Luke Fryer began dancing relatively late in life, and is now in his final year at the Victorian College of the Arts. He reflects on his journey so far, and where he hopes to go from here.
I began dancing at 16 in my hometown, Canberra, with QL2 Centre for Youth Dance. Because I had a background in gymnastics, I was interested in continuing to train my body and mind in a fulfilling and ever-evolving way.
Preparing to audition for the VCA was a long process. I had little classical dance training but took weekly classes during my gap year to build the core technical requirements and base knowledge I needed for the VCA audition. When I auditioned for the 2015 intake I was sent a B letter offer – so I was on the waiting list. But having spoken to people in the industry, I knew that the VCA Dance course was producing innovative makers who’d received solid technical training while studying and then used it as a tool to develop their own practice. I was much more drawn to this than to being a technical performer who would fit the mould of a company. Although I’d already been offered a place at WAAPA, I turned it down once I was accepted into the VCA in the second round.
At the VCA, I’m in the heart of a bigger city where diversity is innate. When deciding where to study, I felt more comfortable among diversity and numbers.
My days are full. In third year, technique classes start at 9am – either ballet and contemporary, or double contemporary – or even something like yoga paired with a technique class. There is about an hour's break for lunch, and then the rest of the day is spent in performance rehearsals until six or so. I usually also have rehearsals after hours until 8pm, either for VCA works or other projects outside of school.
I’m inspired by people and their bodies. Everyone is so different but we all find our own ways of communicating to each other via this form of the body in space. How do our bodies function, and how can that be manipulated or crafted to reveal something special in our world we have never thought of before? Dedication, attention, respect and continual investigation of this body is a constant source of inspiration inside and outside the studio, and in all facets of life.
Physical and mental exhaustion are huge challenges. One always affects the other. Continually having to train and relearn how to cope with your body and mind being tired from long hours of work is a never-ending process.
You might be practising and working every day on something in particular and it will be merely time, and persistence, that will allow you to succeed. The amount of time that is required in this course extends beyond our 55 contact hours a week. Your body is your tool and you always have to work and rework with it and find out what it needs.
As a Dance student at the VCA, I get to work on myself as well as be part of an amazing community of inspired and inspiring people. Between the information I get from my own learning and growth, and the information I get from others around me, I could never be bored or stagnant.
Any element of spontaneity in the course it is always a highlight. Even the smallest workshop or guest speaker or change in the timetable is very refreshing.
A big highlight for me was finishing our mid-year season in second year, where I performed in a second-year work as well as a third-year work. It was the end of a semester of long days but the fact I had been able to work and connect with the third-year students and juggle two works at the time seemed like a big deal. It was made even better by hopping on the plane the day after closing night and travelling to France with people in my course to continue learning, but also have fun in a completely different environment.
To relax outside of training, I just get out of the house and away from the campus as much as I can – either with friends or by myself. Catching a train or tram somewhere new, walking with no final destination or attending random events is my way of relaxing. Melbourne is so big that you can literally take mini holidays every weekend if you just make time or go searching for them.
After I graduate, I want to stay in Melbourne and make the most of the connections I have made throughout my time here as well as those connections I have yet to make. Becoming more settled and financially independent next year is also priority. I’d like to test the waters to see if part-time gigs are a sustainable mode of living for a while, as well as maybe try out full time work in parts of the industry to see if I enjoy them. From there, I plan to travel to America and Europe to discover where my training lineage and body fit into the dance industry outside of Australia. I want to continue to research and develop my own practices firstly through studio-based work and perhaps even further study in the future.
As told to Sophie Duran
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Main image: Luke Fryer, South Lawn carpark, University of Melbourne's Parkville Campus. By John O’Rourke
Fifty years of La Mama theatre is documented in the University of Melbourne Archives, offering an insight into the emergence of Melbourne’s avant-garde theatre scene in the late 1960s.
By Jane Beattie, University of Melbourne Archives, University of Melbourne.
Inspired by New York’s La Mama Experimental Theatre Club, founder Betty Burstall was confident that Melbourne performers and audiences wanted and needed a place for progressive music, poetry and film too.
La Mama nurtured local talent and rode the international wave of social and cultural change in the late 1960s to provide a platform for alternative voices in the arts. In a company newsletter from October 1969 this vision was expanded: La Mama would be a theatre to make possible “a new audience-actor relationship. It was informal, direct, immediate. It was also a playwrights’ theatre…where you could hear what people now were thinking and feeling.”
Early archival material, such as correspondence and newsletters, reveals the co-operative nature that Burstall was committed to; her policy of developing solely Australian work was financially risky in an arts scene dominated by the mainstream canon of mainly American and English work.
Censorship and controversy
“Revolutionary things are happening in theatre today and I want them here.” Burstall’s ambitions for La Mama were grand, and the revolution began almost immediately, with plays pushing the legal boundaries of decency of the time.
The earliest offender was the 1968 production of Alex Buzo’s Norm and Ahmed. The final line of dialogue “fucking boongs” is delivered by Norm to Ahmed, a Pakistani student. Actor Lindsey Smith was arrested for using obscene language, and the play’s producer Graeme Blundell was charged with aiding and abetting Smith. In 1969, John Romeril’s Whatever Happened to Realism resulted in the arrest of nine actors for using obscene language in a public place.
Boxes of news-cuttings from this era tell the story of La Mama’s ongoing battle against censorship and the restrictions imposed by Australian social and cultural values of the time.
The archives also feature production posters, including lino-cuts crafted by Tim Burstall, Betty’s husband. The few styles repeated in different colours with handwritten production dates and times illustrate trends in grassroots art and design, as well as the collaborative nature of La Mama.
Other established artists such as photographer Peter Lyssiotis created production posters and art work – in Lyssiotis’ case posters and artwork for his playwright daughter Tes. A wild variety of style and quality is demonstrated in some of the earlier posters by anonymous artists whose work is marked with holes left by the staples used to distribute them on street corners.
Supporting other art forms
La Mama encompassed many more facets of the Melbourne avant-garde arts scene. Neo Kyma refers to a movement in Greek music that found popularity in the 1960s and 70s, extending well into the 1980s in Australian Greek communities. For around five years, Christos and Tasos Ioannidis played Greek and ployethnic music at La Mama.
“The 1970s and ‘80s were the golden era of Melbourne’s Greek community. Everything, including the arts, was blooming. Especially La Mama - it was not only for Greeks, it was a place of meeting, getting together, it became a culture” explains Christos. Burstall and Liz Jones, who followed her as artistic director in 1977, had created a space where artists from all backgrounds could practice, improvise and collaborate with their peers
Poetry and spoken word were also promoted from La Mama’s inception in 1967, led by Glen Tomesetti and Kris Hemmensley, and continues today as a regular in La Mama’s program. Each La Mama Poetica event featured multiple acts and showcased work from both emerging and established poets.
Mainstays included Jennifer Strauss, Wendy Poussard and Jennifer Harrison. University of Melbourne academic Kevin Brophy was a regular and a reading by Chris Wallace-Crabbe would have been rousing. Left field inclusions were the works of Indonesian poets performed by Geoff Fox, radical experimental poet and a founding member of Australia’s Poet’s Union. And there was Thalia, a night dedicated to the Perseverance Poets collective, featuring Louise Craig and Whitefeather Light.
Despite earlier confrontations with the law, La Mama continued supporting Australian writers, actors and directors, providing a place where collaboration and experimentation were centre-stage. Stalwarts of the Australian theatre scene like Jack Hibberd, David Williamson and Graeme Blundell were given the chance to practice and develop their craft, as were other performance artists, such as filmmakers Corinne and Arthur Cantrill.
In the decades following the ‘obscenity trials’, La Mama continued pushing audiences, exploring concepts of identity, and elevating voices of the silenced. Playwrights such as Mammad Aidani and Tes Lyssiotis used this platform to chronicle the variety of the migrant experience, whilst plays like Pundulumura: Two Trees Together (1990) by Aboriginal actor comedian Gnarnayarrahe Immurry Waitairie and prolific Melbourne writer and director Ray Mooney explored relationships between black and white Australian cultures.
From the first donation of records in 1977, the University of Melbourne Archive has seen its relationship with La Mama as a valuable one, not only for volunteer projects and exhibitions but in maintaining a comprehensive record of Melbourne’s theatre history. The La Mama Collection complements that of the Union Theatre Repertory Company which evolved into the Melbourne Theatre Company, as well as smaller collections of ephemera from the late 19th century to the 1960s.
The La Mama collection is open access to all researchers and its finding aids can be located on the UMA online catalogue by using the search term “La Mama”. A selection of records and production posters from the La Mama archive are on display in the Arts West building at the University of Melbourne.
Banner Image: Wikimedia
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VCA Dance students are recreating a seminal work from the founder of Australia’s first modern dance company, nearly 90 years after it was first performed in London.
Early modern dance is associated with floating scarves and light leaps and bounds. However, after the First World War those innocent reveries were only one form of dancerly expression.
The impact of modern industrialisation and political revolutions in 20th century Europe highlighted the conflict between man and machine, and for many the machine symbolised the engine of a new moral and social order.
In Dancing Sculpture at the National Gallery of Victoria, Victorian College of the Arts dance students are recreating Gertrud Bodenweiser’s The Demon Machine, first created in Vienna in 1924. The work has a rich history and transformed modern dance; it uses female dancers to compose a dance in which lyrical pastoral gestures slowly shift into the rhythmic workings of a machine.
It arrived in London in 1929, the unusual abstraction and plasticity of the bodies attracted attention in the local press and signalled that, far from mere pleasure, “the art of dance brings to our notice facts of the greatest ethical value,” according to Ms Bodenweiser.
By 1936, the Austrian choreographer was very aware of the rising threat of Nazism in neighbouring Germany, and of its impact on many of her Jewish artistic friends.
Accompanied by the strident music of Lisa Maria Mayer, Ms Bodenweiser recreated The Demon Machine to depict the resplendent Demon rising above the machinery of human bodies, with some dancers appearing shining and tranquil, and others perhaps kicking or turning in horror.
The strong diagonal lines, in both the electricity symbol on the Demon’s helmet and the extended limbs, suggest the clash of forces, inner and outer, that drive the machine.
With the annexation of Austria in 1938, Bodenweiser, herself Jewish, and her company of dancers set sail for South America, taking with them into exile many years of choreographic knowledge and artistic experimentation.
The famous Australian theatrical entrepreneur, J.C Williamson, hired a small troupe of Bodenweiser dancers to perform The Demon Machine in a revue touring outback Australia in 1939. The dancers performed crowd pleasers such as Viennese Waltzes, and other playful dances, but The Demon Machine remained a feature of the program intended to appeal to male audiences, perhaps because of the bare midriffs and the show of legs, but also because of its subject matter.
Well in advance of other dance repertoire of this period, the dancers were highly trained in modern dance techniques that gave them strong rhythmic propulsion while retaining an inner quality of expressive intensity.
By 1947 Bodenweiser had established herself with a dance company and school in Sydney and was creating new work for local audiences, including Cain and Abel (1940) and Abandoned to Rhythm (1942). The Demon Machineremained an important part of her repertoire.
On tour in New Zealand in 1948, a newspaper review observed that the music accompanying the dance added to the “maddening crescendo of mechanical movement as the machines assert their power over the human puppets… (and was) sombre when the dance was sombre, joyous at time of revelry”.
For The Demon Machine’s latest version, the Victorian College of the Arts dancers have been using this history to recreate the work, under the guidance of the Head of the VCA Dance program, Professor Jenny Kinder, herself also trained in the modern dance lineage, alongside the New Zealand choreographer, Carol Brown.
Ms Brown has researched the fascinating history of the Bodenweiser legacy and has also produced her own original solo performance called Acts of Becoming. Originally created in 1995 as an homage to the great Bodenweiser, the solo incorporates words and gestures from the archives of former Bodenwieser Tanzgruppe dancers.
In a recent Archibald prize painting, 102-year-old Eileen Kramer, a member of the original Bodenweiser company in Sydney, expressed an ‘inner stillness’ and her ongoing love of expressive dance. She is a living example of the inner spirit of modern dance in Australia with its extraordinary history and impact on future generations of artists.
Carol Brown, a student of the Bodenweiser dancer Shona Dunlop-McTavish, has recreated The Demon Machine for the Leap into the Modern symposium (12 August) curated by Professor Rachel Fensham (University of Melbourne) that accompanies the Brave New World: 1930s Australia exhibition at the National Gallery of Victoria. She is speaking at the symposium alongside other contemporary dance artists, such as Meryl Tankard and Shelley Lasica.
Banner image: The Demon Machine Benda D’Ora, 1936. Picture: National Library of Australia
Serkis continues to revolutionise screen performance using a motion captured avatar, conveying extraordinary emotional depth in the role. His success, often attributed to the mastery of animators and technicians, is testament to the rise of an entirely new approach to acting animals in an age of CGI, animation and motion capture.
Performance Capture (the total recording of a performance using a motion capture system) was first used in 2004. It is inherently theatrical, since a performance is filmed in its entirety - without multiple takes of a single scene. Actors wear suits with markers to help computers track their movements during the scene.
To perform as apes, Serkis and others are drawing on the techniques of method acting to emotionally connect with their simian characters. For Serkis, and Planet of the Apes movement choreographer and actor Terry Notary, this has meant going to extraordinary lengths to feel their way into their roles.
Serkis was led by Notary on all fours for hikes in the Canadian woods. They would spend two-hour stints not talking, only communicating as apes. The aim, says Notary, was to allow “the human conditioning to fall away”.
A brief history of monkey business on film
1968 was a big year for apes on film. Primates appeared in Stanley Kubrick’s 2001: A Space Odyssey and the original Planet of the Apes, starring Charlton Heston, first aired. In Space Odyssey, actors such as John Ashley donned monkey suits and set about charting the early history of tool use in the celebrated opening sequence known as The Dawn of Man.
In Planet of the Apes, actors such as Maurice Evans and Roddy McDowall relied on monkey masks with furry hands and feet to convey their simian characters. Their bodies were clothed in remarkably human-looking outfits.
Fully costumed performances of primates in films continued until 1995, when Misty Rosas as Amy the Gorilla in Congo performed alongside “enhanced gorillas” running through the jungle at an extraordinary pace, complete with appendages to extend their front limbs.
Over the last decade, we’ve seen a resurgence of cinematic apes, with a full reboot of the Planet of the Apes franchise, a couple of King Kongs, and more than one Tarzan. But the monkey suit has shifted from a furry outer layer to the modern motion capture suit as actors such as Ace Ruele in The Legend of Tarzan (2016) and Notary (alongside Serkis and others) in War for the Planet of the Apes (2017), Dawn of the Planet of the Apes (2014), and Rise of the Planet of the Apes (2011) transform how they perform - and we consume - monkeys on the screen.
Feeling like an Apeman (or woman)
With these new technologies, comes a revitalised interpretation of “The Method”. Primate actors are now exploring their performance by inhabiting and feeling “Ape”, and have developed their own “system” to perform as primates.
This system is built around the aspirations of Stanislavski - the father of method acting. It includes embodying the emotional state of the primate via practising regimented gait and walk cycles and using specific breathing techniques and even numbered approaches to gaze and smell. So, for instance, the scent of another primate in the distance would be given a number and a correlating pose, which ape actors would be instructed to adopt.
The Ape method includes a bespoke, non-verbal language used by actors to communicate with each other during filming. Aspiring actors can even take masterclasses with the likes of Notary, as seen in this video.
Serkis calls Notary (who also starred in Kong: Skull Island) “the greatest unsung hero of this entire [Planet of the Apes] franchise”.
Notary talks of “de-conditioning” to play an ape and finding each ape character’s “first position foundation” (a neutral non-human, pose). He says,
most of the actors that do play apes have told me that it’s been one of the most profound things they’ve done, because you have to be so honest with yourself.
He describes his own ape character, Rocket, as “that open, vulnerable, grounded, connected, feeling creature that I aspire to be all the time”.
As humans, our development of tools was made possible by our eventual rising to two feet, releasing our hands from the earth, Freed from holding objects (such as bones and babies) our hands and mouths could then perform other functions.
Our hands and minds now grasp vastly complicated objects, like virtual studios and motion capture systems, and use these to perfect the art of pretending to be monkeys. It’s a strange full circle – an origin story returning.
Banner image: Andy Serkis as Caesar in War for the Planet of the Apes. Chernin Entertainment, TSG Entertainment.
Faculty staff and alumni were well-represented among the winners at the 2017 Helpmann Awards.
By Sarah Hall
Seven staff and alumni from the Victorian College of the Arts and Melbourne Conservatorium of Music won Helpmann Awards on Monday evening, in the fields of theatre, dance, music and production.
The VCA’s recently-announced 2017 Keith & Elisabeth Murdoch Travelling Fellow Leticia Cáceres won the Helpmann for Best Direction of a Play for Belvoir Theatre’s The Drover's Wife, for which alumnus Mark Coles Smith also won in the category of Best Male Actor. The Drover’s Wife additionally took the awards for Best Play and Best New Work (Leah Purcell).
“I’m really so happy this has happened, it’s amazing,” said Ms Cáceres on her win for The Drover's Wife, a reimagining of Henry Lawson's story of the same name. She described the Helpmanns, which recognise distinguished artistic achievement and excellence in the arts in the live performance sector, as Australia’s equivalent to the Tony or Olivier awards.
“We never lost sight of why we wanted to tell this story the way we wanted to tell it,” she said. “To have had this recognition means not only that were we able to talk critically about the issues that were important to us, but that we did so in a way that was satisfying for audiences and critics alike. For me that is a massive achievement.”
Alumnus Barrie Kosky's Opera Saul scooped several awards, one of which went to Kosky for Best Direction of an Opera, and another of which went to the MCM’s Senior Lecturer in Early Music Dr Erin Helyard for Best Music Direction. Saul was financed by the South Australian government as the centrepiece to this year’s Adelaide Festival, following rave reviews from the UK’s Glyndebourne festival.
Alumna and Lecturer in Design at the VCA Anna Cordingley won Best Scenic Design for the Melbourne Theatre Company’s production of Jasper Jones; alumna Anna O’Byrne won Best Female Actor in a Musical for My Fair Lady, produced by Opera Australia and John Frost; and alumna Lilian Steiner took home the award for Best Female Dancer in a Ballet, Dance or Physical Theatre Production for the Lucy Guerin Inc and Arts House’s production Split.
Head of VCA Theatre Associate Professor Matthew Delbridge said he was delighted with the continued success of staff and alumni from across the Faculty.
“Having representation from alumni across all areas of the performing arts is further proof of the ongoing legacy of our programs, the sustained excellence of our graduates, and our rightful position as the pre-eminent training institution in the country," he said.
Banner image: The Melbourne Theatre Company's production of Jasper Jones, for which VCA lecturer Anna Cordingley won a Helpmann Award for Best Scenic Design. Photo: Anisha Senaratne (LPA).
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Esther Marie Hayes sheds some light on the inspirations behind her costume design for Macbeth at Melbourne Theatre Company.
Costume designer Esther Marie Hayes didn’t study Shakespeare at school. However, throughout her early years as a costume designer, she has undergone a thorough education of the world’s most famous playwright. Macbeth marks Esther’s third Shakespearean play for Melbourne Theatre Company, working alongside the same creative team under the direction of Simon Phillips for both Richard III in 2010 and Hamlet in 2011.
Simon appointed Esther as a fresh-faced VCA graduate to design costumes for Joanna Murray-Smith’s 2009 play Rockabye. From there, the two developed a strong theatrical language and aesthetic that would inform their creative collaborations.
Esther’s costume design concept for Macbeth began with an analysis of how they contemporised their last Shakespearean works together. ‘All three are modern adaptations. Richard III was political, Hamlet was political and militaristic, and Macbeth is militaristic,’ Esther says. All three shows involve a considerable amount of blood, which for a costume designer, is bound to present logistical problems.
With a cast of 13 and numerous cast members playing multiple characters, Esther’s biggest concern was designing costumes that could accommodate all the necessary quick changes required to tell this multifaceted story.
Having grown up between Spokane and Melbourne in a multi-generational ‘military family,’ Esther was told stories about her Grandfather serving for his country from a young age. She then watched two uncles and three cousins move around the world as members of the United States Navy and Army. This family history helped to inspire the design of various soldier’s costumes, many of which have been repurposed from the military uniforms used in Esther’s costume design for Hamlet. ‘The soldier costumes are special to me, they feel close to home.’
Esther’s research started with her own family history, but delved into much deeper territory when she broke down the role of each character; modernising the narrative to bring it into the 21st century.
‘The set design was already completed, so I was responding to that initially, before looking at each individual character.’ She began researching the uniforms of various authorities in different parts of the world – the police force in Mexico and swat teams in France; army generals in the Middle East; humanitarian aid workers in war zones and first responders at terrorist attacks; as well as foot soldiers in small nations of Europe. She looked at the dress codes of French horse-riding teams, and the formal dinner garments of the King of Jordan and his wife. Regulation Army pyjamas in the United States and the balaclavas and bandanas on the heads of hate-crime groups and gangsters were also pinned to the inspiration costume board. Esther looked at crime dramas The Night Manager and Orphan Black for additional research.
When it came to the witches, high-end fashion was the focus. ‘We wanted them to look similar, but with individuality as well. We were looking at blacks, and layering to create those silhouettes. And we looked at how fashion has been interpreted by military dress, as well as that kilt look with the heavy boots,’ which Esther says only ties the play back to its Scottish roots. ‘It’s hard when we’ve created a world that’s very modern, to then also create that unearthly, spiritual image, which the witches represent.’
The inauguration clothes of American presidents and first ladies also made their way onto the board, along with Oscar worthy ball gowns. Alexander McQueen’s sheer, figure-hugging lines and surplus of sequins was the first port of call when it came to designing Lady Macbeth’s ceremonial gown.
Next to North by Northwest, Macbeth is the most labour intensive job Esther has designed. Her favourite part of the whole process, she says, is the ‘breaking down’ of the soldiers’ costumes, where the garments are dyed, sanded and washed in various rinses to make them look worn. ‘My favourite part is seeing this transformation. It’s hard work but it looks like magic.’
Other than watching unworn, hand-tailored uniforms turn into tattered ones, Esther loves collaborating with her peers in the creative process. ‘There are so many different people that you work with doing a production of this scale and every part counts.’
Macbeth plays at Southbank Theatre from 5 June. Book now.
This article was originally published by MTC Backstage. View the original article.
Banner image: Lady Macbeth costume designs by Esther Marie Hayes. Image courtesy of Melbourne Theatre Company.
The 2017 Keith and Elisabeth Murdoch Travelling Fellowships, worth $75,000, were awarded last night to four University of Melbourne graduates from the Victorian College of the Arts and Melbourne Conservatorium of Music (VCA & MCM).
Awarded biennially to theatre, music and visual arts graduates, the Fellowships were established in 1994 by the late Dame Elisabeth Murdoch AC DBE to enable young artists to travel and study overseas in the early stages of their careers.
Dame Murdoch’s granddaughter, Julie Kantor, presented the awards last night at the Margaret Lawrence Gallery on behalf of her grandmother, saying the Fellowships were created to help students become “artists of the world”.
“It seems to me, and certainly to my grandmother, that an essential feature of the artist at any stage in their career, is to find compelling means of creating a bridge between the private world of feeling and insight, and a public world that has an enormous need for inspiration and understanding,” Ms Kantor said.
“To understand this need and to refine one’s feeling and insight, my grandmother and grandfather believed that young artists need to be able to experience the world beyond the place of their study and residence.”
Dean of the VCA & MCM, Professor Barry Conyngham, said providing young artists with international travel opportunities was of benefit to Australian culture more broadly.
“Travel can provide emerging artists, musicians and performers with inspiration and connections that last well beyond the initial moment, and indeed continue to inform their creative development throughout their careers. As consumers of culture, we all stand to benefit from that,” he said.
The main $25,000 Prize for Visual Art, judged on the day by a panel comprising Acting Head of VCA Art Dr Kate Daw, multidisciplinary artist Nicholas Mangan and Director of Gertrude Contemporary Mark Feary, went to Trent Crawford, who graduated from the VCA in 2016, for his video installation work Liquidity.
Crawford’s work, along with the other shortlisted works for the visual art fellowship, will be on display at the 2017 Keith and Elisabeth Murdoch Travelling Fellowship Exhibition in the Margaret Lawrence Gallery (40 Dodds St, Southbank) until 5 August 2017.
The 2017 Keith and Elisabeth Murdoch Travelling Fellowship recipients are:
Trent Crawford, B. Fine Arts (Visual Art). Born 1995, Crawford lives and works in Melbourne. Interested in dissecting images and technology to explore them in a passive state, Crawford’s work focuses on entering the in-between moments in time where the subject or material exists in a state of lapse; often with its function usurped or absent. By disassembling, restructuring and repurposing new media, he calls to question how the framing devices of screens and filters are active in the construction, fragmentation and degeneration of the image. Award of $25,000.
Theatre (two recipients)
Leticia Cáceres, M.Dramatic Art (Direction). Cáceres has been lauded as one of the most exciting directing talents in the country. She was Associate Director at MTC from 2013 to 2015. She has also directed for Belvoir, La Mama, Queensland Theatre Company, Sydney Opera House, La Boîte Theatre/Brisbane Festival, Melbourne Arts Centre, and Brisbane Powerhouse. She is the co-founder of nationally-acclaimed RealTV. Award of $15,000
Eugyeene Teh, M. Production (Design). Teh has worked with mainstage companies, earning him Green Room Award nominations for both his debut works; Endgame at MTC and Meme Girls at Malthouse. Last year, he worked on Straight White Men (MTC), In Between Two (Sydney Festival with William Yang and Annette Shun Wah), Lady Eats Apple (Back to Back Theatre) and Blaque Showgirls (Malthouse). Award of $15,000.
Troy Rogan, B. Fine Arts (Contemporary Music) (Hons). Rogan is a Melbourne-based composer, orchestrator and cellist, who brings his passion for making meaningful, engaging music to each project. He draws his inspiration from the art of storytelling, with a fascination of the parallel that various musical languages can impart. Award of $20,000.
Banner image: Trent Crawford with his video installation work Liquidity. Photo: Sav Schulman.
What does it take to concentrate several seemingly-competing careers into one? Best ask concert pianist, theatre-maker and VCA Senior Lecturer Dr Zachary Dunbar.
On 8 May 2017, as part of the University of Melbourne's Dean's Lecture Series, Dean of the Faculty of the Victorian College of the Arts and Melbourne Conservatorium of Music Professor Barry Conyngham appeared in conversation with pianist, theatre-maker and VCA Senior Lecturer Dr Zachary Dunbar, to discuss Dr Dunbar's journey from concert pianist to theatre practitioner and academic.
Dr Dunbar reflected on the pros and cons of an interdisciplinary career, and particularly how music provides unique insights into actors, training, and the challenges of rehearsing and performing. The conversation was interspersed with a piano performance of works by the 19th-century romantic composer Franz Liszt, music that dramatises love’s conflicted interests – or possibly the realities of an interdisciplinary career.
Image: Paul Hoi/Flickr
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