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Paperback. Condición: new. Paperback. This is the second instalment of the Professional, an occasional series of Platform Papers that asks our senior artists to tell their story.Nigel Levings, today a much-honoured, internationally renowned lighting designer, upholds his role as a pioneer of his profession. Levings describes his beginnings as apprentice 'electrician' at Melbourne's Princess Theatre in the 1960s and the opportunities soon offered by the budding art theatres opening in the new wave. Since then he has lit operas and dramas in every centre of the world, won a host of awards, and is as much in demand as ever. And yet, he says, the best of his work goes unnoticed.'Lighting designers,' he writes, 'stand at the gateway between the external world of the stage action and the internal worlds of our audience.' So what does this work entail? The demands are extraordinary. You need to read his account to believe it. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. 'Those of us working in the classical music sector today', writes Canham, 'tend to have a very limited understanding not only of the general public's relationship with their own creativity, but also of the impact this has on their potential interest in the creativity of others. Which is a way of saying that none of our surveying and reporting and documentation for grant acquittals is really asking the essential question: Why don't you, or wouldn't you, come to our concert? Or if you were to come, what would you like to see/hear?'But today we are in a unique position-the middle of a creativity revolution, inventing new forms of popular culture in which everyone can be a participant. Everyone is open to the idea of making their lives more beautiful or successful. Shouldn't we be adding the enjoyment of classical music to that list?'What really inspires us is awakening to our potential. Canham suggests how this might be done and describes her own experience of making 'deconstructed' opera developed with her audience. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. This is the third of the Professionals, an occasional series within Platform Papers that hands our stage to our senior artists to tell their story.Andrew Bovell is one of Australias finest writers for performance. His play Speaking in Tongues was internationally successful before being adapted into his groundbreaking movie Lantana (2001). Other plays include Holy Day, When the Rain Stops Falling and his multi-award-winning adaptation of Kate Grenvilles masterly novel, The Secret River, His latest acclaimed work is Things I Know to be True (2016), a family drama that drew packed houses in the UK.In this paper he reflects on his diverse body of work and shares the influences upon itgrowing up in Western Australia, his apprenticeship in Melbournes independent theatre scenebefore he was catapulted into an international career with Lantana (2001). He writes about the fervent friendships, collaborations and debate out of which of his plays grew, and the politics that drove them. I want every piece I write to be different from the ones that preceded it.' I want to venture into new ground each time I write a play. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. Lex Marinos was born into a family of Greek cafe owners and grew up in Wagga Wagga, where the acting bug found him at a timewhen Australian forms of theatre were just being reinvented. With his Australian voice and Greek features, he set a puzzle to casting agents; but as new forms of public entertainment emerged he built a set of freelance skills to last a lifetime: radio presenter, stage and screen actor and director, all-purpose 'ethnic' in TV comedy, host of multicultural celebrations. To government he became an adviser on public events and ethnic issues.In this paper, another in the Professionals series by senior artists, Marinos reflects on how our society has transformed; and engagingly discusses how to succeed in one of the most discouraging professionsin the world. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. The Victorian College of the Arts was founded in 1972 to provide education and training in all the visual and performing arts within the one institution. It has remained unique in Australia in that charter. Since 2009, however, it has made headline news as a training institute in crisis, a situation fed by government intervention, public commentary and disputes with the University of Melbourne which now administers it. What financial pressures began has now become a deeper struggle about the nature of arts training in the 21st century.This period of crisis, writes Murphet, brought to the school a new vitality and purpose, and raised questions that go way beyond the VCA case alone. As the college begins its restoration, he presents the case for repositioning the VCA as a centre of artistic invention, shifting the debate from the maintenance of past traditions to the creation of a new paradigm in arts training for a world in which instability has become the norm. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. On Friday 13 May 2016, the Australia Council for the Arts released the results of that agency's 'Four Year Organisations' grants. The result was a bloodbath: 65 organisations were defunded, and more than a hundred that applied were also unsuccessful. The arts sector dubbed it 'Black Friday'.The defunding of a slew of Australia's best-known smaller arts companies derived from the funding cuts and changes made by the Abbott Government. All told, according to the Australian Labor Party's Mark Dreyfus, the Coalition cut approximately $300 million from federal cultural funding prior to this defunding.Before the 2013 election, arts funding had been a more-or-less bipartisan policy area, supported by both major parties. But bipartisanship disappeared in the ideological environment of the new government. The Coalition didn't just slash the Australia Council's funding. It launched a new attack on arm's length arts funding itself -- a principle that has enjoyed four decades of bipartisan support. Why did George Brandis and the Coalition do this? What accounts for this assault on the cultural sphere?This essay is an attempt to tell that story, and to question what it means. Australian culture is being attacked by political actors, beholden to an ideology of privatising the cultural space. But if there are troubling realities, there are also opportunities. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. Expectations around theatre for young people are too prescribed today. Adults have long-held views on what works are appropriate and yet among all this concern for young people's creativity, it is not acknowledged as art. For the young people who work in the sector, the word 'value' is clouded by precedent: we struggle to be heard. In a startling expose of a system in serious need of reconstruction, Giles calls for a review of the accepted attitudes, and the embrace of a different paradigm that places young people at the centre of change. We must un-learn the past hierarchies, empower the engagement of children as a legitimate collaboration, and recognise the power of instinctive play and imagination as intelligent modes of exploration. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. Australia's first Indigenous writer, David Unaipon (1872-1967) made a commitment to sharing his stories with non-Aboriginal people. Did he hope that they would be valued as part of our country's cultural expression? Since his time Aboriginal myths and stories have been widely adopted and adapted, often without reference to their origins or history. Homer and Shakespeare are no longer around to defend their work, but Aboriginal people are alive and outspoken about how they are depicted on the page, stage and on the screen.How, if ever, asks Muruwari playwright Jane Harrison, can Aboriginal themes be 'used' by others in a way that is acceptable to Aboriginal people? How can non-Aboriginal people learn to interpret themes, and indeed, what are Aboriginal themes? Who can give permission and who can refuse? What about our shared experiences and common history, do we not all have the rights to that?Harrison treads her way through the challenging issues of exploitation, referencing, literary fraud, blacked-up actors and community ownership. Sharing our history and stories is essential, she writes, for the health of Aboriginal culture. Bur first we must acknowledge who is in control. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. This paper takes the opportunity to ask how and why a cultural institution of such significance as the ABC has been variously able, allowed, encouraged and supported to run its own race, to operate outside of, and with no regard for, a public policy framework for a sector of which it is a part. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

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Paperback. Condición: new. Paperback. In this paper Stephen Curtis, one of Australia's most respected designers for performance, draws on his 30 years' experience to argue for a deeper understanding of the designer's role as central to the development of any theatre performance. The task of giving concrete form to a play or dance work, he writes, is a team process in which the designer is a uniquely agile contributor to the dramaturgy by making meaning visually for both the participants and the audience, and offering an encompassing, fluid perspective.Curtis uses an historical overview of performance design to illustrate how the designer's role has evolved from scene painting to a complex discipline; and, in a valuable insider's account he investigates the way collaboration really works through sharing the intense process that brought The Secret River to the stage. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…