About

The Monash Centre for Theatre and Performance is the largest comprehensive theatre and performance program offered by an Australian university, enjoying a reputation as one of the most outstanding courses of its kind in the country. We offer two pathways to study theatre and performance at undergraduate level:

  • Theatre Major or Minor
  • Performance Minor

The Centre is home to the largest cohort of postgraduate students in theatre and performance in Australia, including many from Asian countries. Many of these students are pursuing practice-led MA’s and PhDs, presenting work for public performance supported by the Academy of Performing Arts.

Students undertaking taking a Theatre Major or Minor complete the requirements alongside students enrolled in the Bachelor of Arts. The theatre major focuses on the study of the past, present, and future of performance and is grounded in both theoretical frameworks and reflective, participatory explorations of key themes, genres, and questions. Course units cut across a wide range of approaches to theatre and performance and provide the student with the tools to think critically about the field, preparing them for a future where theatre and performance increasingly cross genres, cultures, geographic boundaries, and modes of artistic expression. Students can develop further specialisations in directing, music theatre, performance studies, scriptwriting, and theatre history, with the possibility of internships and mentorships in technical theatre and design.

Centre for Theatre and Performance – Performance Minor

From 2015, CTP will be introducing a new, exciting performance Minor

2nd year students who have already completed ATS1287 and ATS1288 are invited to deepen their knowledge of performance practice by taking the following 24point sequence. Our Performance Minor units are all practical, engaging, and give you access to some of the most exciting and influential practitioners currently working in Melbourne. We encourage industry engagement, and these units have been the springboard for many students to gain their first professional experience.

In Semester 1 of your second year, we will be offering Making Performance 1. this unit, taught by experienced practising professionals, will allow you to concentrate on either performance and acting skills, or on creative technical knowledge (including design for the theatre, lighting, stage-management, and sound).
In Semester 2, we offer Making Performance 2 – a workshop class where students can practically explore and build on the skills learnt in Semester 1. These highly practical units will allow you to develop your technique, your creativity, and your knowledge of key elements of theatre making and the theatre industry.

In your 3rd year, you can develop you skills base, applying your knowledge to devising your own work and working on a fully production. In Semester 1, you will take Writing/Performance, a highly practical unit where you will learn about the creative methods of key contemporary theatre makers across the world, and then combine your theoretical knowledge with your practical skills to build your own performance.

In Semester 2, you will have the opportunity to put your specialist interests and skills to the test in Production Investigation – 3 projects, directed by professional industry practitioners, that will allow you to apply your acting, technical, creative and administrative skills in the development of a fully realised production.

CTP Student finalist for Victorian Young Achiever Award

Figsandcup1CTP student Caitlyn Barclay  has emerged as a finalist for the 2014 Victorian Young Achiever Award. Furthermore, she has been specifically chosen to be a finalist for the Arts Award. This will put her in the running to be the overall Victorian Young Achiever of the Year.
In October Caitlyn will be heading to Perth and Kalgoorlie for the Regional Arts Australia Summit to speak about being a young artist growing up in regional Victoria. Caitlyn has been asked to specifically talk about engaging the community with a particular focus on how she, as a young person, would go about involving older generations. She is delighted and appreciative to be able to speak on something she is so about passionate to arts professionals from all over Australia.
All the best  Caitlyn from CTP !

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Radical Readings

Radical Readings iiThe Centre for Theatre and Performance presents three weeks of rehearsed readings directed by students.  This initiative allows students to explore new or little performed texts through a process of deep textual engagement.  Prizes of $100 – $200 are awarded to selected proposals. Readings are free and open to all. Join us in the Drama Theatre at 6pm Thurs 1st, 8th and 15th of May!

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Free Lunchtime Theatre

Three-For-Free-3-WEBCTP is proud to present another season of free lunchtime theatre this April. Three for Free is now in its 5th year and this year we are offering our best season so far. Check the site, lock in the dates, grab your lunch and join us at the Alexander Theatre the first three Wednesday afternoons in April!

http://artsonline.monash.edu.au/mapa/events/three-for-free/

This year we welcome British performance academic and storyteller Paul Woodward tracing moments from his relationship with his late father in Fathers and Feathers. Lily Fish will perform Yarn, an original solo theatre work that combines rich poetic text, intricate physical performance, clowning and object play. It is a story about stories. To round out this season, Thomas Lawton presents Disregarding She, inspired by Euripides’ Medea, telling the story of a damaged young woman called Emma who has begun to blur the lines between reality and literature.

 

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Dr Jane Griffiths at the Malthouse

Frank-rehearsal-2Head of CTP Dr Jane Montgomery Griffiths returns to the Malthouse Theatre in The Rabble’s adaptation of Frankenstein.

Frankenstein / is Mary Shelley’s gothic novel adapted for a world that was once unimaginable – one in which life can be conceived in a laboratory instead of a womb.

Doctor Frankenstein is a childless woman, a scientist obsessed with becoming a mother. One night she succeeds in her experiments and sparks life into a monstrous creature – a miraculous conception. Has Frankenstein taken things too far, to a place
where the violent need to procreate has upset the balance of nature itself?

Looking back to a classic to see into the future, THE RABBLE’s mutated tale / transcends nature.

Warning: Recommended for people 18 years and over. Some audience members may find the content confronting. Frankenstein contains nudity, graphic imagery, sexualised content, violence, adult themes, horror themes, coarse language, strobe effects, smoke effects and loud noises. But remember, fortune favours the brave.

Find out more:

 

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FAQ: CTP in 2014 and beyond

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2014 brings a new direction to the Centre for Theatre and Performance.  There have been changes in Faculty structure, degree structure, even unit structure.  This document attempts to clarify some key questions for current students, potential students, graduates and for those who care about CTP.

1)      What’s going on with the BPA? In 2014 there will be no Bachelor of Performing Arts intake. The Faculty has pulled back on speciality degrees and has instructed CTP to withdraw the BPA and its manifestations (BPA/Mus; BPA/LLB) after 2015.  There is of course a sentimental attachment to this degree and we are sad to see it go.  It is important to note however that something very similar to the old BPA will still exist for students wishing to take a Theatre Major coupled with a Performance Minor (see below).  However students will no longer be able to take a Performance Major and, as such, the BPA in its old form is no longer on offer.

2)      What does this mean for students currently enrolled in the BPA? The Arts Faculty has assured CTP that all students currently enrolled in the BPA will be allowed to complete all relevant units and attain the degree for which they auditioned and into which they were accepted.  For students going into BPA 2nd and 3rd year in 2014, all units –including production units- will be on offer. For students going into BPA 3rd year in 2015, all units –including production units- will be on offer.  There will be no change for students currently enrolled in the BPA. CTP and the Faculty are committed to ensuring all students currently enrolled are able to complete their Bachelor of Performing Arts. That means that even if you have to intermit or go part time, you will still have sufficient units on offer to enable you to graduate with a BPA. There are no time restrictions on this, other than the usual University guidelines for completion of a Bachelors Degree.

3)      What does this mean for students coming into CTP? Students coming into CTP at First Year level in 2014 will only have one unit to choose from per semester. This is in line with the Arts BA Review which proposed that each Major offer one single Gateway unit per semester. Voice and Movement units will no longer be available at First Year. Similarly (because the Performance Major no longer exists) there will be no Performance / Production Investigation units at First Year. It is important for all incoming students to be aware that taking First Year Theatre units ATS1287 and ATS1288 Performance in Context I and II, is essential for students wishing to pursue a Theatre Major, Theatre Minor or Performance Minor.

4)      Will the First Year experience change? The BPA has always been the exception amongst performance degrees in staging a First Year production after providing students with only a relatively short period of training. In the new structure, basic premises of performance will be explored in Performance in Context units and these units will have a stronger focus of exploring ideas through performance:  the more rigorous performance work, however, will only begin from second year for students taking the Performance Minor. Meanwhile the new Faculty structure means that all 1st year students will have the opportunity to undertake more eclectic study in the full range of BA units.  The broader educational opportunities this provides for first year can only add to the foundational knowledge of undergraduates – making them more informed theatre and performance students when they get to specialise in CTP elective units in 2nd and 3rd year.

5)      What is this Performance Minor anyway? From 2015 students entering 2nd year (i.e. students entering 1st year in 2014) will have the option of pursuing a Performance Minor. This will be a non-audition Minor (however Performance in Context I and II in 1st year are pre-requisites). The Performance Minor allows students to take specific units in performance techniques; devising techniques; technical skills; directing workshops; staging techniques and dramaturgy.  Students will be given opportunities and responsibilities for creating their own performance outputs in various units but there will be no specific production-only units in the Performance Minor.  Students complete a minimum of 4 units to gain the Minor. Usually this will complement their Theatre Major.  This is recommended for students wishing to teach performance, become practitioners, prepare for further study or improve their basic performance / presentation skills.

6)      And the Theatre Major? The CTP Theatre Major remains largely unchanged in 2014 and beyond, except that certain units will offer more performance options and assessments. Units in script development, Musical Theatre, theatre theories and histories, play text study and Theatre Internship Units will all still be available.

7)      The change of School? CTP has traditionally been part of the School of English, Communications and Performance Studies (ECPS).  As of 2014 this School no longer exists and the Centre for Theatre and Performance has become an independent Centre within the Faculty of Arts.  CTP however will share many services and administrative staff with our colleagues within the Sir Zelman Cowen School of Music.

 

We know there are a lot of changes and we realise that with change comes uncertainty. Our discipline however teaches us that great things can come from change. Even though many of these adjustments are beyond our control, CTP staff feel confident that these changes can help strengthen the degree we offer.  If you have specific questions or uncertainties about how this affects your degree, then come and speak with us.

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First Year Units provide ‘Gateway’

1CTP First Year units Performance in Context I and Performance in Context II (ATS1287 and ATS1288) are now open for enrolment. These units provide a GATEWAY into the CTP Theatre Major, Theatre Minor and the Performance Minor.

These units provide:

  • a comprehensive overview of theatre history
  • a performance-based engagement with texts
  • an exploration and engagement with performance practices
  • scholarly writing and research skills 

To find out more about taking Theatre units at First Year level visit http://artsonline.monash.edu.au/theatre-performance/

or contact First Year Coordinator Dr Felix Nobis Felix.Nobis@monash.edu

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Theatre course on centre stage

A new fully integrated Monash University theatre and performance course will bring together theory and practice in an intellectually stimulating and creatively inspiring environment.

 

Senior Lecturer in theatre and performance at Monash University Dr Jane Griffiths said the integration of the Bachelor of Performing Arts (BPA) and Bachelor of Arts (BA) theatre major would create a new and exciting extended theatre major and performance minor within the Bachelor of Arts degree.

 

“The new three-year degree, to start in 2014, will retain the best elements of the BPA and the BA theatre major,” Dr Griffiths said.

 

“We have designed a course that will be engaging and demonstrates our ongoing commitment to providing a stimulating and inspiring environment.”

 

The course will incorporate the theories of theatre and performance; students will be able to broaden their education by taking other complementary units from the Bachelor of Arts offerings. There will also be opportunities for ongoing industry engagement both locally and internationally.

 

“Over recent years, Monash University’s Centre for Theatre and Performance, through its BA with a theatre major and specialist Bachelor of Performing Arts, has delivered some of the best education in theatre and performance in the country,” Dr Griffiths said.

 

“It offers a unique range of units in which theory has always gone hand in hand with practice, demonstrating the University’s belief in the importance of combining academic knowledge with practical exploration.”

 

The Centre has proved an incubator for new talent through its continued engagement with some of the best actors, directors and playwrights nationally and internationally. Recent international visitors have included performance artists Tony Yap and Tim Miller, and in 2014 there will be workshops by renowned director Lee Bruer and Forced Entertainments’ Robin Arthur.  Local practitioners such as Adena Jacobs, Nadia Tass, Pamela Rabe, Emma Valente, Jane Harrison and Rob Reid have also shared their experiences with the students. 

 

“Many of our graduates are now forging remarkable careers in the performing arts, and demonstrate in their lives post-Monash the importance of their education in practice and theory,” Dr Griffiths said.

 

“The new course will provide an exceptional education for our students, and we are delighted that it will mark the continued flourishing of theatre and performance studies at Monash University.”

For more information contact Glynis Smalley, Monash Media & Communications + 61 3 9903 4843 or 0408 027 848.

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Premiere of New Australian Play

Boy out of the Country Image 1Congratulations to CTP Staff Member Dr. Felix Nobis whose new play ‘Boy out of the Country’ received rave reviews for its premiere season:

“A play infused with the vitality of Aussie Idiom and melodrama that crackles with understatement and wit”   (THE AGE)

“The story develops like a watercolour painting, adding depth and colour in subtle layers that slowly reveal a more intricate picture in a wholly gratifying way. It is sharp, canny and astute, but it is also very funny”    (AUSTRALIAN STAGE)

“Touching, funny, raw, bittersweet, the play is at once uniquely Australian and thematically universal”  (AUSTRALIAN BOOK REVIEW)

“A play that welds together the theatrical with the literary, leaving you lost in your own imagination”   (ARTSHUB)

“Fuses high drama with laugh out loud comedy”  (THEATRE PEOPLE)

Fore more information see http://profiles.arts.monash.edu.au/felix-nobis/boy-out-of-the-country/

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CTP Honours Student Performance Investigations

Syndicate Poster with logo copy mail.google.com

CTP Honours students present their performance investigations in the coming weeks.  Disregarding She written and directed by Thomas Lawton will be presented at the Drama Theatre, Performing Arts Centre on Friday 13th September.  Honours student Mitch Jones will be presenting The Syndicate at The Butterfly Club 11th – 15th September.

 

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‘The Gate’ – World Premiere

Performance Dates:

  • Thursday 5 September – 1:00pm and 7:30pm
  • Friday 6 September – 7.30pm
  • Saturday 7 September – 7:30pm

Presented by Centre for Theatre and Performance

Written by Peter Houghton
Directed by Anne Browning
Bachelor of Performing Arts: Second Year ProductionThe Gate PROMO IMAGE

A city teeters on the verge of anarchy. Inside, authorities attempt to tighten their control against the threat of foreign invasion. Outside, a motley group of criminals and dissidents wait for a trial that never comes – but of what are they guilty? If these outcasts can infiltrate the city walls, they can destroy the record of their crimes and perhaps, begin again. A comedy about legacy, guilt and honour in a world on the edge of darkness, The Gate reunites an award-winning writer-director team for the premiere of a new Australian play.

Anne Browning has directed several shows for MTC, Malthouse Theatre and Red Stitch, including the 2012 tour of Melissa Bubnic‘s Stop. Rewind. In 2013, she will direct Dorothy Hewett’s Man from Mukinupin for La Trobe University and A Guide to Unhappiness by Sunny Leunig and Jono Burns for the Adelaide Cabaret Festival.

 Tickets: $10
Call the MAPA Box Office on 9905 1111 to reserve your seats.

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The Preserves Project

A multi-arts project to celebrate the ways people from different cultural backgrounds preserve, share and pass on ideas about what matters to them. People who might not otherwise come to know each other from Clunes, Castlemaine and Footscray join a rolling conversation about culture and value.

INSTALLATION OPENING: 6pm Thursday 29 August

RSVP to morgan@footscrayarts.com

EXHIBITION: 30 August – 13 October
VENUE: Roslyn Smorgon Gallery, Footscray Community Arts Centre 45 Moreland Street, Footscray

ARTIST TALK: 2pm – 4pm, Saturday 14 September

Hear the artists discuss the art, ideas and community of The Preserves Project, and contribute to this ongoing conversation.

EXCHANGE DAY: 1pm – 4pm, Saturday 12 October

Join us for a special day of tastings, tea and talk. Meet people from different communities who have been involved in the project, join in activities and share your own stories.

Artists: berni m janssen, Alison Richards, Sarah Lloyd, Ros Bandt, Hoang Tran Nguyen and Gunther Wilhelm Workshop artists: Victoria Morphy Walsh, Shona Te Hau, Rebecca Russell and Carolyn Lewens

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts and advisory body, by Hepburn Shire and by the Castlemaine State Festival.

Community partners: Footscray Community Arts Centre, Barkly Arts Centre, Clunes Neighbourhood House, Castlemaine Community House.  Click here to view project information on FCAC website.

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Congratulations CTP Adjunct Professor Peter Fitzpatrick

the-two-frank-thingsProfessor Peter Fitzpatrick, founding staff member of the Centre for Theatre and Performance and CTP Adjunct took out the top prize in this year’s national Biography Awards for his double biography, The Two Frank Thrings, published by Monash University Publishing. The judges described the book as ”a well-paced and clearly written biography in which the author brings to life two very different and determined self-mythologisers, and gracefully deals with what can be known about them and what cannot”. Congratulations Peter!

See

http://www.publishing.monash.edu/books/thrings.html

and

http://www.theage.com.au/entertainment/books/frank-thring-double-bill-wins-biography-award-20130805-2r8ou.html

 

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Einstein on the Beach: Free Public Lecture

Free Public Lecture by Professor Roger Copeland of Oberlin College, US

Thursday August 1st 2013, 6.30p Drama Theatre, Performing Arts Centre (building 68) Monash University Clayton.


As Melbourne prepares to host  ‘Einstein on the Beach’, Professor Roger Copeland provides an introduction to and discussion of this seminal work and the extraordinary collaboration of Robert Wilson and Philip Glass .

Roger Copeland is Professor of Theater and Dance at Oberlin College, and is a leading world authority on the Wilson/Glass collaboration. His publications include What Is Dance? and Merce Cunningham: The Modernizing of Modern Dance.   He has published over two hundred essays about theater, dance, and film in a wide range of publications including The New York Times,  Dance Theatre Journal, and Film Comment.

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CTP Staff Member at the Helpmann Awards

DP_SS_2The Disappearances Project, an intimate theatre work co-directed by CTP staff member, Yana Taylor, in which she also performs, received a Helpmann Award nomination in the ‘Best Regional Touring Production’ category. This piece explores the effects of long-term missing persons cases on family members and communities. It traces the trajectories of hope in the shattered lives of those left behind over years of police investigations in a range of unexplained disappearances.  The Helpmann announcement follows rave reviews for the work at the Brighton Festival UK in May. This work was devised by a creative team from company version 1.0, including composer Paul Prestipino, performer-co-devisor, Irving Gregory, co-director David Williams, filmmaker Dan Jameison and cinematographer, Sean Bacon.

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PhD Candidate at the R E Ross Trust awards

Merrilee Moss 22-6-13 Monash is again represented at the prestigious R. E. Ross Trust Awards. PhD candidate and playwright Merrilee Moss has been highly commended for her play Oriel in the 2013 R E Ross Trust Playwrights’ Script Development Awards.  In the past the Script Development Award has been received by  staff members Jane Griffiths and Felix Nobis.The awarded sum is to be used specifically for the purpose of working with a dramaturg.

A professional reading of the play Oriel will be held at the La Mama Courthouse at 7.30pm on Tuesday 17 September. Directed by Kim Durban.  Supported by Monash Academy of Performing Arts and La Mama Theatre

For more information on the awards see:

http://www.slv.vic.gov.au/our-community/literary-awards-competitions/re-ross-trust-awards/current-recipients

 

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CTP MA reinvigorates Northcote street life

522567_420086421413861_519448990_nCTP MA candidate Peter Fraser is pictured here, making a short film based on a performance as a lizard. On Wednesday 6 March one of the windows of Offshoot was transformed into a film shoot. “Peter Fraser makes performances based on the sensations of the body. The focus is not on psychology or choreography but on exploring the body as an internal environment inside a surrounding environment. He performers as an improviser, in choreographed performance, site specific performance and occasionally in video and theatre. Peter’s work draws on a performance training called ‘Bodyweather’ developed by the legendary butoh dancer Min Tanaka, and used, in Australia, by De Quincey Co with whom Peter has often performed (http://dequinceyco.net/category/performances). Examples of Peter’s work can be seen at https://vimeo.com/user11525528 Peter is completing an MA in performance that will include the Darebin pop up shop window installation/performance based on having seen a lizard confined in a pet shop. Filmmaker, Lolanthe Lezzi is a multi-disciplinary artist, film editor and graphic designer based in Melbourne. She has a Masters of Fine Arts, Monash. Her work commonly explores themes of Absurdism and the Outsider – often with humour. She has exhibited, film, photographs and installations in many group or individual exhibitions, including at Monash University, Seventh Gallery, Dianne Tanzer Gallery, Barcelona, Launceston and the Mornington Peninsula”. For further information please contact Sarah Poole on 0407 813 776. The actual film will be posted when it has been edited – in a few weeks time.

https://www.facebook.com/media/set/?set=a.420086268080543.1073741825.348248115264359&type=1

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Rave Reviews for The Disappearances Project

TDP_March_eDM2b7d05CTP Staff member Dr Yana Taylor has received terrific reviews for Version 1.0 The Disappearances Project, at the Brighton Festival. Selected as one of the Brighton Festival theatre highlights, it played on the opening night to a full house and received rave reviews.

“Those are some of the issues raised by Australian company version 1.0 in this verbatim show that offers a collage of the experiences of Australians who have been left behind by the disappeared. Making its European premiere as part of the Brighton festival, the hour-long static show is delivered by two actors – Irving Gregory and Yana Taylor, both superb – who sit facing the audience. The piece displays a frozen quality, its form mirroring the emotional state of those talking about the people they love, there one day and gone the next. **** Lyn Gardener, The Guardian, UK. Read more here

“pungent, powerful and thought provoking” Mary Kalmus, The Brighton Argus, UK. Read more here

“the content of The Disappearances Project is indeed bleak and beautiful. Bleak in its steadfast commitment to illustrating the hardship of the people’s experiences and beautiful in its simple unadorned delivery by its two performers” **** Hannah Rowlands, The Public Reviews, UK. Read more here

“The stark, filmic backdrop of travel through deserted streets by night echoed the sense of constant search for someone who wasn’t there and the discordant soundtrack added to the feeling of despair and malaise. It was powerful and deeply moving.” ***** Jenni Davidson, The Latest, UK. Read more here.

“They speak verbatim-style, conveying a sense of both raw communication and heroic composure, over the fluctuating tensions of Paul Prestipino’s bleak industrial sound-track” ***** Bella Todd, The Stage, UK. Read more here.

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‘Sappho’ in Shakespeare’s Rose

http _jux-user-files-prod.s3.amazonaws.com_2012_12_31_12_19_27_990_Sappho_Image_copy4_678x1024Jane Griffiths’ Australian Research Council supported play, Sappho in 9 fragments, first played in a pub (The Stork), then an old brewery (Malthouse Theatre). Now it’s gone one better, and in a new UK production that has been critically acclaimed as ‘remarkable’, ‘outstanding’ and ‘inspirational’, is playing at London’s Rose Theatre on  the archaeological remains of Shakespeare’s, Marlowe’s and Kyd’s first venue. After its London run, the production tours to Toronto, Ottawa, Montreal, and Edinburgh.

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