The Rebellious Mirror,Before and after 1984:Community-based theatre in Aotearoa
dc.contributor.author | Maunder, Paul Allan | |
dc.date.accessioned | 2011-08-26T02:44:41Z | |
dc.date.available | 2011-08-26T02:44:41Z | |
dc.date.issued | 2010 | en |
dc.description.abstract | In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream. With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production. In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common. | en |
dc.identifier.uri | http://hdl.handle.net/10092/5381 | |
dc.identifier.uri | http://dx.doi.org/10.26021/4523 | |
dc.language.iso | en | |
dc.publisher | University of Canterbury. Theatre and Film Studies | en |
dc.relation.isreferencedby | NZCU | en |
dc.rights | Copyright Paul Allan Maunder | en |
dc.rights.uri | https://canterbury.libguides.com/rights/theses | en |
dc.subject | community theatre | en |
dc.subject | Community-based theatre | en |
dc.subject | New Zealand theatre history | en |
dc.subject | Maori Theatre history | en |
dc.subject | Amamus | en |
dc.subject | Theatre Action | en |
dc.subject | Town and Country Players | en |
dc.subject | Te Ika a Maui | en |
dc.subject | Maranga Mai | en |
dc.subject | Taki Rua | en |
dc.subject | Theatre of the Eighth Day | en |
dc.subject | Community Arts | en |
dc.subject | Popular Theatre | en |
dc.subject | Neo-liberalism | en |
dc.subject | Creative Industries | en |
dc.subject | Te Rakau Hua O Te Wao Tapu | en |
dc.subject | Pou Mahi a Iwi-Cultural Work Centre | en |
dc.subject | Tokelau Theatre | en |
dc.subject | Massive Theatre Company | en |
dc.subject | A Different Light | en |
dc.subject | Talking House | en |
dc.subject | The Travelling Tuatara | en |
dc.subject | Eko | en |
dc.subject | Queen Elizabeth 11 Arts Council of NZ | en |
dc.subject | Creative NZ | en |
dc.subject | arts funding policy | en |
dc.subject | Jerzy Grotowsk | en |
dc.subject | Augusto Boal | en |
dc.subject | Jim Moriarty | en |
dc.subject | Paul Maunder | en |
dc.subject | Brian Potiki | en |
dc.subject | Jill Walker | en |
dc.subject | Rowley Habib | en |
dc.subject | Sam Scott | en |
dc.subject | Tony McCaffrey | en |
dc.subject | Elizabeth O'Connor | en |
dc.subject | Simon O'Connor | en |
dc.subject | David O'Donnell | en |
dc.subject | Heather Timms | en |
dc.subject | Justine Simei-Barton | en |
dc.subject | Clare Adams | en |
dc.subject | NCEA drama | en |
dc.subject | postmarxism | en |
dc.subject | Murray Edmond | en |
dc.subject | Peter Falkenberg | en |
dc.subject | Free Theatre | en |
dc.title | The Rebellious Mirror,Before and after 1984:Community-based theatre in Aotearoa | en |
dc.type | Theses / Dissertations | |
thesis.degree.discipline | Drama | |
thesis.degree.grantor | University of Canterbury | en |
thesis.degree.level | Doctoral | en |
thesis.degree.name | Doctor of Philosophy | en |
uc.bibnumber | 1657995 | |
uc.college | Faculty of Arts | en |
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