Pub Date : 2023-01-30DOI: 10.1017/S0266464X22000379
Aleks Sierz, Mesut Günenç
In this interview on 22 March 2022 in London, Mesut Gunenc talks to theatre critic and historian Aleks Sierz about how his work has influenced contemporary British drama, why he chose the name ‘in-yer-face theatre’ for 1990s avant-garde plays, and why some writers have rejected the label. They also discuss the differences between experiential and experimental theatre, especially focusing on the work of Anthony Neilson, and finish by considering the key themes that characterize 1990s new writing in Britain. Aleks Sierz is author of the seminal In-Yer-Face Theatre: British Drama Today (Faber, 2001), as well as of other work about new writing and post-war British theatre history. His more recent books include Rewriting the Nation: British Theatre Today (Methuen Drama, 2011), Modern British Playwriting: The 1990s (Methuen Drama, 2012), and Good Nights Out: A History of Popular British Theatre Since the Second World War (Methuen Drama, 2021). He has co-authored, with Lia Ghilardi, The Time Traveller’s Guide to British Theatre: The First Four Hundred Years (Oberon, 2015). Mesut Gunenc is Assistant Professor in the Department of English Language and Literature at Adnan Menderes University in Turkey. He is the author of Postdramatic Theatrical Signs in Contemporary British Playwrights (Lambert, 2017) and co-editor, with Enes Kavak, of New Readings in British Drama: From the Post-War Period to the Contemporary Era (Peter Lang, 2021). He is currently a visiting postdoctoral scholar at Loughborough University in the UK.
在2022年3月22日于伦敦举行的这场采访中，Mesut Gunenc与戏剧评论家和历史学家Aleks Sierz谈论了他的作品如何影响了当代英国戏剧，为什么他为20世纪90年代的先锋戏剧选择了“面对面剧院”这个名字，以及为什么一些作家拒绝了这个标签。他们还讨论了体验戏剧和实验戏剧之间的差异，特别是关注安东尼·尼尔森的作品，并通过考虑20世纪90年代英国新写作的关键主题来结束。Aleks Sierz著有开创性的《In Yer Face Theatre:British Drama Today》（Faber，2001），以及其他关于新写作和战后英国戏剧史的作品。他最近出版的书包括《重写国家：今日英国戏剧》（Methun Drama，2011）、《现代英国戏剧创作：20世纪90年代》（Methaun Drama）和《晚安：第二次世界大战以来英国流行戏剧史》（Metshun Drama（2021））。他与Lia Ghilardi合著了《英国戏剧时间旅行者指南：前四百年》（Oberon，2015）。Mesut Gunenc是土耳其Adnan Menderes大学英语语言文学系助理教授。他是《当代英国剧作家的后戏剧符号》（Lambert，2017）的作者，并与Enes Kavak共同编辑了《英国戏剧新阅读：从战后到当代》（Peter Lang，2021）。他目前是英国拉夫堡大学的博士后访问学者。
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Pub Date : 2023-01-30DOI: 10.1017/S0266464X22000409
Marissia Fragkou
Capturing the hugely diverse body of contemporary plays by women across the globe is an ambitious undertaking, even if the aim is to cover as short a period of time as the first two decades of the twenty-first century. Editors Penny Farfan and Lesley Ferris have approached this task with care, curating a cohesive volume which builds on their collaborative work as part of the American Society for Theatre Research (ASTR) and their previous publication on Contemporary Women Playwrights: Into the Twenty-First Century (Palgrave, 2013). Taking a consciously intersectional approach, this edited collection covers a range of themes such as environmental risk, indigenizing colonial narratives, race and protest, the mythicmigrant, gender, and class-based violence, to mention a few. The geographical scope of the essays is wide-ranging as they bring together playwrights from Argentina, Australia, Austria, Brazil, Canada, Italy, New Zealand (Aotearoa), South Africa, the US, and the UK. Although the majority of plays discussed refer to the UK and North America, the playwrights’ cultural identities reveal the strong cultural heterogeneity of these particular contexts which reflects the volume’s intersectional ethos. The collection is comprised of twenty-eight short essays which are divided into seven sections: replaying the canon, representing histories, staging lives, re-imagining family, navigating communities, articulating intersections, and new world order(s). This curatorial choice sharpens the book’s focus on distinct topics and the aesthetic approaches the playwrights adopt. The thematic frames bring the works discussed into dialogue with past feminist theatre legacies from women’s loaded relationship with the theatrical canon to their exploration of issues of contemporary global importance such as Elfriede Jelinek’s irreverentAm Königsweg [On the Royal Road: The Burgher King] (2017), as analyzed by Sue-Ellen Case. Each essay examines one key play-text with the aim of providing ‘a resource for students at all levels’. This is one of the main strengths of the collection, as it can be readily integrated in undergraduate and postgraduate literature and theatre studies curricula. The essays offer original close readings of the plays in question which have not yet received much scholarly attention, with some due consideration of staging choices. The editors advocate for the creation of ‘a level playing field’ and for this, Ferris’s ‘Afterwords’ section pays a brief tribute to women in theatre, from María Irene Fornés and Elyse Dodgson to Sahar Speaks, in order to conclude with a call to arms for persisting to improve women’s representation in the theatre industry. The book certainly achieves its aimof creating an appetite for discovering hidden and emergent theatrical voices; in doing so, it provides a wealth of material for amplifying the canon of plays encountered in theatre scholarship. Although the term ‘women’ mostly appears as an uncontested identity cat
捕捉全球女性当代戏剧的巨大多样性是一项雄心勃勃的事业，即使其目标是在21世纪头20年这样短的时间内完成。编辑彭妮·法凡（Penny Farfan）和莱斯利·费里斯（Lesley Ferris。这本经过编辑的合集采用了有意识的交叉方法，涵盖了一系列主题，如环境风险、本土化的殖民叙事、种族和抗议、神话移民、性别和基于阶级的暴力等。这些文章的地理范围很广，因为它们汇集了来自阿根廷、澳大利亚、奥地利、巴西、加拿大、意大利、新西兰、南非、美国和英国的剧作家。尽管讨论的大多数戏剧都涉及英国和北美，剧作家的文化身份揭示了这些特定语境中强烈的文化异质性，这反映了该卷的交叉精神。该集由28篇短文组成，分为七个部分：再现经典、再现历史、上演生活、重新想象家庭、导航社区、阐明交叉点和新的世界秩序。这种策展选择使这本书更加关注不同的主题和剧作家采用的美学方法。主题框架将所讨论的作品与过去的女权主义戏剧遗产进行了对话，从女性与戏剧经典的沉重关系到她们对当代全球重要问题的探索，如Sue Ellen Case分析的Elfriede Jelinek的《不敬的Am Königsweg》（2017）。每篇文章都考察了一篇关键的游戏文本，目的是为“各级学生提供资源”。这是该系列的主要优势之一，因为它可以很容易地融入本科生和研究生的文学和戏剧研究课程。这些文章提供了对这些尚未受到太多学术关注的戏剧的原始细读，并适当考虑了舞台选择。编辑们主张创造一个“公平的竞争环境”，为此，费里斯的“后记”部分向戏剧界的女性致敬，从玛丽亚·伊雷娜·福内斯和爱丽丝·道奇森到萨哈尔·斯佩克斯，最后呼吁坚持提高女性在戏剧界的代表性。这本书当然实现了它的目的，即创造一种发现隐藏和涌现的戏剧声音的欲望；在这样做的过程中，它提供了丰富的材料来放大戏剧学术中遇到的经典剧目。尽管“女性”一词大多是作为一个没有争议的身份类别出现的，但该系列为在剧院和课堂上围绕非殖民化、平等和多样性进行进一步讨论创造了肥沃的土壤。弗拉库玛丽莎
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Pub Date : 2023-01-30DOI: 10.1017/S0266464X22000331
Bryan Brown
On 9 August 2020, Belarus erupted in protest over the falsified election results promoted and endorsed by existing president Aliaksandar Lukashenka. Playwright, director, and member of the Coordination Council for the peaceful transfer of power in Belarus, Andrei Kureichyk was one of the thousands on the streets that month. In early September he finished a new play depicting the events leading up to and surrounding the largest anti-government demonstrations in Belarus’s history. Before going into hiding, Kureichyk sent the play, Insulted. Belarus, to former Russian theatre critic John Freedman for translation. Together, the two men hoped to have a few theatres in various European and North American countries give a reading of the play in solidarity with the people of Belarus. Neither of them expected that, within two months, the play would be translated into eighteen languages and receive over seventy-seven readings on digital platforms. While many companies were eager to add their name to the global ledger of solidarity, the rise of authoritarianism, as well as the renewed reckoning with systemic racism and sexism in many cultures and countries around the world, additionally meant that many theatres found in the play a vehicle to reflect and comment on their own situations. This article, written by one of the initial participants of the project, attempts to chart how the Worldwide Readings of Insulted. Belarus navigated the translation of protest from Belarus to the world. Bryan Brown is Senior Lecturer at the University of Exeter and co-director of visual theatre company ARTEL (American Russian Theatre Ensemble Laboratory) and author of A History of the Theatre Laboratory (Routledge, 2019). He is a member of the editorial board of Theatre Dance and Performance Training, co-editing the special issue ‘Training Places: Dartington College of Arts’ (2018).
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Pub Date : 2023-01-30DOI: 10.1017/S0266464X22000410
Zsuzsanna Balázs
Capturing the hugely diverse body of contemporary plays by women across the globe is an ambitious undertaking, even if the aim is to cover as short a period of time as the first two decades of the twenty-first century. Editors Penny Farfan and Lesley Ferris have approached this task with care, curating a cohesive volume which builds on their collaborative work as part of the American Society for Theatre Research (ASTR) and their previous publication on Contemporary Women Playwrights: Into the Twenty-First Century (Palgrave, 2013). Taking a consciously intersectional approach, this edited collection covers a range of themes such as environmental risk, indigenizing colonial narratives, race and protest, the mythicmigrant, gender, and class-based violence, to mention a few. The geographical scope of the essays is wide-ranging as they bring together playwrights from Argentina, Australia, Austria, Brazil, Canada, Italy, New Zealand (Aotearoa), South Africa, the US, and the UK. Although the majority of plays discussed refer to the UK and North America, the playwrights’ cultural identities reveal the strong cultural heterogeneity of these particular contexts which reflects the volume’s intersectional ethos. The collection is comprised of twenty-eight short essays which are divided into seven sections: replaying the canon, representing histories, staging lives, re-imagining family, navigating communities, articulating intersections, and new world order(s). This curatorial choice sharpens the book’s focus on distinct topics and the aesthetic approaches the playwrights adopt. The thematic frames bring the works discussed into dialogue with past feminist theatre legacies from women’s loaded relationship with the theatrical canon to their exploration of issues of contemporary global importance such as Elfriede Jelinek’s irreverentAm Königsweg [On the Royal Road: The Burgher King] (2017), as analyzed by Sue-Ellen Case. Each essay examines one key play-text with the aim of providing ‘a resource for students at all levels’. This is one of the main strengths of the collection, as it can be readily integrated in undergraduate and postgraduate literature and theatre studies curricula. The essays offer original close readings of the plays in question which have not yet received much scholarly attention, with some due consideration of staging choices. The editors advocate for the creation of ‘a level playing field’ and for this, Ferris’s ‘Afterwords’ section pays a brief tribute to women in theatre, from María Irene Fornés and Elyse Dodgson to Sahar Speaks, in order to conclude with a call to arms for persisting to improve women’s representation in the theatre industry. The book certainly achieves its aimof creating an appetite for discovering hidden and emergent theatrical voices; in doing so, it provides a wealth of material for amplifying the canon of plays encountered in theatre scholarship. Although the term ‘women’ mostly appears as an uncontested identity cat
捕捉全球女性当代戏剧的巨大多样性是一项雄心勃勃的事业，即使其目标是在21世纪头20年这样短的时间内完成。编辑彭妮·法凡（Penny Farfan）和莱斯利·费里斯（Lesley Ferris。这本经过编辑的合集采用了有意识的交叉方法，涵盖了一系列主题，如环境风险、本土化的殖民叙事、种族和抗议、神话移民、性别和基于阶级的暴力等。这些文章的地理范围很广，因为它们汇集了来自阿根廷、澳大利亚、奥地利、巴西、加拿大、意大利、新西兰、南非、美国和英国的剧作家。尽管讨论的大多数戏剧都涉及英国和北美，剧作家的文化身份揭示了这些特定语境中强烈的文化异质性，这反映了该卷的交叉精神。该集由28篇短文组成，分为七个部分：再现经典、再现历史、上演生活、重新想象家庭、导航社区、阐明交叉点和新的世界秩序。这种策展选择使这本书更加关注不同的主题和剧作家采用的美学方法。主题框架将所讨论的作品与过去的女权主义戏剧遗产进行了对话，从女性与戏剧经典的沉重关系到她们对当代全球重要问题的探索，如Sue Ellen Case分析的Elfriede Jelinek的《不敬的Am Königsweg》（2017）。每篇文章都考察了一篇关键的游戏文本，目的是为“各级学生提供资源”。这是该系列的主要优势之一，因为它可以很容易地融入本科生和研究生的文学和戏剧研究课程。这些文章提供了对这些尚未受到太多学术关注的戏剧的原始细读，并适当考虑了舞台选择。编辑们主张创造一个“公平的竞争环境”，为此，费里斯的“后记”部分向戏剧界的女性致敬，从玛丽亚·伊雷娜·福内斯和爱丽丝·道奇森到萨哈尔·斯佩克斯，最后呼吁坚持提高女性在戏剧界的代表性。这本书当然实现了它的目的，即创造一种发现隐藏和涌现的戏剧声音的欲望；在这样做的过程中，它提供了丰富的材料来放大戏剧学术中遇到的经典剧目。尽管“女性”一词大多是作为一个没有争议的身份类别出现的，但该系列为在剧院和课堂上围绕非殖民化、平等和多样性进行进一步讨论创造了肥沃的土壤。弗拉库玛丽莎
{"title":"Antonio Bibbò Irish Literature in Italy in the Era of the World Wars Cham: Palgrave Macmillan, 2022. 304 p. £89.99. ISBN: 978-3-030-83585-9.","authors":"Zsuzsanna Balázs","doi":"10.1017/S0266464X22000410","DOIUrl":"https://doi.org/10.1017/S0266464X22000410","url":null,"abstract":"Capturing the hugely diverse body of contemporary plays by women across the globe is an ambitious undertaking, even if the aim is to cover as short a period of time as the first two decades of the twenty-first century. Editors Penny Farfan and Lesley Ferris have approached this task with care, curating a cohesive volume which builds on their collaborative work as part of the American Society for Theatre Research (ASTR) and their previous publication on Contemporary Women Playwrights: Into the Twenty-First Century (Palgrave, 2013). Taking a consciously intersectional approach, this edited collection covers a range of themes such as environmental risk, indigenizing colonial narratives, race and protest, the mythicmigrant, gender, and class-based violence, to mention a few. The geographical scope of the essays is wide-ranging as they bring together playwrights from Argentina, Australia, Austria, Brazil, Canada, Italy, New Zealand (Aotearoa), South Africa, the US, and the UK. Although the majority of plays discussed refer to the UK and North America, the playwrights’ cultural identities reveal the strong cultural heterogeneity of these particular contexts which reflects the volume’s intersectional ethos. The collection is comprised of twenty-eight short essays which are divided into seven sections: replaying the canon, representing histories, staging lives, re-imagining family, navigating communities, articulating intersections, and new world order(s). This curatorial choice sharpens the book’s focus on distinct topics and the aesthetic approaches the playwrights adopt. The thematic frames bring the works discussed into dialogue with past feminist theatre legacies from women’s loaded relationship with the theatrical canon to their exploration of issues of contemporary global importance such as Elfriede Jelinek’s irreverentAm Königsweg [On the Royal Road: The Burgher King] (2017), as analyzed by Sue-Ellen Case. Each essay examines one key play-text with the aim of providing ‘a resource for students at all levels’. This is one of the main strengths of the collection, as it can be readily integrated in undergraduate and postgraduate literature and theatre studies curricula. The essays offer original close readings of the plays in question which have not yet received much scholarly attention, with some due consideration of staging choices. The editors advocate for the creation of ‘a level playing field’ and for this, Ferris’s ‘Afterwords’ section pays a brief tribute to women in theatre, from María Irene Fornés and Elyse Dodgson to Sahar Speaks, in order to conclude with a call to arms for persisting to improve women’s representation in the theatre industry. The book certainly achieves its aimof creating an appetite for discovering hidden and emergent theatrical voices; in doing so, it provides a wealth of material for amplifying the canon of plays encountered in theatre scholarship. Although the term ‘women’ mostly appears as an uncontested identity cat","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46024275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-30DOI: 10.1017/S0266464X22000355
Signy Lynch, Michelle MacArthur
This article examines recent controversies sparked by the critical reception of work by Global Majority theatre artists in Canada and the USA, including Yolanda Bonnell, Yvette Nolan, and Antoinette Nwandu. It argues that, when faced with works that fall outside of their presumed expertise and experience, critics commonly resort to a strategy of critical disengagement, which displaces the focus from the work and refuses to evaluate it on its own terms. Through an analysis of case studies, we elucidate the concept of critical disengagement and its three distinct categories, ‘othering,’ ‘imposing’, and ‘self-staging’. These acts are representative of larger patterns in dominant theatre criticism practices, which are descended from neoclassical and Enlightenment formulations of criticism, and centre around the ideals of fair judgement and critical objectivity. When applied to the work of Global Majority theatre artists by a largely white critical establishment, they enact, consolidate, and reproduce what Gayatri Spivak calls epistemic violence. During this pivotal moment, as theatre communities in the Global North respond to calls for racial justice and decolonization, this article sheds light on the often overlooked role of criticism in sustaining white supremacy within theatre production and reception, and stresses the urgent need to re-imagine critical practices. Signy Lynch is a postdoctoral research fellow at the University of Toronto Mississauga and recipient of the Governor General’s Gold Medal (York University, 2022). She has published articles on theatre criticism and intercultural theatre in Contemporary Theatre Review, Canadian Theatre Review, and Theatre Research in Canada. Michelle MacArthur is associate professor at the University of Windsor’s School of Dramatic Art. She has published articles in Contemporary Theatre Review, Journal of Dramatic Theory and Criticism, Theatre Research in Canada, Canadian Theatre Review, and several edited volumes. She is the editor of Voices of a Generation: Three Millennial Plays (Playwrights Canada Press, 2022).
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Pub Date : 2023-01-30DOI: 10.1017/S0266464X22000380
Frank Camilleri
In this article, the performing body is considered via a three-pronged approach involving affect theory and affective science, a scene from King Lear, and long-distance running. Inspired by the chiaroscuro of painting, this variety and mix of sources act as a methodological device to shed unfamiliar light (and shade) on the elusive topic of affect. While ‘body’ is viewed from the perspective of ‘bodyworld’ to denote constitutive and reciprocally shaping human–nonhuman relationalities, the ‘performance’ that occurs in bodies is analyzed in terms of a ‘drama of affect’ to signal the activity that germinates and circulates at various levels of consciousness in human behaviour, whether aesthetic, athletic, or daily. Frank Camilleri is Professor of Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. He has performed, given workshops, and published various texts on performer training, theatre as a laboratory, and practice as research. He is the author of Performer Training Reconfigured: Post-Psychophysical Perspectives for the Twenty-first Century (Bloomsbury, 2019) and Performer Training for Actors and Athletes (Bloomsbury, forthcoming).
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Pub Date : 2022-10-18DOI: 10.1017/s0266464x2200029x
Cara Berger
libretto directly with his musical score. Prokofiev left Russia for the United States in 1918, where he wrote his opera in the abrupt dialogue Bartig beats out, like music. Love for Three Oranges was premiered in Chicago in 1921, and in Leningrad in 1926, directed by Sergey Radlov – a detail among other necessary details in Bartig’s map of its itinerary. (Radlov was formerly Meyerhold’s student.) Inna Naroditskaya lovingly charts its music, and Natalia Savkina its narrative. The perplexing thing is that Prokofiev and Meyerhold were friends, yet the former never acknowledged, not even at the beginning (before Meyerhold’s politics spelled his doom), that Meyerhold’s play was his immediate inspiration; and Gozzi, who had become a third degree of separation, was not of direct interest to his artistic ambitions. Posner rightly points out the discrepancy in the Italian and Russian titles, explaining that collaborators had agreed to ‘of’ in the Italian and ‘for’ in the Russian because this corresponds with each language. What is the fiaba of this wonderful story, in an erudite book invaluable both for those who know something about its subject and those who would like to know? It is that accrued overwriting gives a complete orange! maria shevtsova
{"title":"Lisa Woynarski\u0000Ecodramaturgies: Theatre, Performance and Climate Change London: Palgrave Macmillan, 2020. 239 p. £71.50. ISBN: 978-3-030-55853-6.","authors":"Cara Berger","doi":"10.1017/s0266464x2200029x","DOIUrl":"https://doi.org/10.1017/s0266464x2200029x","url":null,"abstract":"libretto directly with his musical score. Prokofiev left Russia for the United States in 1918, where he wrote his opera in the abrupt dialogue Bartig beats out, like music. Love for Three Oranges was premiered in Chicago in 1921, and in Leningrad in 1926, directed by Sergey Radlov – a detail among other necessary details in Bartig’s map of its itinerary. (Radlov was formerly Meyerhold’s student.) Inna Naroditskaya lovingly charts its music, and Natalia Savkina its narrative. The perplexing thing is that Prokofiev and Meyerhold were friends, yet the former never acknowledged, not even at the beginning (before Meyerhold’s politics spelled his doom), that Meyerhold’s play was his immediate inspiration; and Gozzi, who had become a third degree of separation, was not of direct interest to his artistic ambitions. Posner rightly points out the discrepancy in the Italian and Russian titles, explaining that collaborators had agreed to ‘of’ in the Italian and ‘for’ in the Russian because this corresponds with each language. What is the fiaba of this wonderful story, in an erudite book invaluable both for those who know something about its subject and those who would like to know? It is that accrued overwriting gives a complete orange! maria shevtsova","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43874546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-18DOI: 10.1017/S0266464X22000239
D. Varney
This article uses historical-ecological insights for a re-reading of two little-known mid-twentieth-century Australian plays, Oriel Gray’s The Torrents and Eunice Hanger’s Flood, which highlight developments relevant to the environmental disasters of today. In particular, the article focuses on the significance of key cultural assumptions embedded in the texts – and a revival of The Torrents in 2019 – including those to do with land use in a period of accelerating development. This approach offers new insights into the dominance of mining, irrigation, and dam-building activities within the Australian ethos, landscape, and economy. One of these insights is the framing of development as progressive. The article thus also examines how development projected as progressive takes place amid the continuing denial of prior occupation of the land by First Nations peoples and of knowledge systems developed over thousands of years. The intersectional settler-colonialist-ecocritical approach here seeks to capture the compounding ecosystem that is modern Australian theatre and its critique. The intention is not to apply revisionist critiques of 1950s plays but to explore the historical relationship between humans, colonialism, and the physical environment over time. Denise Varney is Professor of Theatre Studies in the School of Culture and Communication at the University of Melbourne. Her research is in modern and contemporary theatre and performance, with published work in the areas of ecocriticism, feminism, and Australian theatre. Her most recent book is Patrick White’s Theatre: Australian Modernism on Stage 1960–2018 (Sydney University Press, 2021).
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