north melbourne arts house: new productions challenge categorisation of australian theatre - battery for solar street light

Human beings have been sorting things since arixian, because it is easier to think about them.
But while categories may be useful, they may also cover up details or diversity: it's easier to stick to lazy summaries.
Discussions about Australian theater are often angered.
In the 1990 s, the specific categories in drama were "naturalism" and "non-naturalism"
Naturalism, which also accurately depicts "mainstream" and "edge", even "Australia" and "international ".
Australia's "naturalist" theater looks a bit like the politically determined naturalism used by Zuora and ib when they revolutionary European art in the 1800 s.
The practice of popular playwrights like David Williamson is a series of practices closer to television than drama.
Naturalism has the virtue of being immediately recognized, usually a powerful virtue.
But its dominance on the main stage has increasingly led to a number of very empty works in which the clumsy drama machine has produced mediocre social commentary that merely confirms
Surprise, surprise
It has nothing to do with psychology. "Non-
Naturalist or fringe (
Or "international ")
The theater is everything else.
From the mysterious drama of the middle century to Brecht, from Noh theater to Artaud theater, from the story of Africa to the English playwright Caryl Churchill, from avant-garde drama to the dazzling theatrical performance of Chinese opera, it is like a thing, and it only makes sense to oppose the increasingly rigid convention.
The energy that has appeared in the Australian theater since 2005 has more or less blown up this comfortable arrangement, but these binary distinctions still exist and seem to have gained traction again.
These categories are more likely to belong to "text-Based on theater "(or "plays")
This is the opposite of everything else.
Experimental adaptations of drama, circus, performing arts, song and dance performances, and Shakespeare are pushed into the "other" category.
In this case, game rights are the distinguishing factor.
There is an unwritten law that only the playwright writes the script, and a script is not written by the straight-up playwright —
For example, director Simon Stone's free adaptation of wild ducks --
It is considered illegal rather than "proper" writing.
This division does not reflect the multiple ways in which contemporary playwrights actually work in drama: the only composer in the traditional sense as a text;
As collaborators and collaboratorsdevisors;
Even as a performer
What's more, it ignores some of the fine works being created by the Australian theater.
Sometimes I can't help but wonder if Samuel Beckett would be considered a playwright if he appeared today in Melbourne as an unknown writer.
These ideas are made by a mini
During the season at the North Melbourne house of art, here are some of the most brilliant pieces I 've seen this year, and of course some of the most poetic.
These are the text performances I want to read in my spare time: Drama writing with thoughts, culture and formal adventure. Are they playing?
Of course, if drama is the text of the performance, that's how they are.
However, these works are mainly created by performers or theater designers.
Are these artists really playwrights?
Some of them flinch at the thought of this.
When is the playwright not a playwright?
When is a play not a play?
Nicola Gunn's personal work and slum-bursting is an unstable investigation of moral responsibility, surrounding a mediocre event (
While running at Ghent, she saw a man, an immigrant, throwing stones at a duck, but did not intervene).
Gunn has been living in the art space between drama and performing arts, where she brings both forms into exquisite tension.
As she spoke, she gently introduced a great deal of allusions from Boro to Oden to metlinke to levenus, and she also performed a series of no choreographed by Joe Lloyd
This effect is alienated, funny and cumulative powerful, and is an expression of consciousness that is inconsistent with itself.
The center of the Gunn survey is the human indifferent ability, as expressed in Auden's art museum.
But is it really cold?
Or maybe it's a kind of naive?
Facing the fear of impotence?
Afraid of harm from our own abilities?
Is the gap between speech and action just hypocritical?
It ends with the prosperity of the poetry of revelation.
Kelly Ryall and Niklas Pajanti, by far the most minimalist sound and light shift, have created an opera with blue lasers and music.
Dressed in luxurious colorful costumes, Gunn became a duck and kept the temperature inside when she looked at a spectacular landscape.
Gunn's text is an extraordinary juggling action, a game of complex ideas that constantly move around the moral issues of being attacked ducks, and ultimately it's-
Mysterious-deeply moving.
From her simple premise, she opened up the whole contemporary anxiety. in the face of systemic problems such as climate change or war, our moral responsibility comes with it.
David Woods and Jon Haines are ridiculous and give me your love is the second of the Trinity work on unconventional treatments for mental illness.
First, 2014 brilliant-
Named to eradicate the division of the mind in Western Lapland, a radical therapy for mental illness has been studied.
Give me your love, the second in the series, is inspired by a project that is after treatment
Trauma Stress Disorder (PTSD)
Veterans.
Jacob Williams's apartment is an indescribable, dirty apartment with rubbish piled up in the corner.
It opens on the side of the bedroom and we can see the part through the door and the chain --
Locked facade to US
The only character we see on stage is former Welsh defender Zachary Williams (Woods)
But we didn't see him at all because he was in a big carton all the time.
Other roles-
His wife, Carol, and his friend, Eyoun. are played off-Haines stage.
Ieuan was unable to perform a clinical trial for his post-traumatic depression, and he gave his friends some street ecstasy and they tried to replicate the therapy together.
But Ieuan can't unlock the chain on the door and Zach can't because he's stuck in the box.
The law shows how this treatment should work, but more painfully, in the hands of amateurs, it reveals trauma trapped in psychological disorders.
Similarities to Beckett's short stories are irresistible: dim humor, pain, lasting persistence, apparent claustrophobia, and frustration.
But perhaps the most obvious in the rhythm of the show, it feels completely rendered.
It is deeply disturbing in countless ways, but strangely, it is full of hope.
Edmund from Brian Lipson: It's also a beautiful article at the beginning.
The show before Lipson
Large Attendance in the front office (2000)
And Bergas 19-
Freud's apartment (2005)—
It was a product of his fascination with historical figures Francis Galton and Freud.
Lipson's work always has a strong reflexivity, turning its impolite eyes to itself, Edmund: The Beginning is no exception.
This part is an article about the performance.
Lights Only (
Nature and street lights)
Lipson walked through three large windows in the rehearsal room at North Melbourne City Hall, showing us the actor's exposed image, who represents the character of others.
Lipson entered with a costume cartoon.
He wore a crown of more than half a long blonde wig;
One leg was shaved by a woman, in high heels, and the other in Elizabeth-period lantern trousers;
Half of the student jacket
When he performed the various characters represented by these costumes, the items were discarded and carefully placed on the floor, creating a solar system --
Lipson's "orrery"of allusion.
Lipson is particularly fascinated by the casualties hidden in the shadow of fame: Harold Pinte, Daniel Brande, and the reclusive son of his mother;
Actress Vivien Merchant died of acute alcohol abuse after divorce;
Children of Sylvia Plath and Ted Hughes, Frida and Nicholas Hughes;
Shakespeare's brother Edmund died at the age of 27.
Through this book, Lipson traces a narrative of the pain that has been misappropriated or concealed, and a sense of potential abuse.
At the beginning of the show, Lipson made three "embarrassing confessions". The first one was that he was an actor. Embarrassment —
A reaction to a confused, ashamed, or uncomfortable self.
Consciousness, or face obstacles or problems-
Is the emotional key of the program.
Of course, it is comedy that opens the gap between the way we are perceived and the way we perceive ourselves, but it is also a way for the soul to rub a world full of hostility to its vulnerability
All these meanings can be traced back to this fascinating biography of knowledge in Lipson --
Performance judgment.
These three very different programs do not belong to the traditional definition of drama, but they are all profound "texts"based".
They are more poetic and literary than most Australian dramas, which may not be a coincidence.
They may be marginalized as theatrical literature, but it also means that artists can escape institutional assumptions about what drama should be.
Of course, what an exciting new job is this method of getting rid of traditional taboos.
November 25, vitalstististiix, a person's work and hotel Ghetto Blaster in Adelaide-29.
Theme: drama, performance-art,melbourne-
3000 North Australiamelbourne-