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Journal articles on the topic 'Performing arts, Sydney NSW'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Uddin, Khandakar, and Awais Piracha. "Differential application of planning policy deepening the intracity divide: The case of greater Sydney, NSW, Australia." Spatium, no. 44 (2020): 1–11. http://dx.doi.org/10.2298/spat2044001u.

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Urban planning policies in New South Wales (NSW), Australia are continuously being reformed, in order to make them more economic development friendly. These reforms are concerned with making development approvals easier and faster. The implementation of these reforms and their outcomes in Greater Sydney, NSW, vary according to the local socio-economic conditions. The affluent communities in Greater Sydney are very concerned about these reforms and actively resist their application in their areas. They are successful in avoiding the application of reformed urban planning policies. However, the

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2

Christoffersen, Erik Exe, and Kathrine Winkelhorn. "Prologue." Peripeti 14, S6 (January 1, 2017): 6–9. http://dx.doi.org/10.7146/peri.v14is6.110655.

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      Hotel Pro Forma is a Copenhagen-based international laboratory for performing arts – a small production company with substantial influence on the performing arts in Scandinavia and Europe. Since 1985 Hotel Pro Forma has staged more than 50 productions shown in more than 30 countries around the world from New York, Sydney to Taipei. Productions are developed through an intensive period of research, and different themes are taken from a wide-ranging field of interest.    This special English issue presents selected Hotel Pro Forma

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Devine, Kit. "Artistic License in Heritage Visualization: VR Sydney Cove circa 1800: SIGGRAPH Asia 2019 Featured Paper." Leonardo 53, no. 4 (July 2020): 415–18. http://dx.doi.org/10.1162/leon_a_01928.

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Heritage visualizations are works of the cultural imaginary and this paper examines the artwork Artistic License: VR Sydney Cove circa 1800, which foregrounds the interpretive nature of heritage visualization. It is a reimagining in VR of A View of Sydney Cove, New South Wales, 1804, a contemporaneous print of Sydney Cove. Existing in the liminal space between accuracy and authenticity it is both art object and heritage visualization. The dual nature of this work supports engagement with wider audiences, fostering and broadening debate at individual, institutional, academic and societal levels

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Tulloch, John, Tom Burvill, and Andrew Hood. "Reinhabiting ‘The Cherry Orchard’: Class and History in Performing Chekhov." New Theatre Quarterly 13, no. 52 (November 1997): 318–28. http://dx.doi.org/10.1017/s0266464x00011441.

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Chekhov's The Cherry Orchard is clearly ‘about’ the end of one social order – about time changing and time static. Yet different interpretive communities – academics in journal articles and students in their classrooms, newspaper reviewers, theatre writers like Trevor Griffiths and David Mamet, and theatre directors like Adrian Noble and Richard Eyre – ‘read’ Chekhov's representation of history and class change in different ways. The authors of this study have been exploring these different reading formations in a three-year project funded by the Australian Research Council, ‘Chekhov: in Criti

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Allatson, Paul, and Andrea Connor. "Ibis and the city: bogan kitsch and the avian revisualization of Sydney." Visual Communication 19, no. 3 (May 24, 2020): 369–90. http://dx.doi.org/10.1177/1470357220912788.

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The Australian White Ibis (Ibis) ( Threskiornis molucca) is one of three endemic Ibis species in Australia. In a short time frame beginning in the 1970s, this species has moved from inland waterways to urban centres along the eastern and southeastern seaboards, Darwin and the Western Australian southwest. Today Ibis are at home in cities across the country, where they thrive on the food waste, water resources and nesting sites supplied by humans. In this article, the authors focus on Sydney to argue that the physical and cultural inroads of Ibis, and the birds’ urban homeliness, are resignifyi

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6

Baker-Nauman, Lynn. "Prison Theatre and the Global Crisis of Incarceration, Ashley E. Lucas (2020)." Drama Therapy Review 8, no. 1 (April 1, 2022): 143–45. http://dx.doi.org/10.1386/dtr_00099_5.

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Review of: Prison Theatre and the Global Crisis of Incarceration, Ashley E. Lucas (2020)London, New York, Oxford, New Delhi and Sydney: Methuen Drama and Bloomsbury, 320 pp.,ISBN 978-1-47250-841-6, h/bk, $63.00ISBN 978-1-40818-589-6, p/bk, $20.96ISBN 978-1-40818-591-9, e/bk, $18.86

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7

Forsyth, Hannah. "The energy of the city: Marshall Berman and New Year's Eve in Sydney." Continuum 22, no. 2 (April 2008): 241–53. http://dx.doi.org/10.1080/10304310701775129.

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Syron, Liza-Mare. "‘Addressing a Great Silence’: Black Diggers and the Aboriginal Experience of War." New Theatre Quarterly 31, no. 3 (July 9, 2015): 223–31. http://dx.doi.org/10.1017/s0266464x15000457.

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In 2014 Indigenous theatre director Wesley Enoch announced in an interview that ‘the aim of Indigenous theatre is to write into the public record neglected or forgotten stories’. He also spoke about the aims of a new Australian play, Black Diggers, as ‘honouring and preserving’ these stories. For Enoch, Black Diggers (re)addresses a great silence in Australia’s history, that of the Aboriginal experience of war. Also in 2014, the memorial sculpture Yininmadyemi Thou Didst Let Fall, commissioned by the City of Sydney Council, aimed to place in memoriam the story of forgotten Aboriginal soldiers

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9

Shevtsova, Maria. "The Sociology of the Theatre, Part Two: Theoretical Achievements." New Theatre Quarterly 5, no. 18 (May 1989): 180–94. http://dx.doi.org/10.1017/s0266464x00003079.

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In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explicat

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10

Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia." Epidemiologia e Psichiatria Sociale 16, no. 2 (June 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.

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SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Resul

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11

McAuley, Gay. "The Video Documentation of Theatrical Performance." New Theatre Quarterly 10, no. 38 (May 1994): 183–94. http://dx.doi.org/10.1017/s0266464x00000348.

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Video technology has been widely available for the last twenty years, and offers possibilities for the documentation of theatrical performance that no previous generation has possessed. What are we doing with these possibilities? Why is it that we are only now taking some timid first steps towards the establishment of national or regional video archives? This article reports some findings from ten years of experimentation with recording formats and analysis, and urges the need for action by theatre practitioners, funding authorities, and university researchers to ensure that the theatrical out

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12

Barker, Kathleen. "A Provincial Tragedian Abroad." Theatre Research International 11, no. 1 (1986): 31–48. http://dx.doi.org/10.1017/s0307883300011895.

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By the middle of the nineteenth century, it had become almost de rigueur for aspiring British entertainers to include at least one tour abroad in their career. Exchange – albeit initially a somewhat one-sided exchange – with North America dated back to the beginning of the century; as white settlement of Australasia developed, so from the third decade did theatre, and Gustavus Vaughan Brooke's success, particularly in Sydney, between 1855 and 1861, revealed a new opening for the more adventurous.

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Message, Kylie. "Reflecting on the New Museum Through an Antipodean Lens: The Museum of Sydney and ‘The Imaginary Museum’." Third Text 22, no. 6 (November 2008): 755–68. http://dx.doi.org/10.1080/09528820802652557.

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14

Brannigan, Erin. "Dance and the Gallery: Curation as Revision." Dance Research Journal 47, no. 1 (April 2015): 5–25. http://dx.doi.org/10.1017/s0149767715000054.

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… for several years now I've failed to find a solution to the London Tate Modern's demand for an exhibition of dance. … I never managed to find an adequate connection between the museum framework and dance. … We must try and solve this problem: dance is starting to be recognized as art. In the end it's as if you had to enter the museum to be legitimized! As a result, pressure to exhibit is growing.(Jérôme Bel n.d. 2014)13 Rooms, an exhibition curated by Hans Ulrich Obrist (Serpentine Gallery, London) and Klaus Biesenbach (MoMA, New York) and presented in Sydney in April 2013, included the work

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15

Shevtsova, Maria. "The Sociology of the Theatre, Part One: Problems and Perspectives." New Theatre Quarterly 5, no. 17 (February 1989): 23–35. http://dx.doi.org/10.1017/s0266464x00015311.

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Although many disciplines have helpfully (and a few less helpfully) interacted with theatre studies over the past decade, progress has been notably slow in the discovery of a dialogue with sociology. Indeed, such progress as has been made has too often, argues Maria Shevtsova. resulted in perceptions and emphases which are not always sympathetic (or seemingly even relevant) to the interests of theatre workers. In this, the first of a three-part introduction to the sociology of theatre, Maria Shevtsova combines an objective analysis of progress to date with a study of the problems and misconcep

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16

Parodi, Laura E. "Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, Ed. Keelan Overton (2020)." International Journal of Islamic Architecture 11, no. 2 (July 1, 2022): 431–34. http://dx.doi.org/10.1386/ijia_00086_5.

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Review of: Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, Ed. Keelan Overton (2020) Bloomington: Indiana University Press, 468 pp., 144 colour illus., ISBN: 9780253048912, $36.00 (paperback) The Architecture of a Deccan Sultanate: Courtly Practice and Royal Authority in Late Medieval India, Pushkar Sohoni (2018; 2021) London and New York: I. B. Tauris, 2018, 320 pp., 121 b&w illus., ISBN: 9781784537944, £28.99 (hardback) London, Oxford, New York, New Delhi and Sydney: Bloomsbury, 2021, ISBN: 9780755606795, £28.99 (paperback)

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17

McAuley, Gay. "Towards an Ethnography of Rehearsal." New Theatre Quarterly 14, no. 53 (February 1998): 75–85. http://dx.doi.org/10.1017/s0266464x00011751.

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Twenty-five years ago, the original Theatre Quarterly pioneered the documentation of the rehearsal process in a series of ‘Production Casebooks’ which, in a wide variety of formats – dictated by the people and the facilities available for any particular production – delved pragmatically into then-uncharted territory. That such analyses are now more commonplace is thanks not only to the active participation of academics in the field of theatre studies, but also to what Gay McAuley here describes as the postmodern ‘shift in interest from the reified art object to the dynamic processes involved i

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18

Varney, Denise. "‘Droughts and Flooding Rains’: Ecology and Australian Theatre in the 1950s." New Theatre Quarterly 38, no. 4 (October 18, 2022): 319–32. http://dx.doi.org/10.1017/s0266464x22000239.

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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 Aus

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19

Mindrup, Matthew. "The architect’s task: the use of models as structural expressionism." Architectural Research Quarterly 25, no. 1 (March 2021): 4–16. http://dx.doi.org/10.1017/s1359135521000051.

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In the above cited quote, Kevin Roche, a principal associate at Eero Saarinen’s architectural practice in 1957, recalls an early morning discussion about the design of the Trans World Airlines’ (TWA) Flight Center. Roche’s story about Saarinen reminds us that at the beginning of an architectural project, a solution may come from any variety of sources, not least of all from everyday objects. This was certainly the case for Saarinen, who found the seed for his design of the structural shells of the TWA Flight Center in the rind of a grapefruit. Despite its seeming novelty, Saarinen is not uniqu

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20

Minton, Gretchen E., and Mikey Gray. "The Ecological Resonance of Imogen’s Journey in Montana’s Parks." New Theatre Quarterly 38, no. 4 (October 18, 2022): 299–318. http://dx.doi.org/10.1017/s0266464x22000227.

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In this article Gretchen Minton and Mikey Gray discuss an adaptation of Shakespeare’s tragicomedy Cymbeline that toured Montana and surrounding states in the summer of 2021. Minton’s sections describe the eco-feminist aims of this production, which was part of an international project called ‘Cymbeline in the Anthropocene’, showing how the costumes, set design, and especially the emphasis upon the female characters created generative ways of thinking about the relationship between the human and the more-than-human worlds. Gray’s first-person narrative at the end of each section reflects upon h

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21

Burton, Christine. "How a Museum Dies: The Case of New Entry Failure of a Sydney Museum." Museum Management and Curatorship 22, no. 2 (June 2007): 109–29. http://dx.doi.org/10.1080/09647770701470302.

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22

Booth, Michael R. "The Australian Stage: A Documentary History. Edited by Harold Love. Sydney: New South Wales University Press, 1984. Pp. xix + 383 + illus. $29.95." Theatre Research International 11, no. 3 (1986): 259–60. http://dx.doi.org/10.1017/s0307883300012463.

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23

Fotheringham, Richard. "See How It Runs: Nimrod and the New Wave. By Julian Meyrick. Sydney: Currency Press, 2002. Pp. viii + 312. AU$39.95 Pb." Theatre Research International 28, no. 2 (June 26, 2003): 218–19. http://dx.doi.org/10.1017/s0307883303291094.

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24

Arrighi, Gillian. "Make It Australian: The Australian Performing Group, the Pram Factory and New Wave Theatre. By Gabrielle Wolf. Sydney: Currency Press, 2008. Pp. xvi + 288 + 24 illus. AUS$32.95 Pb." Theatre Research International 34, no. 1 (March 2009): 91–92. http://dx.doi.org/10.1017/s0307883308004318.

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25

James, Louis. "English Theatre in Transition, 1881–1914. By James Woodfield. London and Sydney, Croom Helm; Totowa, New Jersey, Barnes and Noble. Pp. 213. £15.95." Theatre Research International 10, no. 2 (1985): 183–85. http://dx.doi.org/10.1017/s0307883300010786.

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26

Hammond, Brean S. "Dramatic Form In Shakespeare And The Jacobeans. By Leo Salingar. Cambridge, London, New York, New Rochelle, Melbourne, Sydney: Cambridge University Press, 1986. Pp. x + 292. £27.50." Theatre Research International 12, no. 3 (1987): 263–65. http://dx.doi.org/10.1017/s0307883300013730.

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27

Dewald, Jonathan. "Sydney Anglo, The Martial Arts of Renaissance Europe. New Haven and London: Yale University Press, 2000. xii + 28 color illus + 384 pp. $45. ISBN: 0-300-08352-1." Renaissance Quarterly 54, no. 3 (2001): 972–73. http://dx.doi.org/10.2307/1261950.

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28

WERRY, MARGARET. "South Pacific Brownface: Racial Imposture, Global Markets, and National Theatre in Tapu (1903)." Theatre Research International 45, no. 2 (June 24, 2020): 104–23. http://dx.doi.org/10.1017/s0307883320000048.

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New Zealand critics and audiences in 1903 hailed Tapu (by Alfred Hill and Arthur Adams) as the harbinger of a new ‘national drama’. They thought that the comic opera captured the national essence and would broadcast the nation's advantages to a global audience. Yet the production never made it beyond Sydney, and has since disappeared from the historical record. My analysis of the script and critical reception shows that Tapu faltered in its confused adoption of a wide array of techniques of racial mimicry (borrowed from metropolitan theatres) to represent indigenous Māori and white visitors, b

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Leggett, Mike. "Interzone: Media Arts in Australia by Darren Tofts. Craftsman House, Sydney, Australia. New Art Series, Series Editor: Ashley Crawford. 145 pp., illus. Paper. ISBN: 0-9757303-8-X." Leonardo 39, no. 5 (October 2006): 487–88. http://dx.doi.org/10.1162/leon.2006.39.5.487.

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Blake, Ann. "O Brave New World: Two Centuries of Shakespeare on the Australian Stage. Edited by John Golder and Richard Madelaine. Sydney: Currency Press, 2001. Pp. xiv + 256 + illus. AUS$ 39.95 Pb." Theatre Research International 27, no. 2 (June 18, 2002): 213–26. http://dx.doi.org/10.1017/s0307883302220283.

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31

Johnson, Virgil C. "BOOK REVIEW: Anita Callaway.VISUAL EPHEMERA: THEATRICAL ART IN NINETEENTH CENTURY AUSTRALIA. Sydney: University of New South Wales Press, 2000." Victorian Studies 44, no. 4 (July 2002): 704–6. http://dx.doi.org/10.2979/vic.2002.44.4.704.

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32

de Cardi, B. "Bahrain through the Ages: the Archaeology. Edited by Shaikha Haya Ali Al Khalifa and Michael Rice. 24.5×19 cm. Pp. 526, 168 ills. London, New York, Sydney and Henley: KPI, 1986. ISBN 07103-0112-X. Price not stated." Antiquaries Journal 67, no. 1 (March 1987): 144–45. http://dx.doi.org/10.1017/s0003581500026469.

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Blackmore, Howard L. "Gunfounding and Gunfounders. A Directory of Cannon Founders from Earliest Times to 1830. By A. N. Kennard. 25.5×19 cm. Pp. 176, 4 pls. London, New York and Sydney: Arms and Armour Press, 1986. ISBN 0-85368-840-0. £19.95." Antiquaries Journal 67, no. 1 (March 1987): 199. http://dx.doi.org/10.1017/s0003581500026950.

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Van Bremen, Riet. "S. Dixon, The Roman Mother. London and Sydney: Croom Helm, 1988. Pp. xviii + 286, 8 pls. ISBN 0-7099-4511-6. £25.00. - T. Wiedemann, Adults and Children in the Roman Empire. London: Routledge, 1989. Pp. xii + 221, 12 pls. ISBN 0-415-00336-9. £30.00. - B. Rawson (Ed.), The Family in Ancient Rome: New Perspectives. London and Sydney: Croom Helm, 1986. Pp. viii + 279. ISBN 0-7099-4202-8. £18.95." Journal of Roman Studies 81 (November 1991): 178–80. http://dx.doi.org/10.2307/300500.

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35

Kaji-O'Grady, Sandra. "Melbourne Versus Sydney." Architectural Theory Review 11, no. 1 (April 2006): 60–72. http://dx.doi.org/10.1080/13264820609478556.

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36

Brejzek, Thea, and Lawrence Wallen. "Artist's pages: Cronulla NSW 2230 Australia : A Fotonovela." Performance Research 18, no. 3 (June 2013): 59–62. http://dx.doi.org/10.1080/13528165.2013.818315.

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37

Bucher, Jesse. "Theatre and Performance in Alternative Histories of Steve Biko's Death in Detention." Theatre Survey 61, no. 2 (March 17, 2020): 182–202. http://dx.doi.org/10.1017/s0040557420000058.

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I still thought [Biko] was shamming. I had had experience before with this tendency.—Colonel Goosen, 1977 inquestThere was also a BBC reconstruction of the inquest with a well-known actor who played Sydney Kentridge—which I said that he wasn't as good as Sydney Kentridge, they should have had Sydney play himself.—George Bizos, 13 May 2008

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38

Pam, Max. "Luna Park, Sydney, 1978." Continuum 14, no. 3 (November 2000): 258. http://dx.doi.org/10.1080/713657729.

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39

Heales, Robyn S. "Shakespeare in Sydney." Shakespeare Quarterly 37, no. 1 (1986): 106. http://dx.doi.org/10.2307/2870198.

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40

Drew, Philip. "Romanticism Revisited: Jørn Utzon's Sydney Opera House." Architectural Theory Review 12, no. 2 (December 2007): 121–45. http://dx.doi.org/10.1080/13264820701730868.

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Hedditch, Robin. "SYDNEY SQUARE: Treasuring the Shards of the Past." Architectural Theory Review 4, no. 2 (November 1999): 15–39. http://dx.doi.org/10.1080/13264829909478368.

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Morley, Michael. "A Critical State: Theatre Reviewing in Australia." New Theatre Quarterly 2, no. 5 (February 1986): 94–96. http://dx.doi.org/10.1017/s0266464x00001962.

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As in most English-speaking nations, the success or otherwise of a production in Australia is heavily dependent upon its critical reception: yet, argues Michael Morley, much Australian reviewing is both ill-equipped and ill-informed for such a responsibility. Michael Morley is himself currently theatre critic of The National Times, and has also written for The Advertiser, Theatre Australia, and the Sydney Morning Herald. A Brecht-Weill scholar, who has worked as musical director on a number of productions in Sydney and Adelaide, Michael Morley is Professor of Drama at Flinders University in So

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43

Margalit, Harry. "MODERNISM SUNDERED: Intellectual Currents in Architecture in 1950s Sydney." Architectural Theory Review 8, no. 2 (November 2003): 113–23. http://dx.doi.org/10.1080/13264820309478488.

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Marcalit, Harry. "PLANNING, ANXIETY AND IMPERIAL IDENTITY IN EARLY TWENTIETH CENTURY SYDNEY." Architectural Theory Review 4, no. 1 (April 1999): 51–60. http://dx.doi.org/10.1080/13264829909478359.

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45

Chen-Yu, Chiu, Philip Goad, and Peter Myers. "The metaphorical expression of Nature in Jørn Utzon's design for the Sydney Opera House." Architectural Research Quarterly 19, no. 4 (December 2015): 381–96. http://dx.doi.org/10.1017/s1359135515000603.

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Both before and after his forced resignation from the charge of the Sydney Opera House (1956–66)in 1966, Danish Architect Jørn Utzon (1918–2008) has cited Chinese architecture as one of the most important inspirational sources of his unfinished masterpiece. However, the significance of Chinese building culture has largely been overlooked in historical accounts of Utzon's Opera House design. This is despite ample evidences suggesting several direct analogies of Chinese architecture in Utzon's design proposals. The evidence also indicates that one of the key Chinese sources for Utzon comes from

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46

St Leon, Mark Valentine. "Presence, Prestige and Patronage: Circus Proprietors and Country Pastors in Australia, 1847–1942." Alternative Spirituality and Religion Review 12, no. 1 (2021): 39–73. http://dx.doi.org/10.5840/asrr2021122179.

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Christianity and circus entered the Australian landscape within a few decades of each other. Christianity arrived with the First Fleet in 1788. Five years later, Australia’s first church was opened. In 1832, the first display of the circus arts was given by a ropewalker on the stage of Sydney’s Theatre Royal. Fifteen years later, Australia’s first circus was opened in Launceston. Nevertheless, Australia’s historians have tended to overlook both the nation’s religious history and its annals of popular entertainment. In their new antipodean setting, what did Christianity and circus offer each ot

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47

Cochrane, John. "A specialist partnership frustrated: Utzon and Symonds at Sydney." Architectural Research Quarterly 3, no. 2 (June 1999): 165–74. http://dx.doi.org/10.1017/s1359135500001949.

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The resignation of the Sydney Opera House architect, Jørn Utzon, marked the culmination of an increasingly frustrating phase of the project. Utzon had intended a partnership between designer, consultant, contractor and subcontractor to develop technical design solutions which would not have been possible under normal competitive tendering. The government rejected this. Here are examined the issues which underpinned the relationship between the architect seeking technical perfection and the manufacturing engineer seeking the fullest artistic expression of his product.

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48

Eastman, Susan Tyler, and Andrew C. Billings. "Promotion’s Limited Impact in the 2000 Sydney Olympics." Television & New Media 5, no. 4 (November 2004): 339–58. http://dx.doi.org/10.1177/1527476403255818.

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49

Kauffman, Jordan. "Review: Sketches of Frank Gehry by Sydney Pollack." Journal of the Society of Architectural Historians 71, no. 2 (June 1, 2012): 244–45. http://dx.doi.org/10.1525/jsah.2012.71.2.244.

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Zweig, Ellen. "Mendicant Erotics [Sydney]: A Performance for Radio." TDR (1988-) 40, no. 3 (1996): 121. http://dx.doi.org/10.2307/1146555.

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