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• W2014717297 abstract "When Hamilton presented the first FUEL Festival of New Zealand Theatre in 1998, what seemed most remarkable was that an ongoing festival with a single focus on domestic work was not already in existence elsewhere in the country. Rather than competing with the larger and better established New Zealand International Arts Festival in Wellington, the country's artistically-vibrant capital city, Director Cristian Pilditch conceived FUEL as a festival devoted to staging the widest possible range of new and recent domestic work. Under Pilditch's leadership the festival, now in its fourth year, has benefited from a partnership with the WEL Trust Academy of Performing Arts, Hamilton's user-friendly arts center. In the center's attractive lakeside setting, patrons mingle to celebrate and critique a festival participating in the ongoing constitution of New Zealand's contemporary cultural identity. In the last few decades, New Zealand has completely separated itself from the long shadow of British cultural influence and carved out a uniquely bicultural and sometimes quirky style of artistic expression. While New Zealand is still primarily composed of the descendents of immigrants from England, Scotland, and Ireland, its white European (Pākehā) population has increasingly shared the country's cultural landscape with its indigenous Māori and Pacific Island [End Page 737] populations. The 2004 festival in many respects challenged the prevailing construct of biculturalism by offsetting Pākehā work with programming not by Māori practitioners, but by other minorities, notably those of Pacific Islander and Indian descent. Those groups have historically found it difficult to find cultural space within the rigidly bicultural framework for national identity and have long complained of being the wrong brown. Perhaps, too, it is a marker of the power and prominence of a resurgent Māori culture that their relative absence from this year's festival was not seen as particularly newsworthy or indeed even noteworthy. Theatre artists across the ethnic and cultural spectrum possess the famed Kiwi ingenuity, a key cultural trope extending from the country's history as a remote, lightly populated country in which settlers found it necessary to become adept at building or repairing anything. In the arts, Kiwi ingenuity translates into a willingness to cross disciplinary boundaries and create work that might otherwise seem outside one's area of expertise or training. When Kiwis travel to the LeCoq school in Paris to study physical theatre, mime, and clowning, as many have, they return to New Zealand to create theatre that is not only intensely physical, but infused with an irreverent, playful spirit, while exploring themes that grow out of the country's history, its relatively isolated geographic position, and its bicultural present. The work presented at the 2004 FUEL festival reflected this dynamic range of performance traditions and concerns, with the single unifying factor being the relatively modest scale of the productions, especially when set against those staged at the international festival in Wellington. For the most part, FUEL featured easily portable work capable of touring to the country's geographically dispersed population of slightly over four million. Click for larger view Figure 1 Peter Rutherford in The Telescope by Afterburner. Photo: Sally Jane Ford, courtesy of Afterburner. Among the many works in this category was The Peculiar Case of Clara Parsons, a complex piece performed with tremendous precision and physical presence by the Clinic, a Christchurch-based multimedia collective. While the seemingly melodramatic plot revolving around two sisters and the man they both love is initially played out in a campy, over-the-top acting style reminiscent of Norma Desmond in Sunset Boulevard, the production suddenly veers into the surreal, suggesting that neither the plot nor the performance style is to be taken at face value. The elder sister and her fiancé both endeavor to drive the younger sister mad, and as the tables turn repeatedly, we witness the mental disintegration of all..." @default.
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• W2014717297 date "2005-01-01" @default.
• W2014717297 modified "2023-10-17" @default.
• W2014717297 title "Fuel Festival of New Zealand Theatre (review)" @default.
• W2014717297 doi "https://doi.org/10.1353/tj.2006.0039" @default.
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