Victorian College of the Arts - Research Publications

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Author: Austin, Sarah × End date: 2019 × Start date: 2010 ×

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Now showing 1 - 7 of 7
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    The Ethics of Children's Participation
    Austin, S ( 2018-11-12)
    A keynote address as part of CONVERGE, a national sector gathering for theatre and performance practitioners who work with young people.
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    Yes, No, Maybe
    Walker, A ; Austin, S (Punctum Inc, 2015)
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    The Cabin!
    Tomlins, E ; O'Farrell, J ; Austin, S (Darebin Arts, 2019)
    A horror show created by children for adult audiences.
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    Only A Year
    Austin, S ; Barlow, N ; Wenn, C ; Sweeny, R ; Vabre, R (Arts Centre Melbourne, 2019)
    ONLY A YEAR is an immersive, sensory theatre work designed for babies aged 0-12 months and their adults carers. Drawing on the idea that this first year of life is experienced by both babies and their carers as both the longest and shortest time imaginable, ONLY A YEAR uses the sensory aspects of seasons to portray the passing of one year of time. Featuring puppetry, visual storytelling and live music, this work won the Best Kids event at Melbourne Fringe Festival and was nominated for a Green Room Award for Outstanding Performance for Young People Trailer: https://vimeo.com/240461124
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    The last avant garde?
    Austin, S ; Duncan, K ; Goggin, G ; MacDowall, L ; Pardo, V ; Paterson, E ; Brown, JJ ; Collett, M ; Cook, F ; Hadley, B ; Hood, K ; Kapuscinski-Evans, J ; McDonald, D ; McNamara, J ; Mellis, G ; Sifis, E ; Sulan, K ; Hadley, B ; McDonald, D (Routledge, 2019)
    This chapter explores 'disability aesthetics' not as a set of specific techniques, themes, or politics, but in order to position disability at the centre of 'future conceptions of what art is' and what it can be. It draws contributions from the Research in Action workshop and the research team to explore the idea of the last avant garde and artists' views on how disability intersects with creative innovation. The chapter seeks to engage in a reflexive and ongoing conversation in which artists with disability are invited to reflect upon their own views on aesthetic value and performance practice. It also implies that recognition of disability arts is like the 'last remaining' piece of a puzzle, the pinnacle of a longer social struggle for rights and acceptance. For a company composed of artists with and without disability, of which Rawcus is but one prominent Australian example, the notion of disability aesthetics and the last avant garde is particularly complicated.
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    Toward an ethical Practice: child performers in contemporary performance for adult audiences
    Austin, S (La Trobe University, Bundorra, 2019-04-01)
    This article responds to the recent and rapid rise in the practice, within contemporary theatre-making, of creating new performance work for adult audiences featuring children as performers and collaborators. Within this work there is a tension between the desire for a representation of the authentic voice and lived experience of the child performer and the poetic function of the performance. This question of the place of authenticity in work dogs much performance work created by professional artists with children for adult audiences and can shape the way artists approach the rehearsal process with child performers. I examine the creative and aesthetic strategies of creating work with child performers, and consider the pedagogical frames of actor practice that underpin this process, asking what an ethical dramaturgy for contemporary performance with children for adult audiences might look like.
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    Toward an ethical practice : child performers in contemporary performance for adult audiences
    Austin, S (Australasian Association for Theatre, Drama and Performance Studies, 2019)
    This article responds to the recent and rapid rise in the practice, within contemporary theatre-making, of creating new performance work for adult audiences featuring children as performers and collaborators. Within this work there is a tension between the desire for a representation of the authentic voice and lived experience of the child performer and the poetic function of the performance. This question of the place of authenticity in work dogs much performance work created by professional artists with children for adult audiences and can shape the way artists approach the rehearsal process with child performers. I examine the creative and aesthetic strategies of creating work with child performers, and consider the pedagogical frames of actor practice that underpin this process, asking what an ethical dramaturgy for contemporary performance with children for adult audiences might look like.