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In: Body Show/s
Australian viewings of live performance
Volume Editor:
Body Show/s: Australian Viewings of Live Performance asks: in what ways do physical bodies in live performance present vital and compelling expressions of ideas?
This collection contains critical analyses of cultural spectacle and social identity by eighteen major Australian scholars and practitioners. It discusses and describes bodies in contemporary performance, theatre, visual art and dance; in circus and ethnographic shows; in performance training, butoh and wrestling; at gay and lesbian dance parties; and in relation to digital images. It explores historical and theoretical issues of gender and postcoloniality, technology, and the location of bodies in architectural, social and virtual spaces.
Artistes and groups discussed include Sydney Front, Open City, The Performance Space, Meryl Tankard’s Australian Dance Theatre, Chrissie Parrott, the Bell Shakespeare Company, Tess De Quincey, Yumi Umiumare, Gilgul Theatre, Lyndal Jones, Stelarc, Death Defying Theatre, colonial circus, ethnographic displays, the horse as performer, and wrestling legends Gorgeous George and Ravishing Ricky Rude.
Author:

This chapter considers the form and content of Circus Oz shows over the past decade, with a detailed description of the 1999 show in Munich, and an outline of the changes made to the 2000 show in London, followed by comparative descriptions of the 2005 show in London and the 2009 show in Melbourne. The current cultural significance of the company in its presentation of body-based arts is explored. In addition, the discussion outlines some changes in the background of performers joining the company over the decade, which are indicative of wider artistic patterns.

In: Catching Australian Theatre in the 2000s
Author:

This chapter considers the form and content of Circus Oz shows over the past decade, with a detailed description of the 1999 show in Munich, and an outline of the changes made to the 2000 show in London, followed by comparative descriptions of the 2005 show in London and the 2009 show in Melbourne. The current cultural significance of the company in its presentation of body-based arts is explored. In addition, the discussion outlines some changes in the background of performers joining the company over the decade, which are indicative of wider artistic patterns.

In: Catching Australian Theatre in the 2000s
In: Our Australian Theatre in the 1990s