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• W1569759681 abstract "THE LAST THREE DECADES OF THE TWENTIETH CENTURY have witnessed the emergence of a substantial body of Australian drama featuring prominent artists such as Jack Davis, Wesley Enoch, and Jane Harrison, to name but a few. These playwrights have contributed to the progressive development of a mature dramatic form, which powerfully enacts the recurrent doubts of identity characterizing the community in contemporary white Australia. In Jack Davis's Born trilogy, comprising plays produced in the 1980s, The Dreamers, No Sugar, and Barungin (Smell the Wind), one can find the fundamental ingredients of an stage aesthetic that has progressively gained mainstream public and critical acceptance. In particular, Jack Davis's often-anthologized The Dreamers exhibits a hybrid dramatic form evocative of Mudrooroo's notion of Aboriginal realism. Mudrooroo defines the latter concept as a literary mode which subverts the codes of referentiality of Euro-American dramatic realism through allusions to Native myths and storytelling. Thus Mudrooroo: Aboriginal realism expands European realism by taking in certain supernatural aspects, characters and situations found in storytelling (Balme 153). In The Dreamers, Davis resorts to the figure of Worru, the dying Aborigine, to signify the progressive decline of an entire culture. The constant presence of an dancer symbolizing the Dreaming in the background of the action foregrounds Davis's reliance on songs, myths and rituals. It combines with the playwright's use of Native language to create a markedly hybrid revitalization of Western poetic stage naturalism. Through these devices, Davis emphasizes the contiguity between the real and the supernatural so central in culture. In the 1990s, playwrights such as Wesley Enoch in The 7 Stages of Grieving, Jimmy Chi in his musical Bran Nue Doe, and Jane Harrison in Stolen have further explored issues related to identity, memory and grief. In doing so, they have focused on sociological issues which Davis had neglected: Harrison's dramatization of the ravages of the stolen generation of Aborigines forcedly adopted by white families constitutes a prominent example of this new thematic texture. While indebted to Davis's aesthetic, these playwrights have expanded what one might term the Davis's template through innovative dramatic experiments, including the use of the extended solo performance show or parodies of the Broadway musical genre. It therefore becomes increasingly difficult for the literary historian to define the formal characteristics of Australian drama. I submit that playwrights, like their Native peers in postcolonial Canada and New Zealand, consciously seek to avoid rigid categorizations by white critics.1Clearly, playwrights in Australia freely experiment with the legacy of Jack Davis in ways that challenge Anglo-Celtic expectations of what an play should be. First Nations Canadian playwright Drew Hayden Taylor has voiced his opposition to the widespread concept that Native plays should necessarily stage a Trickster (Taylor 28). Likewise, playwright Hone Kouka consistently refuses that his work be labeled Maori theatre. This fear of being ghettoized has prompted him to redefine the boundaries of drama, as his latest produced play, The Prophet, testifies (Kouka & McNaughton 122). In this 2004 play, Kouka moves away from the traditional codes of marae theatre, a dramatic form based on traditional rituals meant to take place in the spiritual heart of a village, the marae (Balme 62-65) Instead, he incorporates into his work elements reflecting the hybridization of contemporary urban youth. Hence the central metaphor of the basketball game and the pivotal role of DJ rap music in this groundbreaking work. After all, as Alan Filewod has rightly pointed out, Native authenticity exists primarily as a nostalgia for a lost innocence in the gaze of Western critics; it is a construct that betrays a reinscription of hegemonic patterns of thought (Filewod 364-5). …" @default.
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• W1569759681 date "2006-06-01" @default.
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• W1569759681 title "Listen to them cry out from their dreaming: Blak Inside and the Search for an Aboriginal Stage Aesthetic" @default.
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