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Full Description
This book offers the first major discussion of metatheatre in Australian drama of the late twentieth and early twenty-first centuries. It highlights metatheatre's capacity to illuminate the wider social, cultural, and artistic contexts in which plays have been produced.
Drawing from existing scholarly arguments about the value of considering metatheatre holistically, this book deploys a range of critical approaches, combining textual and production analysis, archival research, interviews, and reflections gained from observing rehearsals. Focusing on four plays and their Australian productions, the book uses these examples to showcase how metatheatre has been utilised to generate powerful elements of critique, particularly of Indigenous/non-Indigenous relations. It highlights metatheatre's vital place in Australian dramatic and theatrical history and connects this Australian tradition to wider concepts in the development of contemporary theatre.
This illuminating text will be of interest to students and scholars of Australian theatre (historic and contemporary) as well as those researching and studying drama and theatre studies more broadly.
Contents
Introduction 1. The metatheatre of Dorothy Hewett's The Man from Mukinupin 2. The metatheatre of The Man from Mukinupin on stage 3. Louis Nowra's Royal Show 4. Sideshow Alley as metatheatre in Louis Nowra's Royal Show 5. Timberlake Wertenbaker's Our Country's Good 6. Our Country's Good: the metatheatre of rehearsal, backstage and the 'Aboriginal Australian' 7. Peta Murray's Things That Fall Over - an (anti-)musical of a novel, inside a reading of a play, with footnotes, and oratorio-as-coda 8. Peta Murray's Things That Fall Over: (Con)Texts, Paratexts, Metatheatre 9. Conclusion: Sideshows and other Swansongs
