In order to get more accurate results, our search has the following Google-Type search functionality:
If you use '+' in front of a word, then that word will be present in the search results.
ex: Harry +Potter will return results with the word 'Potter'.
If you use '-' in front of a word, then that word will be absent in the search results.
ex: Harry -Potter will return results without the word 'Potter'.
If you use 'AND' between two words, then both of those words will be present in the search results.
ex: Harry AND Potter will return results with both 'Harry' and 'Potter'.
If you use 'OR' between two words, then bth of those words may or may not be present in the search results.
ex: Harry OR Potter will return results with just 'Harry', results with just 'Potter' and results with both 'Harry' and 'Potter'.
If you use 'NOT' before a word, then that word will be absent in the search results.
ex: Harry NOT Potter will return results without the word 'Potter'.
Placing '""' around words will perform a phrase search. The search results will contain those words in that order.
ex: "Harry Potter" will return any results with 'Harry Potter' in them, but not 'Potter Harry'.
Using '*' in a word will perform a wildcard search. The '*' signifies any number of characters. Searches can not start with a wildcard.
ex: Pot*er will return results with words starting with 'Pot' and ending in 'er'. In this case, 'Potter' will be a match.
PUBLISHED JULY 2008
Has our theatre failed our newest writers? Those first- and second-generation immigrants who speak another language at home? Their diversity makes Australia a rich land with a wealth of stories, but how much reaches our stages? Chris Mead traces the growth through the 1980s that saw the overthrow of inherited traditions and a flowering of immigrant writing and Indigenous performers. But where are the plays today? Getting a play on stage is hard for any writer. For writers of diverse backgrounds it is almost impossible. But others have done it. The United Kingdom has transformed its cultural attitudes. In New Zealand, Pacific Islanders make theatre on their own terms. It is time to discard the old methods and begin again, writes Mead, PlayWriting Australia has embarked on an ambitious community program to place creativity at the centre of daily life. Mainstream theatre is urged to join the outreach. It is a delicate task needing money and persistence—a job for the whole of society, because it is about who we are.
Dr Chris Mead is founding artistic director of PlayWriting Australia, the national playwriting advocacy body, which fosters new writing from first draft to full production. His career has included festival director of World Interplay, Literary Manager of Company B Belvoir St Theatre, and producer of the Sydney Theatre Company's Wharf 2LOUD developmental program.
PUBLISHED JULY 2008
Has our theatre failed our newest writers? Those first- and second-generation immigrants who speak another language at home? Their diversity makes Australia a rich land with a wealth of stories, but how much reaches our stages? Chris Mead traces the growth through the 1980s that saw the overthrow of inherited traditions and a flowering of immigrant writing and Indigenous performers. But where are the plays today? Getting a play on stage is hard for any writer. For writers of diverse backgrounds it is almost impossible. But others have done it. The United Kingdom has transformed its cultural attitudes. In New Zealand, Pacific Islanders make theatre on their own terms. It is time to discard the old methods and begin again, writes Mead, PlayWriting Australia has embarked on an ambitious community program to place creativity at the centre of daily life. Mainstream theatre is urged to join the outreach. It is a delicate task needing money and persistence—a job for the whole of society, because it is about who we are.
Dr Chris Mead is founding artistic director of PlayWriting Australia, the national playwriting advocacy body, which fosters new writing from first draft to full production. His career has included festival director of World Interplay, Literary Manager of Company B Belvoir St Theatre, and producer of the Sydney Theatre Company's Wharf 2LOUD developmental program.