Contemporary australian theatre essay

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Contemporary australian theatre essay

THE KING AND I background and analysis by Scott Miller Today, at the end of the millennium, many of the leaders and intellectuals of mainland China are wondering how their country can continue to modernize, to compete with the western nations, while still maintaining their cultural identity and traditions.

Many wonder if it is even possible.

Contemporary australian theatre essay

Shanghai, for instance, is a city split between the cultural pride and traditions of China and the developments and economic pressures of the west.

All of China faces difficulties in this area, as young Chinese covet designer consumer goods from the west and the yuppie lifestyle they see portrayed on American television, while the older generation worries about the decay of traditional morality and ethics.

This friction between east and west has resulted in a generation and culture gap in China far wider than anything America has ever faced. But this is not a new problem in Asia.

In fact, this is exactly the problem King Mongkut of Siam faced in the s -- how could he join the company of civilized nations, become respected and competitive among them, without losing the rich history and culture of his beloved Siam, without alienating his people who were not prepared to discard their simple but treasured way of life.

Joe Dolce - Wikipedia

In the s, Anna Leonowens, a widowed British schoolteacher was hired by King Mongkut to come to his country and teach his wives and children the English language and western culture. She wrote of her experiences in a two-volume memoir.

British stage star Gertrude Lawrence saw the film and decided the story would make a great musical, with her as Anna. Rodgers and Hammerstein, after some initial objections, agreed to write the show, now called The King and I.

Though Lawrence was supposed to be the lead, Yul Brynner became an immediate star playing the King when the show opened on Broadway in The film won six Oscars, including Best Actor for Brynner. By the time Brynner died of lung cancer he made the film with only one lunghe had played the role of the King on stage 4, times.

There was even, very briefly a few months ina television series based on the story, called Anna and the King, starring Yul Brynner, Samantha Eggar, and Keye Luke.

The King and I has been revived in New York in, with Brynnerfor Brynner's farewell performance after a long tourand The revival, directed by Australian Christopher Renshaw and starring Donna Murphy and Lou Diamond Phillips, was a radical re-examination of this show that was intelligent, sexy, and for many people, a genuine revelation.

Like other Rodgers and Hammerstein musicals, The King and I, is a classic and that had become its greatest handicap.

American directors and actors bring too much baggage and too much reverence to the piece, too many recollections of past productions and of the movie, of pop singers' overly soulful renditions of the "hit tunes.

Victoria Reichelt

Never before had a musical been built around two more complex, more passionate, more intellectually fascinating characters even Julie Jordan and Billy Bigelow, in Carousel, didn't have this complexity.

Yet because of the time in which the show was originally created and because of our over-familiarity with the story, these two characters had become sanitized, one-dimensional combatants, period-piece Rock 'em Sock 'em Robots, their sexual tension almost non-existent.

When Rodgers and Hammerstein wrote and produced the show intheir writing was too far ahead of the moralistic and artistic limitations of contemporary musical theatre. Actors still performed songs rather than acting them which wouldn't change until the early seven in serious musicals.

Songs still needed choreography even when there might be nothing to dance about "Getting to Know You," for example.inside.

THE KING AND I.

Contemporary australian theatre essay

background and analysis by Scott Miller Today, at the end of the millennium, many of the leaders and intellectuals of mainland China are wondering how their country can continue to modernize, to compete with the western nations, while still .

These are some of the many databases available to you as a member of Middletown Thrall Library: Artemis (now Gale Literary Sources) Searches the following databases (described below): Literature Criticism Online, Literature for Students, Literature Resource Center, and Something about the Author.

In sharp contrast to the brooding, restrained quietude and desolation that lie just below the surface of Working Girls, the metaphorical Dancing centers on sensual, stylized movement, a heightened sense of ebullience and theatricality, and emphatic points of emotional and physical contact.

NOW TAKING BOOKINGS FOR CONTEMPORARY ART ON THE ROAD + HOME Contemporary Art on the Road + Home (CAOTR+H) is a unique program that provides teachers access to artists and art experts from some of Melbourne’s leading art institutions.

Literature: Literature, a body of written works. The name has traditionally been applied to those imaginative works of poetry and prose distinguished by the intentions of their authors and the perceived aesthetic excellence of their execution.

It may be classified according to a variety of systems, including language and genre. Joseph Dolce (born October 13, ) (/ ˈ d oʊ l tʃ eɪ /, originally / ˈ d oʊ l t s /) is an American-Australian singer/songwriter, poet and essayist who achieved international recognition with his multi-million-selling song, "Shaddap You Face", released under the name of his one-man show, Joe Dolce Music Theatre, worldwide, in – The single reached number one in 15 countries.

Ern Malley - Wikipedia