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AbstractHistoryArchive Description
'One night, during a performance of "Elektra", an actress falls silent, and from then on, refuses to speak. The nurse assigned to her recovery, takes her to a remote seaside cottage. Very quickly, this safe house transforms into a site of terror and isolation, as patient and nurse grow dangerously close. A nightmarish poem about identity, intimacy and the limits of the spoken word.'
Source: http://www.theatreworks.org.au/ (Sighted 24/05/2012).
Production Details
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Produced by Fraught Outfit in association with Theatre Works at Theatre Works, St Kilda, 18-27 May 2012.
Director: Adena Jacobs.
Production Designer: Dayna Morrissey.
Lighting Designer: Danny Pettingill.
Cast: Karen Sibbing and Meredith Penman.
Produced by Fraught Outfit for Malthouse Theatre and Belvoir St Theatre.
Performed at Malthouse Theatre, 27 June - 14 July 2013.
Performed at Belvoir St Theatre (Upstairs), 24 July - 18 August 2013.
Director: Adena Jacobs.
Production Designer: Dayna Morrissey.
Lighting Designer: Danny Pettingill.
Sound Designer: Russell Goldsmith.
Cast including Meredith Penman, Daniel Schlusser, and Karen Sibbing.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Creating Feminine/ist Theatre : Ecriture Feminine as a Framework for Directors
2019
single work
criticism
— Appears in: Australasian Drama Studies , May no. 74 2019; (p. 217-242)'This article argues that when actors and directors use an 'affect-first' approach to performance, they are able to build an alternative semiotic that allows distinctly feminine/ist meaning to be created in the rehearsal room and shared in performance. This feminine/ist strategy for meaning- creation requires makers to feel first and think second, thus problematising the patriarchal Cartesian hierarchies of mind/body, and opening a space for affect and the body to be centralised in the creation of on-stage meaning. Using Fraught Outfit's 2012-13 production of 'Persona' as a case study, I contend that working at the intersections of feminist theatre theory, affect theory and 'ecriture feminine' allows feminine/ist theatre-makers to signify a broader and deeper range of meaning in and with the female body than otherwise possible with an approach that prioritises traditional theatre semiotics.' (Publication abstract)
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Haunting Relationship Will Have You Second-Guessing Everything
2012
single work
review
— Appears in: The Age , 23 May 2012; (p. 13)
— Review of Persona 2012 single work drama
-
Haunting Relationship Will Have You Second-Guessing Everything
2012
single work
review
— Appears in: The Age , 23 May 2012; (p. 13)
— Review of Persona 2012 single work drama -
Creating Feminine/ist Theatre : Ecriture Feminine as a Framework for Directors
2019
single work
criticism
— Appears in: Australasian Drama Studies , May no. 74 2019; (p. 217-242)'This article argues that when actors and directors use an 'affect-first' approach to performance, they are able to build an alternative semiotic that allows distinctly feminine/ist meaning to be created in the rehearsal room and shared in performance. This feminine/ist strategy for meaning- creation requires makers to feel first and think second, thus problematising the patriarchal Cartesian hierarchies of mind/body, and opening a space for affect and the body to be centralised in the creation of on-stage meaning. Using Fraught Outfit's 2012-13 production of 'Persona' as a case study, I contend that working at the intersections of feminist theatre theory, affect theory and 'ecriture feminine' allows feminine/ist theatre-makers to signify a broader and deeper range of meaning in and with the female body than otherwise possible with an approach that prioritises traditional theatre semiotics.' (Publication abstract)
