Journal Articles

Permanent URI for this collectionhttps://mro.massey.ac.nz/handle/10179/7915

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Has files: YesSubject: search.filters.subject.1904 Performing Arts and Creative Writing

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    Dreaming of Shakespeare in Palestine
    (Taylor & Francis (Routledge), 25/05/2015) Hazou RT
    In September 2011, I travelled to the Palestinian Occupied Territories to participate in an internship with the Al Kasaba Theatre in Ramallah. As part of my internship I was invited to attend rehearsals of 'A Midsummer Night’s Dream' with students of the Drama Academy Ramallah. Directed by Samer Al-Saber, with movement and choreography by Petra Barghouthi, the production premiered as a work in progress in Palestine before touring to Essen, Germany, where it was presented as part of an Intercultural Shakespeare Festival organised by Folkwang University. In this paper I draw on post-colonial theory to offer some observations about the various strategies of syncretisation that the production seemed to employ in order to localise, indigenise or ‘Palestinian-ise’ Shakespeare’s text. My analysis will attempt to illuminate some of the Palestinian cultural specificity introduced by the syncretic approach as well as offer some assessment of the potential and unintended impact that this approach might have engendered.
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    Postgraduate writing for publication workshops: Preparation for the past or for the future?
    (2013) Comer KV; Clement J; Brogt E; Obel C
    This article demonstrates the potential for postgraduate writing for publication workshops to foster increased research outputs alongside improved writing abilities. The authors explore some consequences of a national research evaluation framework of universities in New Zealand, and discuss how postgraduate student feedback led to the piloting of publication workshops. The approaches and successes of these workshops are explored. In arguing for support for such workshops with respect to their demonstrated benefits for participants in New Zealand and elsewhere, the authors also note the need to focus greater attention on the future employment of postgraduates.
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    Cute studies
    (UTS ePRESS, 2014) Duncan PK
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    Performing Te Whare Tapa Whā: Cultural Rights and Decolonising Corrections
    (Taylor and Francis Group, 2021-08) Hazou R; Woodland S; Ilgenfritz P
    Ngā Pātū Kōrero: Walls That Talk (2019) is a documentary theatre production staged by incarcerated men at Unit 8 Te Piriti at Auckland Prison in Aotearoa New Zealand. The performance was built around Te Whare Tapa Whā (The House of Four Sides) – a model of Māori health that participants engaged with as part of their therapy for being convicted of sex offences. This article discusses the use of masks in performance and the significance of Te Whare Tapa Whā as a dramaturgical device. What insights for decolonising prison theatre practices can be advanced by building on foundations of cultural rights?
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    Carcerality, Theatre, Rights: Editorial
    (Taylor and Francis Group, 2021-08) Woodland S; Hazou R
    Threatened with ever-increasing levels of surveillance and confinement, this special issue attempts to extend the discussion of Prison Theatre to consider ‘carcerality’ as a pervasive neoliberal strategy. The issue aims to steer the discussion away from considerations of utility and the aesthetics of redemption, towards understandings of the arts in carceral spaces as a fundamental human right. What role can theatre and performance play in highlighting the rights of those experiencing state-sponsored control, confinement and exclusion? And what role can theatre and performance play in challenging the exclusionary structures of carcerality by enhancing freedoms, liberty and inclusion?
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    ‘Beaumont’s The Knight of the Burning Pestle and the Menace of the Authoring Audience’
    (Humanities Research Centre, Sheffield Hallam University, 2018) Angus W
    Francis Beaumont’s play, The Knight of the Burning Pestle (1607) stages a disjunction between interpretation and legitimate authority, centred around an audience which is empowered partly by the threat of informing. As a contrast, Ben Jonson’s onstage audiences are often allowed only ridiculous or overblown reactions, a kind of instructional dysfunction, while remaining entirely under the control of the author. In The Knight of the Burning Pestle however, the onstage audience are allowed a much more actively intrusive role, as they attempt to hold sway over the writing and production of the play they inhabit. Beaumont’s onstage citizens therefore stage an authorship which feels itself to be under siege by a far more unruly form of audience empowerment and signify the fear of of venal interpretation and misheld authority. The end result is a theatrical form which accurately reproduces the critical atmosphere of the drama and of the material context of its production. In offering this Beaumont reveals the precarious nature of his own authority in relation to that of a potentially informing audience. His metadrama therefore registers, in both form and content, the solid fear that ‘unseemly speeches . . . mistaking the Author’s intention’ by informers may lead not only to ‘unkind reports’, but also ultimately to the horrors of the early modern gaol.
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    Intimate economies of development: Mobility, sexuality and health in Asia
    (Taylor & Francis (Routledge): SSH Titles, 2017-03) Andersen BA