{"id":1588,"date":"2016-08-18T09:00:11","date_gmt":"2016-08-17T21:00:11","guid":{"rendered":"http:\/\/sites.massey.ac.nz\/expressivearts\/?p=1588"},"modified":"2016-08-18T09:38:11","modified_gmt":"2016-08-17T21:38:11","slug":"1588","status":"publish","type":"post","link":"https:\/\/sites.massey.ac.nz\/expressivearts\/2016\/08\/18\/1588\/","title":{"rendered":"NUTS NZ Newsletter #11"},"content":{"rendered":"

Editorial<\/h1>\n

Welcome to eleventh edition of\u00a0NUTS NZ\u00a0<\/strong>\u2013 the Newsletter for University Theatre Studies New Zealand. The purpose of the newsletter is to help us\u00a0communicate more effectively as a community of scholars interested in Theatre and Performance. We have an interesting selection of stories and items for you in our third issue for 2016. In this issue, in our “NUTS People” segment, we profile Nicola Hyland and Lekan Balogun.\u00a0We have also included\u00a0information on Professor Peter O\u2019Connor inaugural professorial lecture titled “Pedagogies of Surprise: \u00a0The joy and art of teaching.” \u00a0We are also promoting the Augusto Boal Applied Theatre Workshop; it is an intensive workshop held in Auckland on the weekend of the 2nd and 3rd of September. \u00a0We have quite a range of performances (past and upcoming) to showcase along with an update from the ADSA Awards and Murray Edmond’s latest publication. \u00a0Further to this, we have added a segment about Victor Rodger’s Latest project FCC. Rodger is this year’s Robert Burns Fellow at the University of Otago.\u00a0We plan to circulate our twelfth edition of\u00a0NUTS\u00a0NZ\u00a0on the 11th of November, and we will need items of news by the 28th of October (especially an academic and\u00a0 postgraduate student\u00a0to\u00a0 showcase). As always, submissions should be sent to the NUTS NZ editor Jane Marshall:\u00a0\u00a0j.g.marshall@massey.ac.nz<\/a><\/p>\n

Kind regards,
\nNUTS NZ editors: Jane Marshall and Rand Hazou.<\/p>\n\n\n\n\n
Newsletter Issue\u00a0<\/strong><\/td>\nInformation Required by\u00a0<\/strong><\/td>\nDate of Circulation<\/strong><\/td>\n<\/tr>\n
\u00a0Issue 12<\/td>\n28\u00a0October 2016<\/td>\n11 November 2016<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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NUTS People<\/h2>\n

\"SONY<\/a><\/h2>\n

Nicola Hyland<\/h3>\n

Research:<\/strong> My recent research is mostly about ways of looking at contemporary M\u0101ori performance using ideas and values from Te Ao M\u0101ori. I write about performances that I feel really strongly about; shows that make me angry or electrified. I also dabble in a bit of performance studies, researching events and encounters outside of the theatre using post-colonial and critical race theory angles. That\u2019s where Beyonc\u00e9 comes into it.<\/p>\n

Theatre:\u00a0<\/strong>A few goodies were Red Leap\u2019s\u00a0Dust Pilgrim,\u00a0<\/em>Te Rehia\u2019s\u00a0Solotello\u00a0<\/em>and\u00a0Mana Wahine\u00a0<\/em>by Okareka Dance theatre. That show was the business.<\/p>\n

Reading:<\/strong>\u00a0<\/strong>I just finished\u00a0A Brief History of Seven Killings<\/em>\u00a0by Marlon James, set around the attempted assassination of Bob Marley. I\u2019m reading a script in development about love and mountain climbing in Wanaka. Plus a bunch of plays and strategic reports from the \u201cstuff I\u2019m working on\u201d box.<\/p>\n

\u00a0\"lekan\"<\/a><\/h3>\n

Lekan Balogun<\/h3>\n

Research:<\/strong> My research and background are in the areas of script writing and directing, Mask performance and Yoruba ritual and aesthetics, especially in the aspects of comparative studies with other world religions. In my ongoing PhD research in the field of postcolonial Shakespeare adaptation, I am applying that knowledge to explore the cultural and political relevance of a range of adaptations of Shakespeare, drawn from across the globe. I classify these works (some familiar but previously read differently) as Orisa, a term which describes both\u00a0Yoruba arts and religion. As part of the research, I will also develop a new adaptation of\u00a0Julius Caesar<\/em>, which examines present-day socio-political situation in my country, Nigeria.<\/p>\n

Theatre:\u00a0<\/strong>I saw two plays at Circa Theatre\u00a0recently courtesy of the British Council in Wellington:\u00a0King Lear<\/em>, starring Ray Henwood as King Lear, and\u00a0as directed by Michael Hurst; and\u00a0SolOthello<\/em>by Regan Taylor.\u00a0While I wasn’t disappointed with the first at all because the directing was good and actors really great, Regan’s one-man interpretation of Shakespeare’s\u00a0Othello\u00a0<\/em>was\u00a0awesome.<\/p>\n

Reading:\u00a0<\/strong>At the moment I am reading Alexander Leggatt’s\u00a0Shakespeare’s Political Drama;\u00a0<\/em>Michael Hattaway (ed)\u00a0The Cambridge Companion to Shakespeare’s History Plays<\/em>; and Alun Munslow & Robert, A. Rosenstone (eds)\u00a0Experiments with Rethinking History<\/em>, in order to guide the writing of my adaptation of Shakespeare’s\u00a0Julius Caesar<\/em>.<\/p>\n

Upcoming Lectures<\/h2>\n

Professor Peter O\u2019Connor inaugural professorial lecture: “Pedagogies of Surprise: \u00a0The joy and art of teaching.”<\/strong><\/p>\n

Hosted by the University of Auckland, Faculty of Education and Social Work<\/p>\n

Peter O\u2019Connor\u2019s inaugural professorial lecture is a celebration of excellence in research undertaken by one of the Faculty of Education and Social Work\u2019s most recently appointed professors. Professor Peter O\u2019Connor is an internationally recognised expert in applied theatre and drama education. His work focuses on the difference that creativity can make in the lives of the disenfranchised and marginalised in our communities. Peter is the founding director of Everyday Theatre<\/em>, a national theatre in education programme on preventing family violence and child abuse, and the Teaspoon of Light Theatre Company<\/em>.<\/p>\n

When: Tuesday, 20 September 2016 from 6:00 PM to 8:00 PM. 6pm Drinks reception | 7pm Inaugural lecture<\/p>\n

Where: Neon Foyer, Faculty of Engineering – 20 Symonds Street, Auckland, Auckland 1010<\/p>\n

https:\/\/www.eventbrite.co.nz\/e\/professor-peter-oconnors-inaugural-professorial-lecture-tickets-26159652224<\/a><\/p>\n

Workshops<\/h2>\n

APPLIED THEATRE: TWO DAY INTENSIVE WORKSHOP.<\/h4>\n

AUGUSTO BOAL METHODOLOGY & THEATRE OF THE OPPRESSED<\/h4>\n

“We are all actors: being a citizen is not living in society, it is changing it.\u201d Augusto Boal (1931-2009).<\/p>\n

DAY 1 \u2022 Introduction to Boal \u2022 Warm Ups \u2022 Acting for Non-Actors \u2022 Introduction to Image Theatre DAY 2 \u2022 Warm Ups \u2022 Introduction of The Joker \u2022 Application of Image Theatre \u2022 Organisational Setting Practice \u2022 Joker Practice Skott Taylor is a trained actor, director and musician with a specialisation in theatre and development from Concordia University, Montreal, Canada. Skott is the founder and director of NewSeed Creative Consulting which focuses on working with companies to align their purpose driven cultural vision and business strategy through theatre-based engagement techniques. With over 12 years of experience in China, Hong Kong and Taiwan Skott has teamed up with Fiona Mogridge & Co. of Auckland, New Zealand to develop and deliver programs to both for-profit and non-profit companies around Asia and New Zealand. Learn the methodology of Augusto Boal’s theatre of the oppressed alongside actors trained in theatre and specific Boal techniques. This is an intensive two day programme of professional development which introduces you to the history and technique of Boal work, with the added focus on how you can use these techniques with people in various settings. The interest and positive feedback from their last workshop at TAPAC has meant a return this year with a specific focus on applied techniques for work in the community and organisations. You may be an artist, a facilitator, a teacher, or work across social and organisational development, or simply someone interested to explore and learn. Join Skott and Fiona on a journey of discovery to build your skill in using these techniques for effective group work.<\/p>\n

Date: Friday 2nd and Saturday 3rd September 2016<\/p>\n

Location: TAPAC, 100 Motions Road, Auckland, New Zealand<\/p>\n

Price: $300 (artist rate applies)<\/p>\n

Booking: www.tapac.org.nz (Masterclasses & Workshops) Information: Please email – fiona@creativebusiness.co.nz<\/p>\n

Performances<\/h2>\n

Frankenstein in The Gym<\/em><\/p>\n

The Free Theatre Christchurch’s recent season.<\/p>\n

Below is a link to some reviews of the season.
\nhttp:\/\/www.freetheatre.org.nz\/frankenstein.html<\/a><\/p>\n

\"FTC1\"<\/a><\/p>\n

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“Finely balances spectacle, performance and audience engagement”<\/span><\/a><\/strong><\/em>
\nErin Harrington, Theatreview, 18 June 2016<\/p>\n

“Free Theatre’s latest offering “completely mad””<\/span><\/a><\/strong><\/em>
\nGeorgina Stylianou, The Press, 18 June 2016<\/p>\n

\"FTC3\"<\/a><\/p>\n

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Love and Information-\u00a0<\/em>By Caryl Churchill<\/h3>\n

Directed by Rachel Lenart for “Modern Drama,”\u00a0Massey University, Palmerston North Campus,\u00a0June 2016<\/p>\n

\"LoveAndInfo-17\"<\/a><\/p>\n

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\u201cWhat do you think? Is it better to know things or not know things\u201d<\/p>\n

Massey\u2019s 300 level paper, Modern Drama involves the study of six plays from the late nineteenth century to today. The plays chosen for study all significantly shifted the perceptions of theatre of their time, many revolutionising the form entirely. This year, after six weeks of study, Palmerston North students faced a tough question, which play would we take into production. The choice was entirely theirs. The class staged a dramaturgical debate where the ideas were vigorously explored. Brecht\u2019s Mother Courage and Her Children went head to head against O\u2019Neill\u2019s The Hairy Ape but the overwhelming support was behind Caryl Churchill\u2019s 2012 play; Love and Information. Through passion and reason, team Churchill rallied the rest and pulled voters to their side. And so, the 2016 Modern Drama production process began.<\/p>\n

Love and Information is a dense and daring text. It redefines tradition concepts of narrative, it disregards character development, favouring ideas. A bombardment of ideas, issues, feelings. With a team of two student dramaturgs, we began to dissect this play and its themes and musicality, its richness and its humanity. The play is divided into seven sections, each containing seven scenes. It is presented as screeds of unattributed dialogue. Churchill stipulates that while each section must be performed in order, the scenes within them should be shifted around as preferred by the company. The play ends with a final scene, that must conclude it, called Facts. In this scene, a series of facts are questioned and answered, again by unspecified voices. An amazing 11th<\/sup> hour discovery by a student dramaturg, revealed that none of these facts are true!<\/p>\n

Each student took on both a production and a performance role in this project, from design to publicity and stage management with a vision focussed by the dramatrugs and director. It was a thrilling, intense and thoroughly rewarding process.<\/p>\n

\u201cOutstanding Ensemble\u201d- Richard Mayes, Tribune.<\/p>\n

\"LoveAndInfo-48\"<\/a><\/p>\n

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Upcoming Performances at The University of Auckland<\/h3>\n

The University of Auckland has a season of 5 postgraduate productions by MA students coming up in October, including work by Beth Kayes, Kayleigh Haworth, Anton Antsiferov and Rachel Longshaw-Park.<\/p>\n

Flow, Create, Connect – Victor Rodger’s Latest Entity.<\/h3>\n

Award-winning playwright and this years Robert Burns Fellow at the University of Otago, Victor Rodger,\u00a0started monthly play readings in Auckland last year. These readings are of diverse plays that were mostly unproduced in New Zealand under the umbrella of his entity FCC (Flow, Create Connect). \u00a0Calling on a combination of veterans and newcomers, the results have been threefold: to give diverse practitioners a chance to deal with well-written complex roles that they are generally not getting in mainstream productions;\u00a0 to expose audiences to these largely unfamiliar\u00a0 texts; and to ultimately stage some of these plays in professional productions.\u00a0 The readings began last year with John Kneubuhl’s Think of a Garden<\/em> and have since included plays such as\u00a0 Sugar Mummies<\/em> by Tanika Gupta, Yellow Face<\/em> by David Henry Hwang and Barbecue<\/em> by Robert O’Hara. There have also been readings in Sydney, Christchurch, Wellington and Dunedin.\u00a0 The first FCC reading to go on and receive a full production was Puzzy<\/em> by Hawaiian-Filipina writer Kiki (co-written with Rodger).\u00a0 It debuted at The Basement this year to critical acclaim. The next FCC reading to go into full production will be Tusiata Avia’s Wild Dogs Under My Skirt<\/em> at the Mangere Arts Centre next month. See the flyer below.<\/p>\n

Wild Dogs Under My Skirt<\/em><\/h3>\n

\"wild<\/a><\/p>\n

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ADSA Awards Update<\/h2>\n

NZ theatre scholars were well-represented at the ADSA awards this year. \u00a0Nicola Hyland won the Marlis Thiersch Prize for the best published article or chapter for her article: \u201cBeyonc\u00e9\u2019s Response (eh?): Feeling in\u00a0Ihi\u00a0<\/em>of Spontaneous Haka Performance in Aotearoa\/New Zealand\u201d in\u00a0TDR: The Drama Review<\/em>\u00a059(1): 67 \u2013 82. \u00a0Marianne Schultz was given an honourable mention for\u00a0her 2015 article:\u00a0\u201cA \u2018Harmony of Frenzy\u2019: Maori in Manhattan, 1909-10\u201d in\u00a0Theatre Journal\u00a0<\/em>67(3): 445 \u2013 464.<\/p>\n

Ex-pat Diana Looser won the Rob Jordan Prize for Best Monograph for\u00a0Remaking Pacific Pasts: History, Memory and Identity in Contemporary Theatre from Oceania\u00a0<\/em>Honolulu: University of Hawai\u2019i Press 2014. \u00a0Emma Willis was named runner up for Emma Willis,\u00a0Theatricality, Dark Tourism and Ethical Spectatorship: Absent Others\u00a0<\/em>US and UK: Palgrave Macmillan 2014.<\/p>\n

Recent Publications<\/h2>\n

Murray Edmond has an article in the forthcoming\u00a0Journal of New Zealand Literature<\/em>\u00a0about playwriting in New Zealand from 1975 to 2000:\u00a0\u2018Not Much to Do Except Watch Each Other\u2019s Lives Unfold: Playwriting 1975-2000 in Aotearoa.\u2019<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Editorial Welcome to eleventh edition of\u00a0NUTS NZ\u00a0\u2013 the Newsletter for University Theatre Studies New Zealand. The purpose of the newsletter is to help us\u00a0communicate more effectively as a community of scholars interested in Theatre and Performance. We have an interesting selection of stories and items for you in our third issue for 2016. In this […]<\/p>\n","protected":false},"author":66,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[101,100,109,13],"tags":[],"class_list":["post-1588","post","type-post","status-publish","format-standard","hentry","category-events","category-news","category-nuts-nz-newsletter","category-theatre"],"_links":{"self":[{"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/posts\/1588","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/users\/66"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/comments?post=1588"}],"version-history":[{"count":22,"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/posts\/1588\/revisions"}],"predecessor-version":[{"id":1620,"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/posts\/1588\/revisions\/1620"}],"wp:attachment":[{"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/media?parent=1588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/categories?post=1588"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.massey.ac.nz\/expressivearts\/wp-json\/wp\/v2\/tags?post=1588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}