by Julian Meyrick
Published 1st May READ MORE
JULIAN MEYRICK is Professor of Creative Arts, Flinders University and a theatre director and scholar. He has directed many award-winning productions, most recently the 2012 Helpmann winner, Angela’s Kitchen. He has published widely on Australian theatre, cultural policy and contemporary dramaturgy and is completing a series of case studies on the relationship between creative practice and arts funding.
The latest review praises the book's extensive research and thoughtful treatment of issues.
Published by Currency House
by Peter Tregear
PUBLISHED 1st FEBRUARY
Platform Paper 38
PETER TREGEAR is a prize-winning performer, author and music academic. A doctoral graduate of King’s College Cambridge, he has held teaching positions in both the UK and Australia. In July 2012 he was appointed Head of School and Professor of Music at the School of Music of the Australian National University.
PUBLISHED 1ST NOVEMBER
Lauren Carroll Harris
We will send you:
Body for Hire? The State of Dance in Australia
Platform Paper Issue#
PUBLISHED APRIL 2006
Once dancers joined ballet, modern dance groups or chorus lines and did what they were directed to do, writes Amanda Card. Today the art is more collaborative, at least in the contemporary dance field, but there are too many graduating students and little steady work, few auditions and decreasing opportunity for newcomers. The best dancers today are ‘bodies for hire’, those who are versatile, open-minded, independent and comfortable in every genre. Choreography has become a more democratic process in which dancers, choreographer and directors come to depend on each other. In her guide to the future of dance in Australia Amanda proposes the disbandment of failing dance company structures in favour of the free sharing of the talents of artists, members of a ‘super group’ under the management of creative producers or a new breed of artistic directors.
Dr Amanda Card spent her professional career as a dancer with Kinetic Energy, on the commercial dance circuit in Sydney, Japan and South-East Asia, and as a member of Human Veins Dance Theatre. She was the inaugural Chair of Critical Path, Sydney’s choreographic research and development centre. and currently teaches movement studies at the University of Sydney.
Published with the support of the Keir Foundation