Australian theatre has come a long way from the European adaptations of the late 18th century, to the diverse theatrical styles seen in contemporary plays like Matt Cameron’s Ruby Moon. Like many other Australian playwrights, Cameron uses theatre as a way to explore social and cultural issues relevant to Australia while also challenging conventional theatre by blending theatrical forms.
Through this experimentation, companies like Cameron’s Neonheart Theatre and Melbourne’s Malthouse Theatre challenge our perceptions. Malthouse Theatre aims to question narrow definitions of theatre by incorporating elements of dance, opera, stand-up comedy, cabaret and visual arts. Their mission statement suggests the performances they produce also aim to be relevant to contemporary society:
“Alive to the changing dynamics of a theatre in contest with contemporary life and the contemporary imagination, we undertake this challenge as an offering to the past, a witnessing of the present and as a manifestation of our hopes and fears for the future.”
Past and Present in Australian Theatre
While contemporary theatre often finds innovative ways to explore theatre structure and conventions, the previous generation or playwrights, like Louis Esson and Vance Palmer, often revealed a “cultural cringe” by basing theatre around English and Irish archetypes, instead of exploring different styles that could work towards a more unique, Australian theatre.
Realism, when combined with aspects of non-conventional theatre like surrealism, epic theatre or music, can carry meaning to a level which is both distinct and open to interpretation. Ruby Moon makes use of realism sparsely, its episodic structure and multiple characters reminiscent of Brecht’s epic theatre, the music a contrast to the almost static dialogue, and the ambiguous ending revealing postmodern influences. Plays like Wesley Enoch and Debra Mailman’s The 7 Stages of Grieving are in the same vein, and it seems contrasts are a defining feature of this type of Australian theatre.
Contrasting Conventions
The contrast between comedy and drama is often a feature of contemporary theatre. From the burlesques and melodramas of the 18th and 19th centuries to the political satire of 1940s writers like Oriel Gray and Sydney Tomholt, comedy has been a constant throughout the history of Australian theatre. Often the comedy acts as relief from more serious cultural critique, while also contrasting with drama to emphasise dramatic meaning.
Not all Australian theatre is written in this vein, but writers such as Louis Nowra, Wesley Enoch and Matt Cameron are exploring ways to express Australian culture on the stage. The mix of styles seen in their theatre is reflective of cultural differences within Australia, and the innovation encourages audiences to expect the unexpected.
Author George P.
Through this experimentation, companies like Cameron’s Neonheart Theatre and Melbourne’s Malthouse Theatre challenge our perceptions. Malthouse Theatre aims to question narrow definitions of theatre by incorporating elements of dance, opera, stand-up comedy, cabaret and visual arts. Their mission statement suggests the performances they produce also aim to be relevant to contemporary society:
“Alive to the changing dynamics of a theatre in contest with contemporary life and the contemporary imagination, we undertake this challenge as an offering to the past, a witnessing of the present and as a manifestation of our hopes and fears for the future.”
Past and Present in Australian Theatre
While contemporary theatre often finds innovative ways to explore theatre structure and conventions, the previous generation or playwrights, like Louis Esson and Vance Palmer, often revealed a “cultural cringe” by basing theatre around English and Irish archetypes, instead of exploring different styles that could work towards a more unique, Australian theatre.
Realism, when combined with aspects of non-conventional theatre like surrealism, epic theatre or music, can carry meaning to a level which is both distinct and open to interpretation. Ruby Moon makes use of realism sparsely, its episodic structure and multiple characters reminiscent of Brecht’s epic theatre, the music a contrast to the almost static dialogue, and the ambiguous ending revealing postmodern influences. Plays like Wesley Enoch and Debra Mailman’s The 7 Stages of Grieving are in the same vein, and it seems contrasts are a defining feature of this type of Australian theatre.
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Contrasting Conventions
The contrast between comedy and drama is often a feature of contemporary theatre. From the burlesques and melodramas of the 18th and 19th centuries to the political satire of 1940s writers like Oriel Gray and Sydney Tomholt, comedy has been a constant throughout the history of Australian theatre. Often the comedy acts as relief from more serious cultural critique, while also contrasting with drama to emphasise dramatic meaning.
Not all Australian theatre is written in this vein, but writers such as Louis Nowra, Wesley Enoch and Matt Cameron are exploring ways to express Australian culture on the stage. The mix of styles seen in their theatre is reflective of cultural differences within Australia, and the innovation encourages audiences to expect the unexpected.
Author George P.
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