Three Plays For The Australian Stage Classic Reprint

Excerpt from Three Plays for the Australian Stage This selection from my later plays is arranged in chronological order. Excluding my first attempt at writing for the stage, "Tapu," a Maori Comic Opera, completed with the assistance of the late J. C. Williamson, during my engagement with him as literary secretary, and subsequently produced by him throughout Australasia, my talc of plays begins with "Ironside Penruddock," a Cromwellian romantic play. This was my only effort in romantic drama, and since then I have devoted myself to modern comedy. The first in this line was "The Tame Cat"; then followed in order, "The New Chum," a light comedy of the Maoriland backblocks; "The Wasters"; "Galahad Jones," a dramatisation of my novel of the same name; "Mrs. Pretty and the Premier"; and an Australian children's play. Another Australian comedy is now in the arduous process of being re-written. Meantime I have written about a dozen one-act comedies. "The Tame Cat" was produced in Sydney by an amateur organisation on July nth, 1908, and subsequently revived. "The Wasters" was produced by the Adelaide Literary (now Repertory) Theatre on August 27th, 1910. "Galahad Jones," written in 1910, has not yet been produced, nor has "Mrs. Pretty and the Premier," written in 1912, though it is down for presentation by the Melbourne Repertory Theatre this year. In each case the run of the play was for one consecutive night. One of my one-act plays has been produced five times by different organisations, including the Sydney Stage Society and the Adelaide Literary Theatre; another has had a matinee performance in London. A volume of these one-acters is in contemplation. These plays were written for the Australian Stage. One of the many drawbacks to their production is that there is no Australian Stage. These plays do not claim to be Repertory plays: they were written for the Australian commercial theatre-though it must be admitted that, so far, the controlling destinies of the Australian commercial stage have not quite grasped my intention. The reception, and rejection, of these comedies by various Australian theatrical managers has invariably been polite. The publication of these plays is not to be regarded as a claim for their consideration as literature, even dramatic literature. They were deliberately built for the commercial theatre, and, judged by the ethics of the theatrical manager, with some expert assistance from the box-office. they stand or fall. Their appearance in book-form is a mere formal filing of certain attempts to deal dramatically with Australian conditions viewed from an Australian standpoint by the creation of characters essentially Australian. They do not deal with the Bush. My conviction is that the Australian town-dweller is as typically and as distinctively national as the extinct bushranger. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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Contains the scripts of nine colonial plays, each script has been carefully edited or reconstructed from unique manuscripts or rare colonial printed editions.

Annotation " ... It is highly recommended to anyone who thinks they have a serious interest in the book ... or would like to discover to discover something of the complexity of the well-springs of the Australian psyche." Biblionews Paper Empires explores Australian book production and consumption from 1946 to the present day, using wide-ranging research, oral history and memoir to explore the worlds of book publishing, selling and reading. After 1945, Australian publishing went from a handful of fledgling businesses to the billion dollar industry of today with thousands of new titles each year and a vast array of imported books. Publishing's postwar expansion began with the baby boom and the increased demand for school texts, with independent houses blossoming during the 1960s and 70s followed by the current era dominated by global conglomerates.

Theatre Australia (Un)limited tells a truly national story of the structures of post-war Australian theatre: its artists, companies, financial and policy underpinnings. It gives an inclusive analysis of three 'waves' of Australian theatrical activity after 1953, and the types of organisations which grew up to support and maintain them. Subsidy, repertoire patterns, finances and administration, theatre buildings, companies, festivals and notable productions of the commercial, mainstream and alternative Australian theatre are examined state by state, and changes to governmental policy analysed. Theatrical forms comprise not only spoken-word drama, but also music theatre, comedy, theatre-restaurant, circus, puppetry, community theatre in several forms and new mixed-media genres: physical theatre, circus, visual theatre and contemporary performance. Theatre Australia (Un)limited is the first comprehensive overview of the fortunes of Australian theatre as a national enterprise, providing the industrial analysis of the 'three waves' essential for the understanding of the New Wave and of contemporary drama.

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Classical drama on the modern stage as a cultural and political phenomenon is scholarly trailed since the 1950s and 60s and intensified in the last third of the twentieth century. The evidence is being extensively documented, pioneered by Walton (1987) and McDonald (1992) and subsequently developed by collaborative research projects which include published databases. It is clear from the work of these projects that performance of classical drama is a major feature in all types of theatre – avant-garde and experimental, student, international and fringe, epic and classical, commercial, popular and canonical. This means that it is closely intertwined with the politics of locale, environment and geography as well as of language, translation and culture. Each of the essays has a specialised contribution to make. However, the total impact of the whole section will be even greater than the sum of the parts because the authors not only intersect in their discussions of common concerns in modern performance of ancient drama but also provide case studies that will add to the knowledge base and critical acumen of everyone working in the field.