AusStage, Phase 5: Australian live performance and the world - global networks, national culture, aesthetic transmission

Start date

2014

End date

2017

Research partner(s)

Flinders University

AusStage Phase 5: Australian live performance and the world – global networks, national culture and aesthetic transmission: AusStage stimulates new approaches to collaborative research and pioneers innovative methodologies for researching live performance in Australia. However, the creativity of Australian artists extends beyond national borders. This project will internationalise AusStage by: developing new methodologies for analysing aesthetic transmission between Australian and international artists; collaborating with international partners to share data and enable research across national borders; and extending the data set to support research on global markets, international distribution and cultural diplomacy. New developments will support innovative research on live performance of international significance and collaborations with international partners.

Please note: There may be inconsistencies in the language conventions recorded in the output.

Output(s)

What the river remembers: Theatricality and embodied knowledge in performing 'The secret river'

Type

Journal article

Authors

Varney, D.

Publisher

Communication, Politics & Culture

Publication date

2015

Rights notice

File

What the River remembers.pdf

Link

https://scholar.google.com/scholar_url?url=https%3A//search.informit.org/doi/ab…

Project information

Project ownerNot listed

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Community / Language group(s)

Project contact(s)

info@ausstage.edu.au

Researcher(s)

Prof Julian Meyrick
Prof Bree Hadley
Em/Prof Julie Holledge
Em/Prof Joanne Tompkins
Prof Veronica Kelly

Supporting partner(s)

Complete

Yes

Start date

2014

End date2017

Topic(s)

Closing the Gap focus

Funder(s)

Organisation(s)

Indigenous involvement

Indigenous involvement notes

This article considers the politics of remembering violence in relation to the contested matter of the Frontier Wars between Aboriginal people and settlers in 19th century colonial Australia. It argues that remembering violence is political when it is a question of whose memories constitute a dominant cultural memory and whose are left unspoken or subjected to doubt. If the dominant cultural memory of Australian settlement celebrates gold-diggers, explorers, squatters, pioneers, emancipists, convicts, bushrangers and exceptional white women, it disremembers the experience of Aboriginal people. Of late, works of Australian film, literature and drama have played a key role in challenging dominant cultural representations of nation-building. In this article, I analyze the 2013 theatrical adaptation and performance of Kate Grenville’s novel The Secret River (2005) by writer Andrew Bovell and the creative team at the Sydney Theatre Company, including directors Neil Armfield and Stephen Page.

AusStage, Phase 5: Australian live performance and the world - global networks, national culture, aesthetic transmission

Output(s)

Aboriginal and Torres Strait Islander people should be aware that this website may contain images, voices and names of deceased persons.

AIATSIS acknowledges all Aboriginal and Torres Strait Islander Traditional Custodians of Country and recognises their continuing connection to land, sea, culture and community. We pay our respects to Elders past and present.