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Journal articles on the topic 'Four Seasons Theatre'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Anderson, Peter. "Breaking All Four Walls: Open-Air Theatre at the Caravan Farm." Canadian Theatre Review 76 (September 1993): 8–12. http://dx.doi.org/10.3138/ctr.76.002.

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Theatre began outdoors, around fires, celebrating important passages, acknowledging the cycles of nature and the changes of seasons, and affirming our sense of community and the essential mystery of life. By recognizing theatre’s roots in ritual – in community celebration – we re-establish connection with things larger than ourselves and are revitalized. It is to these roots that the Caravan Farm Theatre, located on an 80-acre farm five miles northwest of Armstrong in the heart of B.C.’s Okanagan farming district, seeks to return. Since 1983, the Caravan Farm Theatre, formerly the horse-drawn

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2

Lappo, Irina. "The Independent Belarusian Theater in Poland: Three Seasons in Exile." Studia Białorutenistyczne 18 (January 8, 2025): 193–222. https://doi.org/10.17951/sb.2024.18.193-222.

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The article is dedicated to Belarusian theatre in Poland following the 2020 protests. The author examines the repertoire of exile theatre, studies both quantitative and qualitative aspects of its functioning within a foreign culture and a market-based economy. Independent Belarusian theatre, destroyed, banned, and exiled from its homeland, has been reborn in Poland. Over the past three seasons (2021–2024), thanks to the solidarity of the people of Polish theatre and support of the Polish state in the form of a system of grants and residencies, several new theatre groups and creative associatio

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Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952." Estudios Irlandeses, no. 18 (March 17, 2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.

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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. Th

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Gilbert, Reid. "Bard on the Beach in Vancouver: Twenty Years On." Canadian Theatre Review 140 (September 2009): 93–94. http://dx.doi.org/10.3138/ctr.140.019.

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The 2009 season marks the twentieth anniversary of one of Canada’s great theatre success stories — Bard on the Beach, in Vancouver. By any standard, Bard’s development from one show (Midsummer Night’s Dream) in a rented tent in 1990 to four plays in repertory in two spaces in 2009 is a remarkable history and one of which founder and artistic director Christopher Gaze (and his Board and colleagues) should be proud. What is as praiseworthy to me, however, is the contiguous artistic development of Bard performance; increasingly, over the past number of seasons, the shows have been original, innov

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Simas, Richard. "Vancouver’s PuSh 2008 and the Phenomenon of Festivals." Canadian Theatre Review 138 (March 2009): 43–47. http://dx.doi.org/10.3138/ctr.138.008.

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Montreal and Toronto are arguably Canadian arts festival capitals, boasting heady and never-ending streams of performing arts, film, jazz, winter, literary, new music and ethnic festivals and cultural-tourist events. However, it may be instructive to look thousands of kilometres due west to examine the PuSh International Performing Arts Festival, located in the booming Pacific Rim and 2010 Olympic host city of Vancouver. Guided by executive director Norman Armour and co-founded with local theatre director Katrina Dunn, “the PuSh Festival engages and enriches audiences with adventurous contempo

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Emeljanow, Victor. "Pleasure Gardens. Performing Arts Resources, vol. 21. Edited by Stephen M. Vallillo and Maryann Chach. New York: Theatre Library Association, 1998; pp. 105. $30 cloth; Their Championship Seasons: Acquiring, Processing, and Using Performing Arts Archives. Performing Arts Resources, vol. 22. Edited by Kevin Winkler. New York: Theatre Library Association, 2001; pp. 142. $30 cloth." Theatre Survey 45, no. 1 (2004): 133–35. http://dx.doi.org/10.1017/s0040557404290081.

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The annual publication of the Theatre Library Association is designed “to gather and disseminate scholarly articles dealing with the location of resource materials” relating to all media as well as popular entertainments, the evaluation of those resources, and to include as well “monographs of previously unpublished original material.” The volumes are slim ones, so we should not expect coverage of the many theatre collections available to scholars and practitioners, but rather a highly selective series of essays reflecting the priorities of the Association or of the individual volume editors.

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7

Lidington, Tony. "New Terms for Old Turns: the Rise of Alternative Cabaret." New Theatre Quarterly 3, no. 10 (1987): 107–19. http://dx.doi.org/10.1017/s0266464x00008605.

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It is ironic that interest in the roots of ‘alternative comedy’ is probably greater than ever before just as the most successful of its exponents are moving, in commercial terms, firmly into the mainstream. Perhaps that process is inevitable – and perhaps the drift into sitcoms and voice-overs does not matter so long as there remains a ferment of new activity, jostling for the less lucrative exposure of the smaller venues and the new cabaret circuit. The author of this survey, Tony Lidington, was himself in at the beginning of the ‘Pierrotters’ – which claims to be the first concert party to h

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8

MacArthur, Michelle. "The Pedagogy of Grief: Lessons from Making Zoom Theatre During a Pandemic." Canadian Theatre Review 188 (October 1, 2021): 49–53. http://dx.doi.org/10.3138/ctr.188.012.

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While the closure of theatres across Canada and around the world when the pandemic hit in March 2020 caused widespread feelings of loss amongst theatre practitioners and educators, the institutional pressures to find ways to survive and move on prevented many from processing their grief. This article examines The Stream You Step In (TSYSI), a series of four original Zoom plays co-produced by Outside the March and the University of Windsor in 2020, through the intersecting perspectives of pedagogy and grief. TSYSI was a response to grief on different levels: graduating students’ grief for their

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Craven, Ian. "Adaptation, Action, Response: ‘Four Horsemen of the Apocalypse’ at the Citizens Theatre, Glasgow." New Theatre Quarterly 8, no. 31 (1992): 203–20. http://dx.doi.org/10.1017/s0266464x00006837.

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Several of the novels of the Spanish writer Vicente Blasco Ibanez (1867–1928) have provided the basis for theatrical adaptations: but the version of The Four Horsemen of the Apocalypse (1916) by Peter Granger-Taylor, staged in March 1990 at the Citizens Theatre, Glasgow, was the first for sixty years. In the following feature, Ian Craven, who teaches in the Department of Theatre, Film, and Television Studies at the University of Glasgow, provides a full account of Jon Pope's production, considering questions of adaptation, performance, and response, and also paying special attention to the inf

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Wagner, Anton. "Infinite Variety or a Canadian 'National' Theatre: Roly Young and the Toronto Civic Theatre Association, 1945-1949." Theatre Research in Canada 9, no. 2 (1988): 157a. http://dx.doi.org/10.3138/tric.9.2.157a.

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The founding of the Civic Theatre Association in Toronto in 1945, and its four-season production history until 1949, provide a microcosm of the embryonic development stage of post-World War II indigenous Canadian theatre. Created through the merger of fourteen Toronto-area amateur companies under the leadership of the film and theatre critic Roly Young (1903-48), the CTA sought to finance adequate theatre facilities and to provide work opportunities and appreciative audiences for Canadian artists and playwrights. Young's opposition to the principle of government arts subsidies to create a Cana

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Dugan, James. "Gwen Pharis Ringwood at the University of Calgary." Canadian Theatre Review 136 (September 2008): 62–64. http://dx.doi.org/10.3138/ctr.136.012.

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The Drama Department at the University of Calgary has produced an increasing number of Canadian plays since it was founded in 1967. We have never had an explicit policy regarding the production of Canadian or Alberta plays. The founding principle of Department production choices was to mount four plays per year from the various periods of western theatre history over a four-year cycle and to study these plays in the Dramatic Literature and Theatre History classes. Each year, a modern play and a contemporary play were to be produced, plus two plays from more distant historical periods. Students

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Loney, Glenn. "A Theatre of Pre-Depression: Economics and Apathy in New York." New Theatre Quarterly 8, no. 32 (1992): 313–20. http://dx.doi.org/10.1017/s0266464x00007090.

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In an article in NTQ22 (May 1990), Glenn Loney clarified, with special concern for a British readership, the many ‘Factors in the Broadway Equation’. In NTQ 30 (May 1992), he took a closer look at the productions of the 1990–91 season, with its glut of musicals, from the lavish to the just plain lousy, economic ‘single-person shows’ – and the sometimes more challenging products of the off-Broadway and not-for-profit sectors. Here, he continues to trace the long decline of the ‘fabulous invalid’ through the season of 1991–92 – a season overshadowed by the death of Joe Papp, the mourning for a g

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Greenleaf, Monika. "In medias res: A Diary of the Moscow Theater Season, 2007-2008." Slavic Review 67, no. 2 (2008): 422–36. http://dx.doi.org/10.1017/s0037677900023627.

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In this essay, Monika Greenleaf explores some reasons for, and directions of, the Moscow theater's growth as a cultural stimulus in Vladimir Putin's increasingly imperial, ideologically unified Russia. Focusing on four factors, the first part suggests why the theater, unlike the film industry, resisted collapse in the 1990s: directors’ studio theaters, the new “writer's theater,” the development of “autonomous and self-sustaining” institutions, and theater finance. The second part examines two functions of the theater in a postliterate age: to forge a richer sense of Russian identity by offeri

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Price, Curtis, Judith Milhous, and Robert D. Hume. "A plan of the Pantheon Opera House (1790–92)." Cambridge Opera Journal 3, no. 3 (1991): 213–46. http://dx.doi.org/10.1017/s0954586700003517.

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The Pantheon Opera remains among the least known of the major theatrical ventures in eighteenth-century London. It came into being amidst the conspiracies that flourished after the King's Theatre, Haymarket, was destroyed by fire in June 1789. Conceived as a kind of English Court Opera, the Pantheon was backed at enormous expense by the Duke of Bedford and the Marquis of Salisbury. It struggled through the 1790–91 season, accumulating ruinous debts, and then on 14 January 1792 it too burned to the ground, just four nights into its second season.

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Gawlikowska, Krystyna. "Glass from the Tell Farma/Pelusium excavations 2003 - 2006." Polish Archaeology in the Mediterranean 26, no. 1 (2018): 619–60. http://dx.doi.org/10.5604/01.3001.0012.1847.

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The paper presents 89 selected glass fragments found during the four seasons of excavation in Pelusium, in and around the theater. They represent mostly tableware and lamps dated from the 1st century to the 7th, but most of the material is from the 5th century or earlier. It parallels the finds from the Egyptian Mediterranean coast, and shows close affinities to the glass of Syria-Palestine

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Mackenney, Linda. "The Oppositional Theatre of McGrath and MacLennan in Scotland, 1989–96." New Theatre Quarterly 30, no. 4 (2014): 352–64. http://dx.doi.org/10.1017/s0266464x14000694.

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In this article, Linda Mackenney explores the four epic plays John McGrath wrote between 1989 and 1996 in the aftermath of his forced resignation from 7:84 Scotland in 1988. These were produced in association with David MacLennan of Wildcat Stage Productions and televised by McGrath's Freeway Films for Channel Four in the 1990s. McGrath died of leukaemia in 2002, and MacLennan died earlier this year after a battle with motor neurone disease; but the work they did together in the 1990s forms a significant part of their legacy. Linda Mackenney was introduced to McGrath's work as a student, when

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Бацак, К. Ю. "ІТАЛІЙСЬКА ОПЕРНА АНТРЕПРИЗА В. АНДРОСОВА - Є. КЕХРІБАРДЖІ В МІСЬКОМУ ТЕАТРІ ОДЕСИ (КВІТЕНЬ 1853 - БЕРЕЗЕНЬ 1854)". ІТАЛІЙСЬКА ОПЕРНА АНТРЕПРИЗА В. АНДРОСОВА - Є. КЕХРІБАРДЖІ В МІСЬКОМУ ТЕАТРІ ОДЕСИ (КВІТЕНЬ 1853 - БЕРЕЗЕНЬ 1854), № 3 (30 серпня 2018): 98–110. https://doi.org/10.5281/zenodo.1406702.

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. Historical studies of the music theatre history in Ukraine, in particular, the problems of the Italian opera formation and activities, in the context of intercultural communication, can not be limited to the comprehension of issues exclusively in musical and performing arts. The positioning of the theatre as a sociocultural phenomenon involves consideration of the artistic activity of the Italian enterprise in the close interrelation of scenic art with the culture of theatricality, the everyday culture of the city, the managerial and financial activities of the enterprise through the reprodu

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18

Berezkina, Svetlana V. "Translated libretto of Joseph Haydn’s oratorio The Seasons -an unknown work by Vasily Zhukovsky." Imagologiya i komparativistika, no. 18 (2022): 34–58. http://dx.doi.org/10.17223/24099554/18/2.

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The article attributes the work as to be created by Vasily Zhukovsky - the fact that was doubted by researchers for many decades. The article publishes an excerpt from a letter from Dmitry Bludov to Zhukovsky, which is the only surviving evidence in Zhukovsky’s epistolary about his translation of Godefridus Bernardus van Swieten’s libretto to Joseph Haydn’s oratorio The Seasons in 1802. The translation was commissioned to Zhukovsky by Ivan Kerzelli, the brandmaster of the Petrovsky Theater, for the premiere in Moscow in February 1803. The article highlights the history of the anonymously publi

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Davis, Tracy C. "Calgary Rites and Wrongs in ATP’s playRites ‘89." Canadian Theatre Review 60 (September 1989): 78–80. http://dx.doi.org/10.3138/ctr.60.014.

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There is a rumour in Alberta that the new definition of “a promising playwright” is someone who can weave a plot involving nude bisexuals, lesbians, gays, serial murderers, sadomasochists, adulterers, prostitutes, and yuppies without seeming gratuitously sensational. Even when successful, such a formula is certain to alienate every corporate sponsor in the oilpatch, for they are attentive to the offence taken by subscription audience members who (presumably) use petrochemicals to maintain their blue rinses. The rumour arises from Brad Fraser’s triumph with Unidentified Human Remains and the Tr

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20

AYTAÇLAR, Pınar. "Aizanoi’dan Yeni Onurlandırma Yazıtları." Gephyra 25 (May 15, 2023): 69–75. http://dx.doi.org/10.37095/gephyra.1254915.

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In this paper, four new honorific inscriptions from Aizanoi are presented. All of the inscriptions have been found in Çavdarhisar during the excavation seasons of 2021 and 2022 and excluding n. 2, the stones are rectangular bomos-type statue bases. Inscriptions are dated to the Roman Imperial Period. N.1 is the honorary inscription of Lucius Claudius Lepidus who was the life-long high priest of the emperor in the reign of Commodus. He was the chief priest of Asia and the neokoros of the temples in Smyrna. The inscription was erected by the phyle Asklepias, the name of which first came into lig

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Ilieva, Boyka. "Olga Gyuzeleva and the Bulgarian Cultural Elite from the Beginning of the 20th Century." Balkanistic Forum 31, no. 1 (2022): 126–36. http://dx.doi.org/10.37708/bf.swu.v31i1.7.

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The name of Olga Gyuzeleva is usually mentioned in connection with the history of the Sofia Opera, as she is among its founders. In addition to being among the few female members of the intellectual elite and a participant in a revolutionary cultural endeavor, fate also connected her with one of the emblematic couples in Bulgarian literature at that time – Pencho Slaveykov and Mara Belcheva. Olga was the woman who left for Brunate in the spring of 1912 to share with Mara Belcheva the hardest months after the death of the poet. Olga Gyuzeleva was the youngest of the four daughters in the family

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Gavrilova, Lyudmila V. "Panorama of 20th Century Opera: from the History of One Cycle of the Main Editorial Board of Music Broadcasting of the All-Union Radio." Contemporary Musicology 8, no. 4 (2024): 135–53. https://doi.org/10.56620/2587-9731-2024-4-135-153.

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The article examines a cycle of programs of the Main Editorial Board of Musical Broadcasting of the All-Union Radio, Panorama of 20th Century Opera. Due to a happy accident, the author came into the possession of seven volumes of typescript texts of 96 radio programs, which were subject to depreciation and destruction, due to the expired time-limit of storage. The first was dated January 8, 1968 года, whereas the last went on the air on October 1, 1971. Over a hundred works by composers from Russia and other countries were broadcast during the four seasons of the cycle. These composers include

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Peterson, Lesley. "Things and Theatricality." Journal of Juvenilia Studies 5, no. 1 (2023). http://dx.doi.org/10.29173/jjs82.

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This essay considers consider four of James Austen’s early prologues and epilogues (written for family theatricals between the ages of seventeen and twenty-two) in terms of his engagement with debates both ancient and early modern over the nature of drama and the place of spectacle. More specifically, these paratexts document his ongoing concern with theorizing the ideal theatre: one in which the things of the stage serve their proper role. The discourse of antitheatricality has long associated theatrical performance with such unvirtuous qualities as artifice, dishonesty, and deception, and in

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O’Regan, Susan. "‘A Vast Speculation’:The Cork Grand Musical Meeting of 1826." Journal of the Society for Musicology in Ireland, May 2, 2010, 5–29. http://dx.doi.org/10.35561/jsmi05091.

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The organization of a Grand Musical Meeting in Cork in 1826 was the biggest commercial undertaking in the city’s concert life up to that time, bringing from London four virtuoso instrumentalists and at least six solo singers, in addition to a choir and orchestra. The event was directed by William Forde, a Cork-born musician who had for some years worked as a professional musician in London. The lavish plans for six concerts, an oratorio and an opera were not brought to fruition, and, by the fifth day, events were necessarily curtailed due to poor audience attendance. The scale of the event, it

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Brackley du Bois, Ailsa. "Repairing the Disjointed Narrative of Ballarat's Theatre Royal." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1296.

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IntroductionBallarat’s Theatre Royal was the first permanent theatre built in inland Australia. Upon opening in 1858, it was acclaimed as having “the handsomest theatrical exterior in the colony” (Star, “Editorial” 7 Dec. 1889) and later acknowledged as “the grandest playhouse in all Australia” (Spielvogel, Papers Vol. 1 160). Born of Gold Rush optimism, the Royal was loved by many, yet the over-arching story of its ill-fated existence has failed to surface, in any coherent fashion, in official history. This article takes some first steps toward retrieving lost knowledge from fragmented archiv

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García Herráez, Irene. "¿El ciclo sin fin? Desigualdad de género en el teatro musical de Madrid (2022-2025)." ACOTACIONES. Investigación y Creación Teatral 1, no. 54 (2025). https://doi.org/10.32621/acotaciones.2025.54.06.

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El teatro musical americano (de Broadway) es un género que desde su llegada a España no ha parado de crecer, especialmente en Madrid. El presente artículo se propone estudiar el papel de las mujeres en este sector, tanto dentro como fuera del escenario. Para ello, se ha analizado la presencia de mujeres profesionales en cuatro grandes áreas (equipo artístico, elenco, equipo técnico y orquesta) de los montajes representados en las principales salas de Madrid en las temporadas 2022-2023, 2023-2024 y 2024-2025. A partir de esta investigación se podrá dar respuesta a la pregunta principal del estu

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Heim, Caroline, and Christian Heim. "Marginalising the Mainstream: A Signed Performance of The Miracle Worker Places Deaf Issues Centre-Stage." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.265.

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Partaking of theatrical events is something that hearing and seeing members of the community can largely take for granted. In Australia, this is still not accessible to all. Crossbow Production’s 2009 staging of William Gibson’s The Miracle Worker offered the opportunity not only to explore the issues of the play, but this issue of accessibility for whom the protagonist can be considered the exemplary role-model. Crossbow’s aim was to introduce a mainstream audience to some of the world experience of those living with disabilities. This was achieved through the exploration of objects apart fro

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Junge, Astrid, and Anja Hauschild. "Behind the Curtain: Prevalence of Symptoms of Depression, Generalised Anxiety and Eating Disorders in 147 Professional Dancers from Six Opera Houses or State Theatres." Sports Medicine - Open 9, no. 1 (2023). http://dx.doi.org/10.1186/s40798-023-00638-9.

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Abstract Background Mental health problems cover a wide spectrum. Depression and anxiety disorders are the most frequent mental health problem in the general population and in elite athletes. The aim of the present study was to assess the prevalence of symptoms of depression, generalised anxiety disorder and eating disorders in professional dancers, to compare the results between genders and to the general population and to analyse potential determinants. Methods During a pre-season health screening, professional dancers of six German companies answered a comprehensive questionnaire on persona

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Kustritz, Anne. "Transmedia Serial Narration: Crossroads of Media, Story, and Time." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1388.

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The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each au

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Elkington, Rob, Robyn Ruttenberg-Rozen, and Nadia Worthington. "The use of META (virtual simulations) in Canadian junior military leadership development." Journal of Leadership Education, April 1, 2024. http://dx.doi.org/10.1108/jole-02-2024-0037.

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PurposeThis paper aims to explore virtual simulations, merging artificial intelligence with real-world simulations, supporting Canadian armed forces (CAF) junior military leaders (JMLs) leadership development. Our research questions are: (1) How do virtual simulations support CAF junior military leadership development within a globalized and complex environment in the 21st century? (2) Could virtual simulations support a leadership culture change through efficacious “soft skills” training? In this paper, we explore the efficacy of virtual simulations for enhancing or developing leadership in J

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Chen, Jasmine Yu-Hsing. "Beyond Words." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3033.

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Introduction Despite the expansive and multimodal realm of Chinese Boys’ Love (BL) culture (also known as danmei in Chinese), audio works have been notably absent from scholarly discussions, with the focus predominantly being on novels (e.g. Bai; Zhang). This article aims to fill this gap by delving into the transformative impact of sound on narrative engagement within the Chinese BL culture. Focussing on the audio drama adaptations of Grandmaster of Demonic Cultivation (modao zushi, hereafter Grandmaster), originally a serialised Chinese BL novel, this analysis aims to unravel the meticulousl

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Sheridan, Alison, Jane O'Sullivan, Josie Fisher, Kerry Dunne, and Wendy Beck. "Escaping from the City Means More than a Cheap House and a 10-Minute Commute." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1525.

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IntroductionWe five friends clinked glasses in our favourite wine and cocktail bar, and considered our next collaborative writing project. We had seen M/C Journal’s call for articles for a special issue on ‘regional’ and when one of us mentioned the television program, Escape from the City, we began our critique:“They haven’t featured Armidale yet, but wouldn’t it be great if they did?”“Really? I mean, some say any publicity is good publicity but the few early episodes I’ve viewed seem to give little or no screen time to the sorts of lifestyle features I most value in our town.”“Well, seeing a

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Pavlidis, Adele, and David Rowe. "The Sporting Bubble as Gilded Cage." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2736.

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Introduction: Bubbles and Sport The ephemeral materiality of bubbles – beautiful, spectacular, and distracting but ultimately fragile – when applied to protect or conserve in the interests of sport-media profit, creates conditions that exacerbate existing inequalities in sport and society. Bubbles are usually something to watch, admire, and chase after in their brief yet shiny lives. There is supposed to be, technically, nothing inside them other than one or more gasses, and yet we constantly refer to people and objects being inside bubbles. The metaphor of the bubble has been used to describe

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Rushkoff, Douglas. "Coercion." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2193.

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The brand began, quite literally, as a method for ranchers to identify their cattle. By burning a distinct symbol into the hide of a baby calf, the owner could insure that if it one day wandered off his property or was stolen by a competitor, he’d be able to point to that logo and claim the animal as his rightful property. When the manufacturers of products adopted the brand as a way of guaranteeing the quality of their goods, its function remained pretty much the same. Buying a package of oats with the Quaker label meant the customer could trace back these otherwise generic oats to their sour

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Brennan-Horley, Chris. "Reappraising the Role of Suburban Workplaces in Darwin’s Creative Economy." M/C Journal 14, no. 4 (2011). http://dx.doi.org/10.5204/mcj.356.

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IntroductionTraditionally, suburbs have been conceived as dormitory – in binary opposition to the inner-city (Powell). Supporting this stereotypical view have been gendered binaries between inner and outer city areas; densely populated vs. sprawl; gentrified terraces and apartment culture vs. new estates and first home buyers; zones of (male) production and creativity against (female) sedate, consumer territory. These binaries have for over a decade been thoroughly criticised by urban researchers, who have traced such representations and demonstrated how they are discriminatory and incorrect (

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Hackett, Lisa J., and Jo Coghlan. "Conjuring Up a King." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2986.

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Introduction The coronation of King Charles III was steeped in the tradition of magic and ritual that has characterised English, and later British, coronations. The very idea of a coronation leverages belief in divinity; however, the coronation of Charles III occurred in a very different social environment than those of monarchs a millennium ago. Today, belief in the divine right of Kings is dramatically reduced. In this context, magic can also be thought of as a stage performance that relies on a tacit understanding between audience and actor, where disbelief is suspended in order to achieve

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