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Events
Seminar Day 1 03 | Seminar Day 2 03 | Seminar Day 3: Contexts 04 | Dissection 04 | Seminar Day 4 05 | Research Seminar Series 05
'Research Seminar Series 05'
Wednesdays each month
Room 515, School of Creative Arts or Multi-function Room
Organised by: Alyson Campbell, Francesca Haig and Dr Peter Hill
This year SCAtharsis is running a monthly post-grad seminar series, with the aim of providing more opportunities for post-grads to present papers in a supportive environment. Alyson Campbell will coordinate this in partnership with Dr Peter Hill.
The format of these seminars, at least for Semester One, will be very flexible: you can present a polished paper that you are preparing for a conference and ask for detailed feedback, or you can present papers that might be in an early or developmental stage and see what ideas a discussion throws up. You can offer shorter papers and share a slot with someone else, or you can show practical work and discuss how you are dealing with practice as research. This is a series to provide the opportunity to present work and to receive the support and feedback you want at your particular stage of research. Our aim is to have sessions chaired by peers on a revolving basis. Towards the end of the semester I will seek your feedback to the seminar series to make sure the Semester Two series provides what you want.
These afternoon sessions will also be an opportunity for regularly meeting up with your fellow researchers, and it’s our hope that informal discussion can continue after the close of formal business in the environs of a nearby watering-hole.
Special Event: Panel on Practice-Driven Research
Thursday 2nd June 2005
4pm
Multifunction Room
1888 Building, University of Melbourne
Organised by: Alyson Campbell and Dr Peter Hill
We're ending the seminar series with a special postgrad/staff event. This is a panel session looking at the practice/theory nexus, followed by dinner at a local pizzeria. Hopefully those who finish work later will join us for dinner.
Chair: Dr Peter Hill (Visual Media)
Dr Barbara Bolt (Visual Media)
Dr Keven Brophy (Creative Writing)
Dr Peter Eckersall (Theatre studies)
Dr Peter Morse (Media and New Media)
PhD candidate Gary Willis (Visual Media)
Followed by dinner at Il Cacciatore (Pizza-A-Metro), corner Grattan and Drummond.
Seminar Series
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@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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