Pugilist Specialist (review) (original) (raw)
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Johns Hopkins University Press, 2021
A Note from the Editor: Essentials John Fletcher Theatre Topics, Volume 31, Number 2, July 2021, pp. ix-xii (Article) Published by Johns Hopkins University Press A Note from the Editor: Essentials As those readers who saw the original call for papers know, my initial plans for a 2021 special issue centered on the notion of intimacy. I imagined a slate of pieces about intimacy choreography on stage and screen, intimacy awareness in theatre classrooms, and intimate ruminations about the ever-fascinating transactions between performers and audiences, between dramatic events and the places that house them, and between projects that speak to and with one another across time and space. That was in March 2020. Essentials in Three Acts: Collaboration, Care, Time by Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Laine, Sarah Lucie, Juliana Moraes, Malin Palani, Rumen Rachev, and Leah Sidi The following is not an article. Nor is it a play, despite its structure. To some extent, it is a performance and an experiment. It was written collaboratively over a three-month period by a group of performance-makers and performance scholars in response to the difficulties of writing and studying during the pandemic. Following a cancelled international conference, we wrote from five different continents in moments of crisis shaped by personal, political, and geographical particulari- ties. Meeting over Zoom, we shared our fears for our industries, our communities, and our personal griefs. We also sought to think together in response to Theatre Topics’ call for articles on “Theatre Essentials.” Prior to this work, many of us did not know one another, although some had worked together through other projects and academic gatherings. The call to consider the essentials of the- atre has opened possibilities for us to examine what remains of theatre and our own work, as well as how a discipline and field might coalesce when gathering in person is considered a dangerous act.
Abstraction, theatre and the musical frame
2015
Brief Synopsis: a beautiful naked woman 'of a certain age' brutally stabs a young man to death is a practice-led research project that consists of a production staged at Performance Space, Carriageworks, Sydney (November 27 th-29 th , 2013) and an exegesis exploring how physical notions of space and Firstly, I must thank my doctoral supervisors, Dr Margaret Hamilton and (in the final year) Dr Lotte Latukefu, for introducing and then guiding me, as an ingénue, through the processes of research and academic articulacy. In the first year of my candidacy Dr Brogan Bunt and Dr Ruth Walker were keenly supportive and informative and, in the final lead-up to submission, Dr Diana Wood Conroy offered valuable feedback on my writing. I would never have embarked on this doctorate without the enthusiastic support of a long-time associate and friend, Professor Sarah Miller. Brief Synopsis was mounted thanks to the eager support of Performance Space, Sydney. My deepest appreciation extends to its co-directors, Bec Dean and Jeff Kahn, and their tireless producer, Tanja Farman, for providing a grand platform on which to present the work. Brief Synopsis was a challenging project to realise, in both scale and creative ambition. I am bound to acknowledge many artists, technicians and direct supporters of the production: Benjamin Au (performer), Emma Bedford (technical), Hans Bildstein (video artist), David Buckley (performer), The Bundanon Trust, Aaron Clarke (technical), Gary Dryza (sound designer), Russell Emerson (ambient sound designer), Clare Grant, Nikki Heywood, Ashley Kurrle (performer), Heidrun Löhr (photographic artist), Steve Meyer (performer), Professor Sarah Miller, Katia Molino (performer), Richard Montgomery (lighting designer and production manager), Laura Moore (performer), Peter Oldham (video documenter), Pact Centre for Emerging Artists, Clytie Smith (stage manager and production coordinator), Theme and Variations Piano Services,