Index
Note: page numbers in italics indicate an illustration. Indexed footnotes are shown as, for example, 123n4, which indicates footnote 4 on page 123.
A Doll’s House 1
,
15 –16
ac/dc 136 –7
actor see performer
Angelface 32
,
37 –8 44 –5
audience see spectator
Australian Nouveau Theatre (ant) 8 –9
Australian Performing Group (apg) 7
,
11 –13 25
and Brecht 18 –20
auteur 3 –4 19
and control 3 –6 32
,
61 –4 76 –8 123 –5 127
,
167 writer/director
avant-garde theatre 11
,
17
,
26
,
146
Brecht, Bertolt 18 –19
Brownian motion 48 –9
The Black Sequin Dress 49n19
,
104
,
111
,
113
,
123
,
128
,
129
and ‘field-in-time’ 117 –18
journey, motif of 87 –90 100 –01 105 –06 109 –110 114 –15
and language 103 –07
and multiple performers 87
,
90 –1
and Multiple Personality Disorder 102 –03 132
structural strategies 99 –102
and terror 91
,
106 –08 114
and text 87 –93
train, image of 92 –3 109 –10 113
use of images 88
,
89
,
91n7
,
93
and voice-over 88 –9
Call of the Wild 30
,
54
,
93 –9 113
,
125 –6
journey, motif of 96
,
120 –1
and time 117 –18 120 –21
writing of 54
,
94 –5 98 –9
Campbell, Joseph 100 –01 110
Carroll, Noel 44n15
,
138 –9 176
Cat on a Hot Tin Roof 1
character 2
,
16
,
25 –6 54
,
128
abandonment of 26
,
131
deconstruction of 24 –5 35 –6 49 –50 127 –9 131
,
140
in dramatic realism 1 –2 16
in Foreman 40 –1 50
,
61 –3 71
,
72
,
127
in Kemp 121
,
127 –9
in Murphet 30
,
131
,
139
,
140
cinema see film
The Cliffs see Sophia = (Wisdom): Part 3: The Cliffs
collaboration 3 –4 122 –3
and Drake, Elizabeth 125 –6
and Kemp 4
,
83
,
122 –7 162 –6
and Murphet 4
,
162 –3 168 Shelton, Leisa
cultural influence 4
,
31
,
57
,
144
,
146
,
156
,
193
in Murphet 133
,
156
,
161
,
167
,
182
on subjectivity 131 –3 193
cultural interpenetration 31
culture, popular 17
,
31
,
175
,
185
Dolores in the Department Store 132 –3 156
,
193
collaboration in 125 –6 164 –6
and deconstruction 163 –7
and fragmentation 159 –60
and Multiple Personality Disorder 157 –8 160 –2
multiple selves in 82 –3 162 –7 177
and performance language 159 –60
in rehearsal 163 –7
and The Three Faces of Eve 157 –8 160 –1
use of multiple performers 162 –3
writing of 158 –60 163 –4 172
deconstruction of central character 24 –5 35 –6 49 –50 140
,
195
in Foreman 32 –3 40
,
54
,
61 –2 64
,
81
,
191 –2
in Kemp 82 –3 87
,
110
,
127 –9
in Murphet 30 –31 131 –3 144
,
157 –67 163 –7
Delvaux, Paul 85
,
91n7
,
93n8
,
110 –14 130
direction 5
,
24
,
54
,
60 –1 33 –4 54 auteur; writer/director
disintegration of character see deconstruction of central character
dissolution of character see deconstruction of central character
dreams, in Kemp
and journeys 90
,
93
,
96
,
121
in scripts 7
,
28
,
82
,
93
,
101
,
161
Eddie Goes to Poetry City 32
,
47 –50 65 –6 74
,
80
,
192
directing style 55 –9 62
and meaning-making 48 –9 57 –8
and ‘other world’ 57 –8
epilepsy 131 –5 138 –42 146
,
157 –8 199
epileptic experience 132
,
134 –6 139
,
146 –7 151
,
163
‘epileptic’ writing 23
,
54
,
133 –47 158
,
193 –5
expressionism, abstract 6
,
83
,
84
,
110
feminism 27
,
168 –70
‘field-in-time’ 117 –18
film 36
,
44
,
124
,
125
,
148
,
150 –1
influence on writer/directors 2 –6 28
,
30 –31 138 –40
influence on Foreman 33
,
36 –7 40
,
44
,
62
film, romantic 30 –1 147 –8 156 –7 Slow Love
and sustained time 115 –16 117
film noir 30 –1 131
,
133
,
139
,
142 –6 176 Quick Death
Foreman, Richard 4 –6 10
,
21
,
24 –5 194 –5
as auteur 28
,
62 –3 123 –4 192
compositional process 73 –4 80 –1
and control 4
,
6
,
62 –4 76 –7
critiques of 76 –7
deconstruction of central character 32 –4 40
,
54
,
61 –2 64
,
81
,
191 –2
as director 28
,
32 –9 47 –8 54 –61 64 –5 72
and film 5
,
6
,
36 –7 40
framing of action and objects 40
,
44
,
59
,
68 –70 72 –4 80
,
172
and Grotowskian approach 21 –2
and hysteria 28 –9 35
,
39
influence on Murphet 9 –10
influences on 5 –6 18
,
28
,
35 –7 75
science 28
,
34
,
39n11
,
40
,
60
,
70 –71 73
,
93
Stein, Gertrude 2
,
5 –6 28
,
43 –6
and language 41
,
46 –52 59 –60
and meaning 51
,
53 –4 65
,
71
,
77
and the molecular 32
,
43 –9 52
Ontological-Hysteric manifestos 43 –4 51
Ontological-Hysteric Theater 6
,
27 –8 35
and performers 77 –81 127
and rehearsal process 61 –4 66 –8 194
and realism 2
,
5 –6 26
,
198 –9
and reality 40
,
44 –5 50
,
53
,
59
,
73
,
75
,
192
,
198
and reverberation 39
,
51 –2 57
,
69
,
73
,
85
and self-reflection 61 –2 64
,
66 –70
as set designer 4
,
28
,
55
,
62 –3 64
as sound designer 28
,
39n11
,
55
,
62 –3 64
and spectator expectation 6
,
23 –5 35
,
38
and string lines 68 –9 81
and subjectivity 1 –4 21 –2 191 –2
and text 23 –4 40 –3 59 –60 70 –1 80
,
85
use of props 28
,
39
,
55
,
57
,
59
,
60 –1 191 –2
use of The Voice 28
,
34
,
39
,
47 –8 50 –53 64
as writer 28
,
35 –6 48
as writer/director 33
,
32 –9 193 –4
writing process 5
,
28
,
32 –3 46 –7 69
,
193 –5 Angelface; Eddie Goes to Poetry City; Lava; Old-Fashioned Prostitutes; Sophia = (Wisdom): Part 3: The Cliffs; Total Recall: Sophia = (Wisdom): Part 2
framing see under Foreman and Kemp
Gassner, John 5
,
35 –6
Godard, Jean-Luc 62
Grotowski, Jerzy 7
,
21 –2 71
,
121
and Poor Theatre 9
,
71
attitude of Foreman to 21 –22
influence on Australian theatre 19 –20
and performers 21 –2 121
Hedda Gabler 15 –16
The Hero’s Journey 100 –01 110
The Hours 168
,
169
hysteria 128 –9 35
,
39
,
175
The Inhabited Man 132 –3 156
,
180
,
189 –90
and culture 183
,
185
,
193
inspiration for 177
,
178 –80
staging of 181 –2 187 –8
and technology 156
,
178
,
185 –7
and use of audio-visuals 184
,
187 –9 190
and use of language 179 –83 186 –8
The Inhabited Woman 132 –3 175 –7 189 –90
cultural influences 168
,
170 –2 175
,
177
,
193
and feminism 168 –70
inspiration for 169 –71
and Shelton, Leisa 167 –74 175
,
177
,
179
,
189
and popular culture 175 –6
technology, effects of 156
,
168 –9 176
use of voice-over 172 –4 177
writing of 170
,
172 –4
Jealousy 148 –50 172
journey, motif of 87 –90 100 –10 126
,
128
,
192 –3 198 –9
journeys
dreams and 90
,
93
,
96
,
121
The Hero’s Journey 100 –01 110
mythic 89
,
101
,
106
,
114 –15 121
psychic 11
,
29
,
82 –3 84
Kemp, Jenny 2
,
4
,
7 –8 10
,
111 –12 121
acting career 7
,
84
and arc of work 83
,
90 –1 100
,
109
,
129
background 6 –8 11
,
30
,
83 –5
and character 25 –6 121
,
127 –9
and collaboration 83
,
122 –7 162 –3
deconstruction of central character 82 –3 87
,
110
,
127 –9
and Delvaux, Paul 85
,
91n7
,
93n8
,
108 –14 130
as director 89 –90 91
,
100 –02 114 –23
dreams 108
and journeys 90
,
93
,
96
,
121
in scripts 7
,
29
,
82
,
90
,
93
,
101 –02
exploration of inner landscape 84 –5 93
,
110 –11
exploration of inner life 29
,
30
,
82 –3 96
,
109
,
128
and feminism 27
,
118
focus on female protagonist 29 –30 82
,
95
,
192 –3 198 –9
and framing 85
,
86 –7
and The Hero’s Journey 100 –01 110
influences 83 –5
influence on Murphet 9 –10
journey, motif of 87 –90 100 –10 126
,
128
,
192 –3 198 –9
journeys, mythic 89
,
101
,
106
,
114 –15 121
journeys, psychic 11
,
29
,
82 –3 84
and language 30
,
89
,
93 –9 104 –07 114
,
127
,
129 –30
and language registers 30
,
93 –102 104 –08 129 –30
and Meldrum, Robert 7
,
116 –17 121
and meaning-making 85
,
110
motivation 10 –11 29
,
30
,
194 –5
and multiple voices 87
,
90 –1 95 –8
and multi-dimensional woman 29
,
82 –3 93
,
102 –08 127
and parcels of material 85
,
90 –1 101 –02 109
,
129
,
195
and performer 116 –17 121 –3 125 –30
reflection in 99
,
114
,
122 –3
in rehearsal 4
,
83
,
93
,
109
,
122 –3 124 –30
silence in 113
,
115
,
116
staging of work 49n19
,
93
,
125 –6
stillness in 89
,
106
,
113
,
116
,
119 –22
and storyboards 86 –7 108 –10 113 –14 130
and subjectivity 89
,
126
,
192 –3
train, motif of 92 –3
and visual art 83 –5 86
,
192 –3
and waiting 112
,
116 –17 121 –3
writing and images 30
,
108
,
192 –3
writing process 54
,
86
,
100 –01 193 –4
as writer/director 7
,
23
,
83
,
123 –4 193 –4 The Black Sequin Dress; Call of the Wild; Madeleine; Still Angela
Kemp, Roger 6
,
83
,
84 –5 110
Kraigher, Alenka 78n29
,
79 –80
language
133 –8 143
,
156
,
157 –67 175
,
180 –2
dramatic realist 22
,
23
‘epileptic’ 23
,
54
,
133 –47 158
,
193 –5
filmic 36
,
138
,
142
and Foreman 41
,
46 –52 59 –60
and Kemp 30
,
89
,
93 –9 104 –07 114
,
127
,
129 –30
‘nervous’ performance of 54
,
136
,
160
,
180
theatre 23n13
,
41
,
76
,
133
,
137 –8 181
language registers 30
,
93 –102 104 –08 129 –30
Lava 32
,
49 –52 64
and Category Three 47
,
51 –2
and metaphor 46 –7
and ‘packages of material’ 52
,
54
,
85n5
use of The Voice in 28
,
47 –8 50 –3
LeCompte, Elizabeth 3
,
33
Lehmann, Hans-Thies 1
,
2
,
18 –19 23
,
171
,
181
The Letter 147 –8
literature 2
,
14 –15 17
,
22 –4 53
,
128
minor 3
,
10
,
191
,
193 –5
The Living Theatre 6
,
40 –1 76
Madeleine 7
,
83
,
102n10
Manheim, Kate 78
mass media 21
,
30 –31
and popular culture 17
,
31
,
175
,
185
meaning 40
,
53 –4 57 –8 65
,
77
construction of 75
,
138 –9 150
levels of 71
,
85
,
110
,
138
,
151
meaning-making 23 –5 49
,
65
and Foreman 36
,
46 –9 51 –4 57 –8 71
,
79
and Kemp 85
,
110
and Murphet 138
,
151
and spectator perception 51
,
52 –4 75
,
138 –9 150
Mekas, Jonas 5
,
6
,
36
,
40
Meldrum, Robert 7
,
116 –17 121
melodrama 30 –1 147 –8 176
metaphor 84
,
167
,
179
,
187
in Foreman 39n11
,
46 –9 54
,
56
and meaning-making 46 –7
Mignon, Jean-Pierre 8 –9
‘minor’ art 3
,
10
,
191
,
193
,
194
‘mise-en-page’ 91
,
155 –6
modernism 1 –3 14
,
17 –18 20 –21 25 –6
late 22 –3 26
,
27
,
31
,
132 –3
in theatre 26
,
36 –7 48
,
54
and modernist realism 14 –15
romantic 16 –22 40 –1 84
,
132
,
147 –8 156
in theatre 2 –3 17 –18 196
molecular approach 32
,
43 –9 52
and spectator perception 49
,
74 –5
Müller, Heiner 23
,
24
,
33
Multiple Personality Disorder 102 –3 132
,
157 –8 160 –2
multiple selves 82 –3 161 –7 177
multiple voices 87
,
90 –1 95 –8
Murphet, Richard 2
,
4
,
8 –10 24 –6 155 –6 175 –7
and ‘black hole’ 133 –5 140
,
142 –4
and character 30
,
131
,
139
,
140
and collaboration 167 –75 177
,
179
,
189
and cultural influences 10 –11 30 –31 131 –3 175
,
193
and cultural interference 131 –3 167 –70 176
,
177 –8 183
and death 140 –4 147
,
148
,
151
deconstruction of central character 30 –31 131 –3 144
,
157 –67 163 –7
epileptic experience 132
,
134 –6 139
,
146 –7 151
‘epileptic’ writing 23
,
54
,
136 –8 158
,
163
,
193 –5
and epilepsy 131 –5 138 –41 146
,
157 –8 199
and film noir 30 –1 131
,
133
,
139
,
142 –5 176
influences on 9 –10 131
,
147 –8 199
ac/dc 137 –8
Carroll, Noel 44n15
,
138 –9 176
film 138 –40 142
,
176 –7
Robbe-Grillet, Alain 148 –51 172
The Three Faces of Eve 157 –8 160 –1
and language 133 –8 143
,
156
,
157 –67 175
,
180 –2
and meaning-making 138
,
151
multiple selves 82 –3 162 –7 177
and subjectivity 139 –40 156 –7 161 –3 193
and technology 156
,
168 –9 176
,
178
,
184 –7
as writer 134 –6 144
,
155
,
172
,
180 Dolores in the Department Store; The Inhabited Man; The Inhabited Woman; Quick Death; Slow Love;
myth 29
,
57
,
100 –01 110
,
147
mythic journeys 89
,
101
,
106
,
114 –15 121
nature of being 37 –43
neo-conservatism 20 –21
New American Cinema movement 5
,
6
New Wave, theatre 21
Old-Fashioned Prostitutes 32 –4 55
,
61
,
72
,
73
and deconstruction of central character 191 –2
directing of 71
,
74
and meaning 53 –4
and performers 79 –81
rehearsals 32
,
61 –9 71
,
74 –8 80 –1 191 –2
and subjectivity 91 –2
and string lines 68 –9
Ontological-Hysteric Theater 6
,
27 –28 35
The Open Theatre 17 –18 76
‘packages of material’ 52
,
54
,
85n5
Paradise Now 17 –18 41 –2 48
‘parcels’ of material 85
,
90 –1 101 –02 109
,
129
,
195
perception see spectator perception
The Performance Group 17 –18 76
performance theory 11 –12
performer 26
,
146
,
171
and collaboration 64
,
79 –80 83
,
126 –30
and Foreman 52
,
61 –2 65
,
68
,
71 –2 77 –81 127
and Kemp 107
,
116 –7 121 –30
and The Living Theatre 40
,
41
multiple, for one role 90
,
128 –30 162 –7
and Murphet 139
,
146
,
160 –1 181
non-actors as 78 –80 127
role of 26
,
77 –81
spectator, relationship with 17
,
71
,
78 –9 123
,
170 –1
training for 7
,
116
,
171
physics 28
,
39n11
,
60
,
69 –70 73
,
93
Quick Death 30 –31 131 –4 , 145
cultural influences 144
,
146 –7 193
and destruction of autonomous self 156
,
157
epilepsy and 132 –4 140 –2
and ‘epileptic’ writing 193 –4
and filmic language 138
,
176
influence of film noir 139
,
142 –4 176
staging of 138
,
144
,
146
,
155 –6
writing of 138
,
144
,
158
,
180
Quick Death to Infinity see Quick Death
realism 1 –2 14 –16 25 –6
anti-realism 2
,
15
,
26 –8 129
,
130
,
62
,
194 –5
in Foreman 34
,
39
,
194
in Kemp 82 –3 91 –2 98 –9 198 –9
dramatic 1 –6 14 –16 21 –8 129
,
130
,
191
and late modernism 21 –6 31
,
191
,
198
reality 40
,
44 –5 50
,
53
,
59
,
73
,
75
,
192
,
198
reflection 99
,
114
,
122 –3
‘reverberation chamber’ 57
,
69
,
73
,
85
Robbe-Grillet, Alain 106
,
148 –51 172
romance 132
,
147 –8 156
melodrama 30 –1 147 –8 176
romantic modernism 16 –22 40 –1 84
,
132
,
147 –8 156
Running, Walking, Standing Still 121 –2
science, influence of 28
,
34
,
39n11
,
40
,
60
,
69 –70 73
,
93
set design 4
,
28
,
55
,
62 –3 71
Shelton, Leisa 164 –6 175
,
177
,
179
,
189
and feminist approach 168 –70
as performer 167 –74 170
,
171
,
177
silence 36
,
113
,
115
,
116
,
195
Slow Love 150
,
151
,
155 –7 180
and ‘epileptic’ writing 193 –4
and film 176
and framing 151 –3
and Romance 132
,
147 –8 156
,
176
staging of 148
,
155
writing of 147 –57 158
,
172
Sophia = (Wisdom): Part 3: The Cliffs 32
,
39
,
44
,
45
sound design 4
,
28
,
39n11
,
55
,
62 –5 124
spectator expectation 38 –9 45
,
63 –4 138 –9 146
spectator experience 5
,
16
,
25
,
26
,
146
and Foreman 40
,
48
,
51
,
65
,
79
,
190
and Kemp 126
,
130
and Murphet 132
,
134
,
139
spectator involvement 76
,
148 150
spectator perception 36
,
44 –5 51 –2 67 –8 79
,
123
,
139
44
,
49
,
74 –5
in Foreman 35
,
44
,
49
,
51
,
53 –4 57
,
74 –5
and meaning-making 51
,
52 –4 75
,
138 –9 150
need to recalibrate 24 –5 47
,
167
,
191
shifting of 6
,
23 –25 35
,
53 –4 57
Stasis Group 7
,
19
,
21
,
116
Stein, Gertrude 43 –5
influence on Foreman 2
,
5 –6 28
,
43 –6
Still Angela 30
,
118 –21
and ‘field-in-time,’ 118 –19
stillness 89
,
106
,
113
,
116
,
119 –22 156
,
170 Still Angela
storyboards 86 –7 108 –10 113 –14 130
subjectivity 1 –4 191 –3
cultural influence on 131 –3 193
in Foreman 21 –2 191 –2
in Kemp 89
,
126
,
192 –3
in Murphet 139 –40 156 –7 161 –3 193
need for updating 21 –2 191 –3
Surrealism 14
,
84 –5 110
technology 22
,
30
,
132
,
178
,
184 –5
in The Inhabited Man 156
,
178
,
185 –7
in The Inhabited Woman 156
,
168 –9 176
The Three Faces of Eve 157 –8 160 –1
theatre 22
,
26
,
27
,
41
,
181
,
199
late modernist 21 –6 36 –7 48
,
54
postdramatic theatre 1
,
2
,
4 –5 16
,
48
,
196
and Brecht, Bertolt 18 –19
realist 1 –5 14 –16 25
,
129
,
130
,
191 anti-realism under realism
time 45
,
88
,
93
,
115
,
117 –19 121 –3 196
in Foreman 36 –7 44 –5 57
in Kemp 93
,
98
,
100 –02 115
,
117
,
120
social 98 –9 100
,
115 –16 120 –21 123
and space 51
,
60
,
70 –1 88
and Stein, Gertrude 43 –4
‘vertical’ 100
,
117 –18 120 –1
Time-Image 93
,
101
Total Recall: Sophia = (Wisdom): Part 2 32
,
38
,
41 –2 43
train, image of 92 –3 109 –10 113
,
115
,
118
Victorian College of the Arts (vca) 9
,
163
visual text see storyboards
voice-over 64
,
88 –9 172 –4 177
voices, multiple 87
,
90 –1 95 –8
Wilson, Robert 3
,
4
,
6
,
33
influence on Kemp 11
,
123
The Wooster Group 6
,
33
writer
Foreman as 28
,
35 –6 48
Kemp as 54
,
94 –5 98 –9
Murphet as 134 –8 144
,
147 –60 163 –4 170
,
172 –4 180
and training for 6
,
35 –36 46 storyboards
writer/director 1
,
3 –4 10
,
23
,
193 –8
influence of film 2 –6 28
,
30 –31 138 –40
Foreman as 33
,
32 –9 193 –4
Kemp as 7
,
23
,
83
,
123 –4 193 –4
Murphet as 148
,
155
,
163 –70 179
Also see auteur