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SCAtharsis Aims:
1. To enhance the academic and professional life of SCA postgraduate students
2. To encourage social interaction of students within the Department
3. To provide academic support to fellow postgraduates and thus foster communication of research ideas and collaborations
4. To represent SCA postgraduate students to the Department, Faculty and University
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Events > Seminars
Monthly Seminar Presentations 2005: Semester 1
Wednesdays each month
Room 515, School of Creative Arts or Multi-function Room, Uni of Melb.
Organised by: Alyson Campbell, Francesca Haig and Peter Hill
Wednesday 11th May, Multi-function Room
Chaired by:
Presenter: Alina Hoyne
The Mediatisation of heritage: Performing the past without bodies
This paper traces the impact of mediatisation on living history reenactments through a critical examination of the dusk sound and light spectacle Blood on the Southern Cross: The Story of Eureka. Staged at Sovereign Hill Pioneer Village, Ballarat, Blood on the Southern Cross is a commercially successful production that utilises sound & light technology to assist in the narration of the 1854 Eureka Rebellion. Described as a “son et lumiere”, this performance is almost completely devoid of corporeality. According to the program the magic of the sound and light experience is that there are no actors. Instead, it is suggested, visitors can make the story “really live” through their imaginations. Engaging with the performance theories of Philip Auslander (1992 & 1999) and Johannes Birringer (1998), this paper looks at Blood on the Southern Cross as an example of mediatised heritage performance.
Presenter: Anny Mokotow
Is it Dance?
Dance and dance/theatre owes much to the integration of various media into what is now largely an interdisciplinary performance practice. This paper will look at the influence of diverse performance practices on the making and interpretation of contemporary dance. The performance Wolf, (2003) from Company Les C. de la B. directed by Alain Platel, will provide the framework through which to examine the intertexts that arise from these interactions. Wolf is considered a showcase for European post-modern dance/theatre, a practice that tries to exist in the highly competitive world of mainstream entertainment. In an intercultural Europe an interdisciplinary approach is advantageous; Les C. de la B. tries to accommodate this new modernity. Through an examination of this work it may be possible to identify some of the problems that face hybrid dance performance.
Wednesday 13th April, Multi-function Room
Chaired by: Ricci-Jane Adams
Presenter: Eddie Paterson
Performing Postmonologue: Karen Finley’s Plateau.
The tension between postmodernism and neo-conservative
politics accompanies a continuing drive towards global
capitalism and global culture. This investigation
reads the ‘performance’ of identity in the latter days of postmodernism, and concerns itself with the way in
which postmodernism, as an aesthetic form, repels, but
more importantly becomes entwined with the rise of
neo-conservative politics in the 1980s and 1990s. The
subsequent creation/acquisition of a postmodern
identity, and knowledge of why and how it is formed,
may therefore, enable a greater understanding of the
everyday transformations of self taking place in culture, politics and the contemporary climate in which we live.
The aim of this paper is to illustrate the
possibilities and problems associated with the
formation of such a postmodern identity. This will be
facilitated through textual and performance analysis
of the monologues of Karen Finley. Finley’s work Shut
Up and Love Me [Pub. 2000; performed in Melbourne,
2001] shall be read through the work of Gilles Deleuze
and Felix Guattari, in particular their theorisation
of a ‘molecular’, subjectivity in AntiOedipus [1983]
and A Thousand Plateaus [1987]. The art of Finley will
be described as a postmodern performance of self and
an expression of what I have titled ‘postmonologue’.
The ‘postmonologue’ self observed encompasses a
resistance to textual stability; an embrace of multiplicity in identity; a subjectivity dominated by irony and difference; and a postmodern politic which
investigates, satirises and struggles to put alternative narratives into mainstream neo-conservative cultural and political discourse.
Wednesday 11th May, room 515
Chaired by: Georgie Boucher
Presenter: Alina Hoyne
The Mediatisation of heritage: Performing the past without bodies
This paper traces the impact of mediatisation on living history reenactments through
a critical examination of the dusk sound and light spectacle Blood on the Southern
Cross: The Story of Eureka. Staged at Sovereign Hill Pioneer Village, Ballarat,
Blood on the Southern Cross is a commercially successful production that utilises
sound & light technology to assist in the narration of the 1854 Eureka Rebellion. Described as a ?son et lumiere?, this performance is almost completely devoid of corporeality. According to the program the magic of the sound and light experience is that there are no actors. Instead, it is suggested, visitors can make the story ?really live? through their imaginations.
Engaging with the performance theories of Philip Auslander (1992 & 1999) and Johannes Birringer (1998), this paper looks at Blood on the Southern Cross as an example of mediatised heritage performance.
Presenter: Anny Mokotow
Is it Dance?
Dance and dance/theatre owes much to the integration of various media into what is now largely an interdisciplinary performance practice.
This paper will look at the influence of diverse performance practices on the making and interpretation of contemporary dance. The performance Wolf, (2003) from Company Les C. de la B. directed by Alain Platel, will provide the framework through which to examine the intertexts that arise from these interactions. Wolf is considered a showcase for European post-modern dance/theatre, a practice that tries to exist in the highly competitive world of mainstream entertainment. In an intercultural Europe an interdisciplinary approach is advantageous; Les C. de la B. tries to accommodate this new modernity. Through an examination of this work it may be possible to identify some of the problems that face hybrid dance performance.
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Helpful Hint #2:
As a postgrad at the SCA you are allocated online hosting of a personalised
webpage. This is intended as a one-page overview of your academic profile and can
be easily stored in your personal folder on the School's server for uploading
by the IT Co-orindator. Such a page on the university web is an excellent way for people
who search the web for you or on topics you are researching to find your page, it offers a great opportunity for
making yourself known, and faciliates feedback from interested parties. See Dennis Claringbold
for details on how to set this up: 8344-8384, Rm: A220, d.claringbold [at] unimelb.edu.au
Helpful Hint #1:
Did you know that as a MCA and PhD
researcher you are allocated $300 and $500 respectively every year for buying books,
conference fees, purchasing art materials, whatever?! Ask your supervisor for details.
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