IndexNote: page numbers in italics indicate an illustration. Indexed footnotes are shown as, for example, 123n4, which indicates footnote 4 on page 123.A Doll’s House1, 1516ac/dc1367actorperformerAngelface32, 378, 445audiencespectatorAustralian Nouveau Theatre (ant)89Australian Performing Group (apg)7, 1113, 25and Brecht1820auteur34, 19and control36, 32, 614, 768, 1235, 127, 167writer/directoravant-garde theatre11, 17, 26, 146Brecht, Bertolt1819Brownian motion489The Black Sequin Dress49n19, 104, 111, 113, 123, 128, 129and ‘field-in-time’11718journey, motif of8790, 10001, 10506, 109110, 11415and language10307and multiple performers87, 901and Multiple Personality Disorder10203, 132structural strategies99102and terror91, 10608, 114and text8793train, image of923, 10910, 113use of images88, 89, 91n7, 93and voice-over889Call of the Wild30, 54, 939, 113, 1256journey, motif of96, 1201and time11718, 12021writing of54, 945, 989Campbell, Joseph10001, 110Carroll, Noel44n15, 1389, 176Cat on a Hot Tin Roof1character2, 16, 256, 54, 128abandonment of26, 131deconstruction of245, 356, 4950, 1279, 131, 140in dramatic realism12, 16in Foreman401, 50, 613, 71, 72, 127in Kemp121, 1279in Murphet30, 131, 139, 140cinemafilmThe CliffsSophia = (Wisdom): Part 3: The Cliffscollaboration34, 1223and Drake, Elizabeth1256and Kemp4, 83, 1227, 1626and Murphet4, 1623, 168Shelton, Leisacultural influence4, 31, 57, 144, 146, 156, 193in Murphet133, 156, 161, 167, 182on subjectivity1313, 193cultural interpenetration31culture, popular17, 31, 175, 185Dolores in the Department Store1323, 156, 193collaboration in1256, 1646and deconstruction1637and fragmentation15960and Multiple Personality Disorder1578, 1602multiple selves in823, 1627, 177and performance language15960in rehearsal1637and The Three Faces of Eve1578, 1601use of multiple performers1623writing of15860, 1634, 172deconstruction of central character245, 356, 4950, 140, 195in Foreman323, 40, 54, 612, 64, 81, 1912in Kemp823, 87, 110, 1279in Murphet3031, 1313, 144, 15767, 1637Delvaux, Paul85, 91n7, 93n8, 11014, 130direction5, 24, 54, 601Foreman’s attitudes to334, 54auteur; writer/directordisintegration of characterdeconstruction of central characterdissolution of characterdeconstruction of central characterdreams, in Kempand journeys90, 93, 96, 121in scripts7, 28, 82, 93, 101, 161Eddie Goes to Poetry City32, 4750, 656, 74, 80, 192directing style559, 62and meaning-making489, 578and ‘other world’578epilepsy1315, 13842, 146, 1578, 199epileptic experience132, 1346, 139, 1467, 151, 163‘epileptic’ writing23, 54, 13347, 158, 1935expressionism, abstract6, 83, 84, 110feminism27, 16870‘field-in-time’11718film36, 44, 124, 125, 148, 1501influence on writer/directors26, 28, 3031, 13840influence on Foreman33, 367, 40, 44, 62film, romantic301, 1478, 1567Slow Loveand sustained time11516, 117film noir301, 131, 133, 139, 1426, 176Quick DeathForeman, Richard46, 10, 21, 245, 1945as auteur28, 623, 1234, 192compositional process734, 801and control4, 6, 624, 767critiques of767deconstruction of central character324, 40, 54, 612, 64, 81, 1912as director28, 329, 478, 5461, 645, 72and film5, 6, 367, 40framing of action and objects40, 44, 59, 6870, 724, 80, 172and Grotowskian approach212and hysteria289, 35, 39influence on Murphet910influences on56, 18, 28, 357, 75science28, 34, 39n11, 40, 60, 7071, 73, 93Stein, Gertrude2, 56, 28, 436and language41, 4652, 5960and meaning51, 534, 65, 71, 77and the molecular32, 439, 52Ontological-Hysteric manifestos434, 51Ontological-Hysteric Theater6, 278, 35and performers7781, 127and rehearsal process614, 668, 194and realism2, 56, 26, 1989and reality40, 445, 50, 53, 59, 73, 75, 192, 198and reverberation39, 512, 57, 69, 73, 85and self-reflection612, 64, 6670as set designer4, 28, 55, 623, 64as sound designer28, 39n11, 55, 623, 64and spectator expectation6, 235, 35, 38and string lines689, 81and subjectivity14, 212, 1912and text234, 403, 5960, 701, 80, 85use of props28, 39, 55, 57, 59, 601, 1912use of The Voice28, 34, 39, 478, 5053, 64as writer28, 356, 48as writer/director33, 329, 1934writing process5, 28, 323, 467, 69, 1935Angelface; Eddie Goes to Poetry City; Lava; Old-Fashioned Prostitutes; Sophia = (Wisdom): Part 3: The Cliffs; Total Recall: Sophia = (Wisdom): Part 2framingunder Foreman and KempGassner, John5, 356Godard, Jean-Luc62Grotowski, Jerzy7, 212, 71, 121and Poor Theatre9, 71attitude of Foreman to2122influence on Australian theatre1920and performers212, 121Hedda Gabler1516The Hero’s Journey10001, 110The Hours168, 169hysteria1289, 35, 39, 175Ibsen, Hendrik1, 1516The Inhabited Man1323, 156, 180, 18990and culture183, 185, 193inspiration for177, 17880staging of1812, 1878and technology156, 178, 1857and use of audio-visuals184, 1879, 190and use of language17983, 1868The Inhabited Woman1323, 1757, 18990cultural influences168, 1702, 175, 177, 193and feminism16870inspiration for16971and Shelton, Leisa16774, 175, 177, 179, 189and popular culture1756technology, effects of156, 1689, 176use of voice-over1724, 177writing of170, 1724Jealousy14850, 172journey, motif of8790, 10010, 126, 128, 1923, 1989journeysdreams and90, 93, 96, 121The Hero’s Journey10001, 110mythic89, 101, 106, 11415, 121psychic11, 29, 823, 84Kemp, Jenny2, 4, 78, 10, 11112, 121acting career7, 84and arc of work83, 901, 100, 109, 129background68, 11, 30, 835and character256, 121, 1279and collaboration83, 1227, 1623deconstruction of central character823, 87, 110, 1279and Delvaux, Paul85, 91n7, 93n8, 10814, 130as director8990, 91, 10002, 11423dreams108and journeys90, 93, 96, 121in scripts7, 29, 82, 90, 93, 10102exploration of inner landscape845, 93, 11011exploration of inner life29, 30, 823, 96, 109, 128and feminism27, 118focus on female protagonist2930, 82, 95, 1923, 1989and framing85, 867and The Hero’s Journey10001, 110influences835influence on Murphet910journey, motif of8790, 10010, 126, 128, 1923, 1989journeys, mythic89, 101, 106, 11415, 121journeys, psychic11, 29, 823, 84and language30, 89, 939, 10407, 114, 127, 12930and language registers30, 93102, 10408, 12930and Meldrum, Robert7, 11617, 121and meaning-making85, 110motivation1011, 29, 30, 1945and multiple voices87, 901, 958and multi-dimensional woman29, 823, 93, 10208, 127and parcels of material85, 901, 10102, 109, 129, 195and performer11617, 1213, 12530reflection in99, 114, 1223in rehearsal4, 83, 93, 109, 1223, 12430silence in113, 115, 116staging of work49n19, 93, 1256stillness in89, 106, 113, 116, 11922and storyboards867, 10810, 11314, 130and subjectivity89, 126, 1923train, motif of923and visual art835, 86, 1923and waiting112, 11617, 1213writing and images30, 108, 1923writing process54, 86, 10001, 1934as writer/director7, 23, 83, 1234, 1934The Black Sequin Dress; Call of the Wild; Madeleine; Still AngelaKemp, Roger6, 83, 845, 110Kraigher, Alenka78n29, 7980languagedramatic realist22, 23‘epileptic’23, 54, 13347, 158, 1935filmic36, 138, 142and Foreman41, 4652, 5960and Kemp30, 89, 939, 10407, 114, 127, 12930and Murphet1338, 143, 156, 15767, 175, 1802‘nervous’ performance of54, 136, 160, 180theatre23n13, 41, 76, 133, 1378, 181language registers30, 93102, 10408, 12930Lava32, 4952, 64and Category Three47, 512and metaphor467and ‘packages of material’52, 54, 85n5use of The Voice in28, 478, 503LeCompte, Elizabeth3, 33Lehmann, Hans-Thies1, 2, 1819, 23, 171, 181The Letter1478literature2, 1415, 17, 224, 53, 128minor3, 10, 191, 1935The Living Theatre6, 401, 76Madeleine7, 83, 102n10Manheim, Kate78mass media21, 3031and popular culture17, 31, 175, 185meaning40, 534, 578, 65, 77construction of75, 1389, 150levels of71, 85, 110, 138, 151meaning-making235, 49, 65and Foreman36, 469, 514, 578, 71, 79and Kemp85, 110and Murphet138, 151and spectator perception51, 524, 75, 1389, 150Mekas, Jonas5, 6, 36, 40Meldrum, Robert7, 11617, 121melodrama301, 1478, 176metaphor84, 167, 179, 187in Foreman39n11, 469, 54, 56and meaning-making467Mignon, Jean-Pierre89‘minor’ art3, 10, 191, 193, 194‘mise-en-page’91, 1556modernism13, 14, 1718, 2021, 256late223, 26, 27, 31, 1323in theatre26, 367, 48, 54and modernist realism1415romantic1622, 401, 84, 132, 1478, 156in theatre23, 1718, 196molecular approach32, 439, 52and spectator perception49, 745Müller, Heiner23, 24, 33Multiple Personality Disorder1023, 132, 1578, 1602multiple selves823, 1617, 177multiple voices87, 901, 958Murphet, Richard2, 4, 810, 246, 1556, 1757and ‘black hole’1335, 140, 1424and character30, 131, 139, 140and collaboration16775, 177, 179, 189and cultural influences1011, 3031, 1313, 175, 193and cultural interference1313, 16770, 176, 1778, 183and death1404, 147, 148, 151deconstruction of central character3031, 1313, 144, 15767, 1637epileptic experience132, 1346, 139, 1467, 151‘epileptic’ writing23, 54, 1368, 158, 163, 1935and epilepsy1315, 13841, 146, 1578, 199and film noir301, 131, 133, 139, 1425, 176influences on910, 131, 1478, 199ac/dc1378Carroll, Noel44n15, 1389, 176film13840, 142, 1767Robbe-Grillet, Alain14851, 172The Three Faces of Eve1578, 1601and language1338, 143, 156, 15767, 175, 1802and meaning-making138, 151multiple selves823, 1627, 177and subjectivity13940, 1567, 1613, 193and technology156, 1689, 176, 178, 1847as writer1346, 144, 155, 172, 180Dolores in the Department Store; The Inhabited Man; The Inhabited Woman; Quick Death; Slow Love;myth29, 57, 10001, 110, 147mythic journeys89, 101, 106, 11415, 121nature of being3743neo-conservatism2021New American Cinema movement5, 6New Wave film, French3, 62, 120, 142, 148, 151New Wave, theatre21Old-Fashioned Prostitutes324, 55, 61, 72, 73and deconstruction of central character1912directing of71, 74and meaning534and performers7981rehearsals32, 619, 71, 748, 801, 1912and subjectivity912and string lines689Ontological-Hysteric Theater6, 2728, 35The Open Theatre1718, 76‘packages of material’52, 54, 85n5Paradise Now1718, 412, 48‘parcels’ of material85, 901, 10102, 109, 129, 195perceptionspectator perceptionThe Performance Group1718, 76performance theory1112performer26, 146, 171and collaboration64, 7980, 83, 12630and Foreman52, 612, 65, 68, 712, 7781, 127and Kemp107, 1167, 12130and The Living Theatre40, 41multiple, for one role90, 12830, 1627and Murphet139, 146, 1601, 181non-actors as7880, 127role of26, 7781spectator, relationship with17, 71, 789, 123, 1701training for7, 116, 171physics28, 39n11, 60, 6970, 73, 93Quick Death3031, 1314, 145cultural influences144, 1467, 193and destruction of autonomous self156, 157epilepsy and1324, 1402and ‘epileptic’ writing1934and filmic language138, 176influence of film noir139, 1424, 176staging of138, 144, 146, 1556writing of138, 144, 158, 180Quick Death to InfinityQuick Deathrealism12, 1416, 256anti-realism2, 15, 268, 129, 130, 62, 1945in Foreman34, 39, 194in Kemp823, 912, 989, 1989dramatic16, 1416, 218, 129, 130, 191and late modernism216, 31, 191, 198reality40, 445, 50, 53, 59, 73, 75, 192, 198reflection99, 114, 1223‘reverberation chamber’57, 69, 73, 85Robbe-Grillet, Alain106, 14851, 172romance132, 1478, 156melodrama301, 1478, 176romantic modernism1622, 401, 84, 132, 1478, 156Running, Walking, Standing Still1212science, influence of28, 34, 39n11, 40, 60, 6970, 73, 93set design4, 28, 55, 623, 71Shelton, Leisa1646, 175, 177, 179, 189and feminist approach16870as performer16774, 170, 171, 177silence36, 113, 115, 116, 195Slow Love150, 151, 1557, 180and ‘epileptic’ writing1934and film176and framing1513and Romance132, 1478, 156, 176staging of148, 155writing of14757, 158, 172Sophia = (Wisdom): Part 3: The Cliffs32, 39, 44, 45sound design4, 28, 39n11, 55, 625, 124spectator expectation389, 45, 634, 1389, 146spectator experience5, 16, 25, 26, 146and Foreman40, 48, 51, 65, 79, 190and Kemp126, 130and Murphet132, 134, 139spectator involvement76, 148150spectator perception36, 445, 512, 678, 79, 123, 139in Foreman35, 44, 49, 51, 534, 57, 745and meaning-making51, 524, 75, 1389, 150and molecular approach44, 49, 745need to recalibrate245, 47, 167, 191shifting of6, 2325, 35, 534, 57Stasis Group7, 19, 21, 116Stein, Gertrude435influence on Foreman2, 56, 28, 436Still Angela30, 11821and ‘field-in-time,’11819stillness89, 106, 113, 116, 11922, 156, 170Still Angelastoryboards867, 10810, 11314, 130subjectivity14, 1913cultural influence on1313, 193in Foreman212, 1912in Kemp89, 126, 1923in Murphet13940, 1567, 1613, 193need for updating212, 1913Surrealism14, 845, 110technology22, 30, 132, 178, 1845in The Inhabited Man156, 178, 1857in The Inhabited Woman156, 1689, 176The Three Faces of Eve1578, 1601theatre22, 26, 27, 41, 181, 199late modernist216, 367, 48, 54postdramatic theatre1, 2, 45, 16, 48, 196and Brecht, Bertolt1819realist15, 1416, 25, 129, 130, 191anti-realism under realismtime45, 88, 93, 115, 11719, 1213, 196in Foreman367, 445, 57in Kemp93, 98, 10002, 115, 117, 120social989, 100, 11516, 12021, 123and space51, 60, 701, 88and Stein, Gertrude434‘vertical’100, 11718, 1201Time-Image93, 101Total Recall: Sophia = (Wisdom): Part 232, 38, 412, 43train, image of923, 10910, 113, 115, 118Victorian College of the Arts (vca)9, 163visual textstoryboardsvoice-over64, 889, 1724, 177voices, multiple87, 901, 958Wilson, Robert3, 4, 6, 33influence on Kemp11, 123The Wooster Group6, 33writerForeman as28, 356, 48Kemp as54, 945, 989Murphet as1348, 144, 14760, 1634, 170, 1724, 180and training for6, 3536, 46storyboardswriter/director1, 34, 10, 23, 1938influence of film26, 28, 3031, 13840Foreman as33, 329, 1934Kemp as7, 23, 83, 1234, 1934Murphet as148, 155, 16370, 179Also see auteur

Acts of Resistance in Late-Modernist Theatre

Writing and Directing in Contemporary Theatre Practice

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