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Up Top/Down Low: Devising and Higher Education in Aotearoa New Zealand and Canada

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References

  1. 25th Street Theatre ( 1982), Paper Wheat: The Book, Saskatoon:: Western Producer Prairie Books;.
     [Google Scholar]
  2. Amery, Mark . ( 2007), ‘Who owns devised work?’, Theatreview, https://www.theatreview.org.nz/forum/topic.php?Id=51. Accessed 4 May 2022.38
  3. Banks, Hannah Joyce . ( 2018), A Stage of Our Own: Women Devising Theatre in Aotearoa New Zealand, Victoria: Victoria University of Wellington.
  4. Barnet, David (2020), personal e-mail, 18 June. .
  5. Barnet, David ,, Nicholls, Sandy , and Selman, Jan . ( 2015), Interview with James McKinnon, 9 October.
  6. Barton, Bruce . ( 2008), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;.
     [Google Scholar]
  7. Beauchamp, Hélène . ( 1993;), ‘ Theatre research as (theatrical) practice: Recognizing theatre for young audiences. ’, Theatre Research in Canada/Recherches Théâtrales Au Canada, 14:2, pp. 178–95.
     [Google Scholar]
  8. Beauchamp, Hélène , and Raymond, Yves . ( 2005), Les théâtres de création au Québec, en Acadie et au Canada français, Montreal:: VLB;.
     [Google Scholar]
  9. Bessai, Diane . ([1992] 2008), ‘ Collective creation: Its background and Canadian developments (excerpt). ’, in B. Barton. (ed.), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;, pp. 63–76.
     [Google Scholar]
  10. Boates, Costa . ( 2013), ‘Blerta Revisited: perspective’, essay, NZ on Screen., https://www.nzonscreen.com/title/blerta-revisited-2001/background. Accessed 4 May 2022.
  11. Burton, Rebecca . ( 2019;), ‘ Equity, diversity, and inclusion in Canadian theatre here and now: Part 1: Playwrights guild of Canada and its women's caucus. ’, Alt.Theatre: Cultural Diversity & the Stage, 15:2, p. 16.
     [Google Scholar]
  12. Canadian Broadcasting Corp ( 2012), ‘Vancouver Playhouse Theatre Company to Shut Down’, CBC.ca, 9 March, https://www.cbc.ca/news/canada/british-columbia/vancouverplayhouse- theatre-company-to-shut-down-1.1290304. Accessed 4 May 2022.
  13. Clayton, John Douglas . ( 1997), ‘ Touching solitudes: Chekhov in Canada, 1926–1980. ’, in J. D. Clayton . (ed.), Chekhov Then and Now: The Reception of Chekhov in World Culture, New York:: Peter Lang;, pp. 151–72.
     [Google Scholar]
  14. Dale, Judith . ( 1991;), ‘ Women's theatre and why. ’, Australasian Drama Studies, 18 April, pp. 159–82.
     [Google Scholar]
  15. Dunlop, Sue . ( 2006), ‘The role of women in the culture and context of a developing New Zealand theatre 1920–1950’, M. A. Thesis, Victoria: Victoria University of Wellington.
  16. Edmond, Murray . ( 1991;), ‘ Lighting out for paradise: New Zealand theatre and the “other” tradition. ’, Australasian Drama Studies, 18, pp. 183–206.
     [Google Scholar]
  17. Edmond, Murray . ( 2007), ‘ Re-membering the remembering body: “Autonomous Theatre” in New Zealand’, in M. Maufort and D. O'Donnell (eds). , Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition, Brussels:: Peter Lang;, pp. 45–68.
     [Google Scholar]
  18. Filewod, Alan . ([1982] 2008) ‘ Collective creation: Process, politics and poetics. ’, in B. Barton . (ed.), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;, pp. 1–13.
     [Google Scholar]
  19. Filewod, Alan . ( 1987), Collective Encounters: Documentary Theatre in English Canada, Toronto:: University of Toronto Press;.39
     [Google Scholar]
  20. Filewod, Alan . ( 1989;), ‘ The marginalization of the Canadian popular theatre alliance in the discourse of Canadian theatre history. ’, Theatre History in Canada/Histoire Du Théâtre Au Canada, 10:2, pp. 200–06.
     [Google Scholar]
  21. Filewod, Alan . ( 2011), Committing Theatre: Theatre Radicalism and Political Intervention in Canada, Toronto:: Between the Lines;.
     [Google Scholar]
  22. Freeman, Barry . ( 2009;), ‘ Navigating the Prague-Toronto-Manitoulin Theatre Project: A postmodern ethnographic approach to collaborative intercultural theatre. ’, Theatre Research in Canada, 30:1/2, pp. 58–81.
     [Google Scholar]
  23. ‘Free Theatre Christchurch’, Christchurch, New Zealand, http://www.freetheatre.org.nz. Accessed 4 May 2022.
  24. Govan, Emma ,, Nicholson, Helen , and Normington, Katie . ( 2007), Making a Performance: Devising Histories and Contemporary Practices, New York:: Routledge.;
    [Google Scholar]
  25. Heddon, Deirdre , and Milling, Jane . ( 2006), Devising Performance: A Critical History, New York:: Palgrave Macmillan;.
     [Google Scholar]
  26. ‘Hen's Teeth’ ( 2017), Wellington, New Zealand, https://hensteeth.co.nz/. Accessed 4 May 2022.
  27. Howell, Rosie and Porter, Imogen ( 2008), ‘Biography: Anna Marbrook’, New Zealand on Screen, https://www.nzonscreen.com/profile/anna-marbrook/biography. Accessed 4 May 2022.
  28. Johns, Ted . (ed.) ( 1976), The Farm Show, Toronto:: Coach House Books;.
     [Google Scholar]
  29. Johnston, Denis . ( 1990), Up The Mainstream: The Rise of Toronto's Alternative Theatres, Toronto:: University of Toronto Press;.
     [Google Scholar]
  30. Johnston, Mel . ( 2001), ‘ Six hearts that beat as one. ’, Playmarket Annual, 26:10, Wellington:: Playmarket;.
     [Google Scholar]
  31. Johnstone, Keith . ( 1979), Impro: Improvisation and the Theatre, London:: Routledge;.
     [Google Scholar]
  32. Keck, Jennifer Marguerite . ( 1995), Making work: Federal Job Creation Policy in the 1970s, Dissertation, Department of Social Work;, University of Toronto, Toronto:.
     [Google Scholar]
  33. Kidd, Ross . ( 1984a;), ‘ Popular theatre and nonformal education in the third world: Five strands of experience. ’, International Review of Education / Internationale Zeitschrift Für Erziehungswissenschaft / Revue Internationale de l'Education, 30:3, p. 265.
     [Google Scholar]
  34. Kidd, Ross . ( 1984b;), ‘ Reclaiming culture: Indigenous performers take back their show. ’, Canadian Journal of Native Studies, 4:1, pp. 105–20.
     [Google Scholar]
  35. Kouka, Hone . ( 1999), Ta Matou Mangai = Our Own Voice, Wellington:: Victoria University Press.;
    [Google Scholar]
  36. Looker, Benjamin . ( 2020;), ‘ Staging diaspora, dramatizing activism: Fashioning a progressive Filipino Canadian Theatre in Toronto, 1974–2001. ’, Journal of Canadian Studies/Revue d’études Canadiennes, 53:2, pp. 423–65.
     [Google Scholar]
  37. MacArthur, Michelle , and Wessels, Anne . ( 2016), ‘ “And By the Way, Miss …”: Devising as a multi-generational feminist practice. ’, in H. Fitzsimmons Frey . (ed.), Ignite: Illuminating Theatre for Young People, Toronto:: Playwrights Canada Press;, pp. 87–101.
     [Google Scholar]
  38. Maunder, Paul . ( 2013), Rebellious Mirror: Community-Based Theatre in Aotearoa/New Zealand, Christchurch:: Canterbury University Press;.40
     [Google Scholar]
  39. Nightwood Theatre ( 1993), ‘ This is for you, Anna’. , in A. Filewod. (ed.), The CTR Anthology: Fifteen Plays from Canadian Theatre Review, Toronto:: University of Toronto Press;.
     [Google Scholar]
  40. O'Donnell, David . ( 2014), ‘Devised Theatre in New Zealand – A timeline’, Unpublished.
  41. O'Donnell, David . ( 2019), Interview with Nicola Hyland, Unpublished.
  42. Olaogun, Modupe . ( 2008), ‘ Cosmopolitan time and intercultural collective collaboration. ’, in B. Barton . (ed.), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;, pp. 231–41.
     [Google Scholar]
  43. Royal, Jeremy , and Campbell, Russell . ( 1987;), ‘ Hakas & Jasmine. ’, Illusions, 6, pp. 9–15.
     [Google Scholar]
  44. Salutin, Rick ,, Thompson, Paul , and Theatre Passe Murraille . ( 1974), in J. Wasserman . (ed.), 1837 : The Farmers’ Revolt. In Modern Canadian Plays, , 4th ed.., Vancouver:: Talonbooks;.
     [Google Scholar]
  45. Scott, Shelley . ( 2005), ‘ Enacting This is for You, Anna: Re-enacting the collective process. ’, in B. Barton . (ed.), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;, pp. 136–51.
     [Google Scholar]
  46. Spite, Tim ( 2011), ‘Introduction – SEEyD’ in D. O'Donnell (ed.), No. 8 Wire: 8 Plays/8 Decades, Wellington: Playmarket, pp. 225 –27.
  47. Thomas, Waugh, Thomas, Baker, Michael Brendan and Winton, Ezra ( 2010), Challenge for Change: Activist Documentary at the National Film Board of Canada, Montreal: McGill-Queen's University Press.
  48. Van Erven, Eugène . ( 1986;), ‘ Theatre and liberation: Political theatre in the Philippines. ’, Illusions, 3, pp. 6–11.
     [Google Scholar]
  49. Ward-Smythe, Kate . ( 2007), ‘Flawed but Touching Epic’, Theatreview, Wellington, New Zealand, http://theatreview.org.nz/reviews/review.php?id=617. Accessed 4 May 2022.

References

  1. 25th Street Theatre ( 1982), Paper Wheat: The Book, Saskatoon:: Western Producer Prairie Books;.
     [Google Scholar]
  2. Amery, Mark . ( 2007), ‘Who owns devised work?’, Theatreview, https://www.theatreview.org.nz/forum/topic.php?Id=51. Accessed 4 May 2022.38
  3. Banks, Hannah Joyce . ( 2018), A Stage of Our Own: Women Devising Theatre in Aotearoa New Zealand, Victoria: Victoria University of Wellington.
  4. Barnet, David (2020), personal e-mail, 18 June. .
  5. Barnet, David ,, Nicholls, Sandy , and Selman, Jan . ( 2015), Interview with James McKinnon, 9 October.
  6. Barton, Bruce . ( 2008), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;.
     [Google Scholar]
  7. Beauchamp, Hélène . ( 1993;), ‘ Theatre research as (theatrical) practice: Recognizing theatre for young audiences. ’, Theatre Research in Canada/Recherches Théâtrales Au Canada, 14:2, pp. 178–95.
     [Google Scholar]
  8. Beauchamp, Hélène , and Raymond, Yves . ( 2005), Les théâtres de création au Québec, en Acadie et au Canada français, Montreal:: VLB;.
     [Google Scholar]
  9. Bessai, Diane . ([1992] 2008), ‘ Collective creation: Its background and Canadian developments (excerpt). ’, in B. Barton. (ed.), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;, pp. 63–76.
     [Google Scholar]
  10. Boates, Costa . ( 2013), ‘Blerta Revisited: perspective’, essay, NZ on Screen., https://www.nzonscreen.com/title/blerta-revisited-2001/background. Accessed 4 May 2022.
  11. Burton, Rebecca . ( 2019;), ‘ Equity, diversity, and inclusion in Canadian theatre here and now: Part 1: Playwrights guild of Canada and its women's caucus. ’, Alt.Theatre: Cultural Diversity & the Stage, 15:2, p. 16.
     [Google Scholar]
  12. Canadian Broadcasting Corp ( 2012), ‘Vancouver Playhouse Theatre Company to Shut Down’, CBC.ca, 9 March, https://www.cbc.ca/news/canada/british-columbia/vancouverplayhouse- theatre-company-to-shut-down-1.1290304. Accessed 4 May 2022.
  13. Clayton, John Douglas . ( 1997), ‘ Touching solitudes: Chekhov in Canada, 1926–1980. ’, in J. D. Clayton . (ed.), Chekhov Then and Now: The Reception of Chekhov in World Culture, New York:: Peter Lang;, pp. 151–72.
     [Google Scholar]
  14. Dale, Judith . ( 1991;), ‘ Women's theatre and why. ’, Australasian Drama Studies, 18 April, pp. 159–82.
     [Google Scholar]
  15. Dunlop, Sue . ( 2006), ‘The role of women in the culture and context of a developing New Zealand theatre 1920–1950’, M. A. Thesis, Victoria: Victoria University of Wellington.
  16. Edmond, Murray . ( 1991;), ‘ Lighting out for paradise: New Zealand theatre and the “other” tradition. ’, Australasian Drama Studies, 18, pp. 183–206.
     [Google Scholar]
  17. Edmond, Murray . ( 2007), ‘ Re-membering the remembering body: “Autonomous Theatre” in New Zealand’, in M. Maufort and D. O'Donnell (eds). , Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition, Brussels:: Peter Lang;, pp. 45–68.
     [Google Scholar]
  18. Filewod, Alan . ([1982] 2008) ‘ Collective creation: Process, politics and poetics. ’, in B. Barton . (ed.), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;, pp. 1–13.
     [Google Scholar]
  19. Filewod, Alan . ( 1987), Collective Encounters: Documentary Theatre in English Canada, Toronto:: University of Toronto Press;.39
     [Google Scholar]
  20. Filewod, Alan . ( 1989;), ‘ The marginalization of the Canadian popular theatre alliance in the discourse of Canadian theatre history. ’, Theatre History in Canada/Histoire Du Théâtre Au Canada, 10:2, pp. 200–06.
     [Google Scholar]
  21. Filewod, Alan . ( 2011), Committing Theatre: Theatre Radicalism and Political Intervention in Canada, Toronto:: Between the Lines;.
     [Google Scholar]
  22. Freeman, Barry . ( 2009;), ‘ Navigating the Prague-Toronto-Manitoulin Theatre Project: A postmodern ethnographic approach to collaborative intercultural theatre. ’, Theatre Research in Canada, 30:1/2, pp. 58–81.
     [Google Scholar]
  23. ‘Free Theatre Christchurch’, Christchurch, New Zealand, http://www.freetheatre.org.nz. Accessed 4 May 2022.
  24. Govan, Emma ,, Nicholson, Helen , and Normington, Katie . ( 2007), Making a Performance: Devising Histories and Contemporary Practices, New York:: Routledge.;
    [Google Scholar]
  25. Heddon, Deirdre , and Milling, Jane . ( 2006), Devising Performance: A Critical History, New York:: Palgrave Macmillan;.
     [Google Scholar]
  26. ‘Hen's Teeth’ ( 2017), Wellington, New Zealand, https://hensteeth.co.nz/. Accessed 4 May 2022.
  27. Howell, Rosie and Porter, Imogen ( 2008), ‘Biography: Anna Marbrook’, New Zealand on Screen, https://www.nzonscreen.com/profile/anna-marbrook/biography. Accessed 4 May 2022.
  28. Johns, Ted . (ed.) ( 1976), The Farm Show, Toronto:: Coach House Books;.
     [Google Scholar]
  29. Johnston, Denis . ( 1990), Up The Mainstream: The Rise of Toronto's Alternative Theatres, Toronto:: University of Toronto Press;.
     [Google Scholar]
  30. Johnston, Mel . ( 2001), ‘ Six hearts that beat as one. ’, Playmarket Annual, 26:10, Wellington:: Playmarket;.
     [Google Scholar]
  31. Johnstone, Keith . ( 1979), Impro: Improvisation and the Theatre, London:: Routledge;.
     [Google Scholar]
  32. Keck, Jennifer Marguerite . ( 1995), Making work: Federal Job Creation Policy in the 1970s, Dissertation, Department of Social Work;, University of Toronto, Toronto:.
     [Google Scholar]
  33. Kidd, Ross . ( 1984a;), ‘ Popular theatre and nonformal education in the third world: Five strands of experience. ’, International Review of Education / Internationale Zeitschrift Für Erziehungswissenschaft / Revue Internationale de l'Education, 30:3, p. 265.
     [Google Scholar]
  34. Kidd, Ross . ( 1984b;), ‘ Reclaiming culture: Indigenous performers take back their show. ’, Canadian Journal of Native Studies, 4:1, pp. 105–20.
     [Google Scholar]
  35. Kouka, Hone . ( 1999), Ta Matou Mangai = Our Own Voice, Wellington:: Victoria University Press.;
    [Google Scholar]
  36. Looker, Benjamin . ( 2020;), ‘ Staging diaspora, dramatizing activism: Fashioning a progressive Filipino Canadian Theatre in Toronto, 1974–2001. ’, Journal of Canadian Studies/Revue d’études Canadiennes, 53:2, pp. 423–65.
     [Google Scholar]
  37. MacArthur, Michelle , and Wessels, Anne . ( 2016), ‘ “And By the Way, Miss …”: Devising as a multi-generational feminist practice. ’, in H. Fitzsimmons Frey . (ed.), Ignite: Illuminating Theatre for Young People, Toronto:: Playwrights Canada Press;, pp. 87–101.
     [Google Scholar]
  38. Maunder, Paul . ( 2013), Rebellious Mirror: Community-Based Theatre in Aotearoa/New Zealand, Christchurch:: Canterbury University Press;.40
     [Google Scholar]
  39. Nightwood Theatre ( 1993), ‘ This is for you, Anna’. , in A. Filewod. (ed.), The CTR Anthology: Fifteen Plays from Canadian Theatre Review, Toronto:: University of Toronto Press;.
     [Google Scholar]
  40. O'Donnell, David . ( 2014), ‘Devised Theatre in New Zealand – A timeline’, Unpublished.
  41. O'Donnell, David . ( 2019), Interview with Nicola Hyland, Unpublished.
  42. Olaogun, Modupe . ( 2008), ‘ Cosmopolitan time and intercultural collective collaboration. ’, in B. Barton . (ed.), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;, pp. 231–41.
     [Google Scholar]
  43. Royal, Jeremy , and Campbell, Russell . ( 1987;), ‘ Hakas & Jasmine. ’, Illusions, 6, pp. 9–15.
     [Google Scholar]
  44. Salutin, Rick ,, Thompson, Paul , and Theatre Passe Murraille . ( 1974), in J. Wasserman . (ed.), 1837 : The Farmers’ Revolt. In Modern Canadian Plays, , 4th ed.., Vancouver:: Talonbooks;.
     [Google Scholar]
  45. Scott, Shelley . ( 2005), ‘ Enacting This is for You, Anna: Re-enacting the collective process. ’, in B. Barton . (ed.), Collective Creation, Collaboration and Devising, , 1st ed.., Toronto:: Playwrights Canada Press;, pp. 136–51.
     [Google Scholar]
  46. Spite, Tim ( 2011), ‘Introduction – SEEyD’ in D. O'Donnell (ed.), No. 8 Wire: 8 Plays/8 Decades, Wellington: Playmarket, pp. 225 –27.
  47. Thomas, Waugh, Thomas, Baker, Michael Brendan and Winton, Ezra ( 2010), Challenge for Change: Activist Documentary at the National Film Board of Canada, Montreal: McGill-Queen's University Press.
  48. Van Erven, Eugène . ( 1986;), ‘ Theatre and liberation: Political theatre in the Philippines. ’, Illusions, 3, pp. 6–11.
     [Google Scholar]
  49. Ward-Smythe, Kate . ( 2007), ‘Flawed but Touching Epic’, Theatreview, Wellington, New Zealand, http://theatreview.org.nz/reviews/review.php?id=617. Accessed 4 May 2022.

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