Preliminary Material -- List of Figures -- Series Editor's Preface -- Acknowledgements -- Introduction -- The International Generation of 1968: Theatre and Culture -- The Australian Performing Group and Its Legacy, 1968-2008 -- Williamson in the Howard Years -- John Romeril - The Asian Australian Journey -- A Parallel Forty-Year Female Narrative with Alma De Groen -- Richard Murphet and the Wounded Subject -- Jenny Kemp - On the Edge -- Stephen Sewell and the State of the Nation -- Conclusion -- Bibliography -- Index.
Towards an Ecocritical Theatre investigates contemporary theatre through the lens of Anthropocene-oriented ecocriticism. It assesses how Anthropocene thinking engages different modes of theatrical representation, as well as how the theatrical apparatus can rise to the representational challenges of changing interactions between humans and the nonhuman world. To explore these problems, the book investigates international Anglophone plays and performances by Caryl Churchill, Stephen Sewell, Andrew Bovell, E.M. Lewis, Chantal Bilodeau, Jordan Hall, and Miwa Matreyek, who have taken significant steps towards re-orienting theatre from its traditional focus on humans to an ecocritical attention to nonhumans and the environment in the Anthropocene. Their theatrical works show how an engagement with the problem of scale disrupts the humanist bias of theatre, provoking new modes of theatrical inquiry that envision a scale beyond the human and realign our ecological culture, art, and intimacy with geological time. Moreover, the plays and performances studied here, through their liveness, immediacy, physicality, and communality, examine such scalar shifts via the problem of agency in order to give expression to the stories of nonhuman actants. These theatrical works provoke reflections on the flourishing of multispecies responsibilities and sensitivities in aesthetic and ethical terms, providing a platform for research in the environmental humanities through imaginative conversations on the world’s iterative performativity in which all bodies, human and nonhuman, are cast horizontally as agential forces on the theatrical world stage. This book will be of great interest to students and scholars of theatre studies, environmental humanities, and ecocritical studies.
John McCallum's new history explores the relationship between 20th century Australian drama and a developing concept of nation. The book focuses on the creative tension sparked by dueling impulses between nationalism and cosmopolitanism; and between artistic seriousness and larrikin populism. It explores issues such as the domineering influence of European high culture, the ongoing popularity of representational realism, the influence of popular theatrical forms, the ambivalence (between affection and aggression) of much Australian humour and satire, and the interaction between the personal and the political in drama. The strength of "Belonging" is its comprehensiveness, anyone studying an Australian play will find an account of it here in the context of the other works by its author or the time and place in which it was written. As well as a rundown of the major writers and their works, and an account of how the minor writers fitted in, the book also investigates the more obscure plays and writers about whom little has been written. This authoritative study of Australian drama gives an account of the relationship between our theatre and our sense of self while taking into account a broad range of influences that helped to shape both.
"This feverish 'dream play' is a collaboration between playwright Stephen Sewell and director Jeff Janisheski. Kandahar Gate is loosely inspired by Akira Kurosawa's 1950 film Rashomon, but transplants the action to contemporary Australia and centres on the death of a soldier in Afghanistan. At the dark heart of the play is an exploration of how 'truth' gets buried -- by governments, the military, and one's own memory. It is a powerful and deeply political piece of theatre from one of Australia's great playwrights"--P. [4] of cover.
A savage comedy of manners, "It Just Stopped" explores our relationship to art, globalisation, death, technology, America, Campari, cardboard boxes and slavery. Sewell's play is funny and shocking in turn. It holds the mirror up to the things we value today and asks the questions: what will we value the day the world just stops, and what would we be willing to trade for our own survival? To describe Stephen Sewell's dark comedy as a cautionary tale does it scant justice, given the anger and apocalyptic vision driving its mayhem and fun. "It Just Stopped" is a whimsical, argumentative, satirical and deeply serious play. Written with searing passion and dazzling momentum, "Myth, Propaganda and Disaster in Nazi Germany and Contemporary America" reverberates with the aftershocks of September 11. With compelling drive and theatrical daring, we are swept from cocktails at the Guggenheim to the hungry vacuum of Ground Zero. Stephen Sewell demands answers to some of the most urgent questions of our times. Where is the line between patriotism and nationalism? What happens when the Land of the Free makes such uncompromising statements as: 'You're either with us or against us'?
What if things went differently in the 1930s and ‘40s, giving victory to Germany and Japan? In that scenario, what would the world be like a century later? This story of altered history begins in 2033, when Alois Adolf Hitler III, the grandson of Adolph Hitler, is reminiscing on the balcony of the Reichskanzlei (chancellery), on how his grandfather accomplished victory in World War II and about everything that has happened since. Read how history was rewritten and how the third generation of The Third Reich is doing. This stunning story connects history with reality and fiction, showing a possible future that could have happened. In reality: “Nazi Germany made increasingly aggressive territorial demands, threatening war if they were not met. It seized Austria and Czechoslovakia in 1938 and 1939. Hitler made a pact with Joseph Stalin and invaded Poland in September 1939, launching World War II in Europe. “In alliance with Italy and smaller Axis powers, Germany conquered most of Europe by 1940 and threatened Great Britain.” In fiction: What changed to allow Hitler to win the war? Find out in 2033 – The Century After. “As our wheel-of-history shows, it could have spun in another direction just as easily.”
On first publication, this uncommonly concise and readable account of Soviet Russia's clash with Nazi Germany utterly changed our understanding of World War II on Germany’s Eastern Front, immediately earning its place among top-shelf histories of the world war. Revised and updated to reflect recent Russian and Western scholarship on the subject, much of it the authors' own work, this new edition maintains the 1995 original's distinction as a crucial volume in the history of World War II and of the Soviet Union and the most informed and compelling perspective on one of the greatest military confrontations of all time. In 1941, when Pearl Harbor shattered America's peacetime pretensions, the German blitzkrieg had already blasted the Red Army back to Moscow. Yet, less than four years later, the Soviet hammer-and-sickle flew above the ruins of Berlin, stark symbol of a miraculous comeback that destroyed the Germany Army and put an end to Hitler's imperial designs. In swift and stirring prose, When Titans Clash provides the clearest, most complete account of this epic struggle, especially from the Soviet perspective. Drawing on the massive and unprecedented release of Soviet archival documents in recent decades, David Glantz, one of the world's foremost authorities on the Soviet military, and noted military historian Jonathan House expand and elaborate our picture of the Soviet war effort—a picture sharply different from accounts that emphasize Hitler's failed leadership over Soviet strategy and might. Rafts of newly available official directives, orders, and reports reveal the true nature and extraordinary scale of Soviet military operations as they swept across the one thousand miles from Moscow to Berlin, featuring stubborn defenses and monumental offensives and counteroffensives and ultimately costing the two sides combined a staggering twenty million casualties. Placing the war within its wider context, the authors also make use of recent revelations to clarify further the political, economic, and social issues that influenced and reflected what happened on the battlefield. Their work gives us new insight into Stalin's political motivation and Adolf Hitler’s role as warlord, as well as a better understanding of the human and economic costs of the war—for both the Soviet Union and Germany. While incorporating a wealth of new information, When Titans Clashed remains remarkably compact, a tribute to the authors' determination to make this critical chapter in world history as accessible as it is essential.
