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Last Updated: 30 Nov 11

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Anthony Newcastle

ANTHONY NEWCASTLE   

Nationality:   Australian    Email:   n/a   Website:   n/a

Literary Agent:  n/a

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Plays by Anthony Newcastle

Only Gammon

1st Produced:

- - -

- - -

Company:

n/a

1st Published:

Playlab Press, 2002

ISBN/ASIN:

-

Music:

-

doollee no

#73736

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

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abebooks.co.uk

stageplays.com

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amazon.ca

Genre:

Play/Drama

Parts:

Male

-

Female

-

Parts other:

-

Notes:

written by Anthony Newcastle, Mike Dickinson, Nadine McDonald, Therese Collie

Synopsis:

From Australia's first full-time and on-going indigenous theatre company come these texts that explore such potent themes as self-determination, reconciliation and the environment. With a Foreword by Jackie Huggins, a well-known and respected indigenous academic and activist, and an Introduction by Wesley Enoch, the founding Artistic Director of Kooemba Jdarra, this volume will not only entertain, inform and educate, it will also prove an invaluable resource in the years to come.

Further Reference:

-


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Yarnin' Up

1st Produced:

- - -

- - -

Company:

Kooemba Jdarra

1st Published:

in Only Gammon: Three Plays from Kooemba Jdarra, Playlab Press, Australia

ISBN/ASIN:

0908-156677

Music:

-

doollee no

#134367

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Play/Drama

Parts:

Male

-

Female

-

Parts other:

-

Notes:

written by Anthony Newcastle & Mike Dickinson

Synopsis:

n/a

Further Reference:

-


Top of Page Top of Page


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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.