findings from the data drawn from responses by Drama and Performing Arts teachers. The analysis revealed most educators experienced a rapid shift to using different technologies and online tools and an extensive increase in workload. Teachers expressed concern for those students who became ‘invisible’, and for the ‘invisible’ aspects of the classroom and learning that were difficult to replicate online. The research highlighted the importance of the ‘human dimensions’ of learning in our art forms and the important role played by professional networks. While for many teachers, just surviving and getting through was the priority, for some they were able to experiment with using technologies not only for instructional purposes but also for creating and presenting drama, establishing creative and relational spaces and some innovations in learning for their students. The theme of unexpected innovation is outlined and reflected upon by Linda Lorenza through her description of an alter","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"6 1","pages":"63 - 65"},"PeriodicalIF":1.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76021170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14452294.2021.1886287
Christina Gray, Geoffrey M. Lowe, Peter F. Prout, Sarah Jefferson
ABSTRACT With many performing arts teachers succumbing to stress and burn-out and rates of attrition growing, it is critical to understand factors which enable some teachers to remain positive, committed and enthusiastic in their teaching. Interviews with four female veteran performing arts teachers revealed ways in which key complex and profound experiences of their careers had enriched their professional lives. Given the significant impact these positive veteran teachers continue to have on their colleagues and students, we advocate the importance of utilising the stability these teachers can provide in shepherding colleagues and beginning teachers through their own inevitable bumpy moments in their careers.
{"title":"Growing through life’s bumpy moments: key experiences transforming the careers of positive veteran performing arts teachers","authors":"Christina Gray, Geoffrey M. Lowe, Peter F. Prout, Sarah Jefferson","doi":"10.1080/14452294.2021.1886287","DOIUrl":"https://doi.org/10.1080/14452294.2021.1886287","url":null,"abstract":"ABSTRACT With many performing arts teachers succumbing to stress and burn-out and rates of attrition growing, it is critical to understand factors which enable some teachers to remain positive, committed and enthusiastic in their teaching. Interviews with four female veteran performing arts teachers revealed ways in which key complex and profound experiences of their careers had enriched their professional lives. Given the significant impact these positive veteran teachers continue to have on their colleagues and students, we advocate the importance of utilising the stability these teachers can provide in shepherding colleagues and beginning teachers through their own inevitable bumpy moments in their careers.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"319 1","pages":"106 - 119"},"PeriodicalIF":1.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77137230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14452294.2021.1943838
Susan E. Davis, L. Phillips
ABSTRACT As countries moved to halt the spread of the COVID 19 pandemic in 2020 access to physical sites of learning was restricted, so teachers across diverse educational contexts were required to rapidly embrace different modes and combinations of delivery. With a desire to profile the voices of teacher experience, a number of educational researchers initiated a research project to examine the experiences of teachers during COVID-19 times. The stories of performing arts teachers revealed some shared areas of similar concern with other teachers namely a rapid increase in using different technologies and online tools and an extensive increase in workload. Teachers expressed concern for those students who became ‘invisible’, and for the ‘invisible’ aspects of the classroom and learning that were difficult to replicate online. The research highlighted the importance of the ‘human dimensions’ of learning in these art forms and the important role played by professional networks.
{"title":"Teaching during COVID 19 times – The experiences of drama and performing arts teachers and the human dimensions of learning","authors":"Susan E. Davis, L. Phillips","doi":"10.1080/14452294.2021.1943838","DOIUrl":"https://doi.org/10.1080/14452294.2021.1943838","url":null,"abstract":"ABSTRACT As countries moved to halt the spread of the COVID 19 pandemic in 2020 access to physical sites of learning was restricted, so teachers across diverse educational contexts were required to rapidly embrace different modes and combinations of delivery. With a desire to profile the voices of teacher experience, a number of educational researchers initiated a research project to examine the experiences of teachers during COVID-19 times. The stories of performing arts teachers revealed some shared areas of similar concern with other teachers namely a rapid increase in using different technologies and online tools and an extensive increase in workload. Teachers expressed concern for those students who became ‘invisible’, and for the ‘invisible’ aspects of the classroom and learning that were difficult to replicate online. The research highlighted the importance of the ‘human dimensions’ of learning in these art forms and the important role played by professional networks.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"14 1","pages":"66 - 87"},"PeriodicalIF":1.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81984836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14452294.2021.1943840
J. O'Mara
{"title":"Obituary- Philip Taylor","authors":"J. O'Mara","doi":"10.1080/14452294.2021.1943840","DOIUrl":"https://doi.org/10.1080/14452294.2021.1943840","url":null,"abstract":"","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"2 1","pages":"135 - 137"},"PeriodicalIF":1.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72749631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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