Dr Glen McGillivray

BA (Honours) Flinders 1988, PhD Sydney 2004
Lecturer

A20 - John Woolley Building
The University of Sydney

Telephone +61 2 9351 6833

Biographical details

Glen McGillivray graduated from the Flinders’ University Drama Centre with honours in theatre direction. He was the inaugural directing associate with the State Theatre Company of South Australia and worked subsequently as a director and dramaturg for fifteen years. Glen was artistic director of Australian Theatre for Young People and Theatre of Desire, worked as a script assessor for the Australian National Playwrights’ Centre and was the Australia Council funded dramaturg at the Banff PlayRites colony in Alberta, Canada. He was a Chief Investigator with the Australian Research Council funded Ausstage Database of Live Performance in Australia (2007-2012), has published on archiving performance and on discourses of theatricality. Recently Glen was an Associate Investigator with ARC Centre for the History of Emotions (CHE) and a research fellow at the Folger Shakespeare Library in Washington, DC.

Research interests

  • Eighteenth century approaches to acting
  • Theatricality and theatrical metaphor

Teaching and supervision

Areas of Teaching

  • Approaches to Acting
  • Rehearsing Shakespeare
  • Performance Theory

Current Doctoral Supervision

  • Peta Downes: Artist or Creative Entrepreneur: the Impact of Creative Industries on Australian Theatre Practice (PhD)
  • Steve Matthews: Performing Your Life (D. Arts)
  • Simon Heath: The Creative Arts Collaborative Learning Program (D. Arts)

Current research students

Project title Research student
O brave new worlds: A study of the role of costume within scenography using case studies from Shakespeare Julie Alison LYNCH

Current projects

  • Communities of Sentiment: Actors, Audiences and Emotions in the Eighteenth-Century English Theatre, 1741-1782. The aim of this research is to investigate the emotional relationship of eighteenth-century actors to their audiences. In doing so, my research returns to one of the central problems of theatre as a scholarly discipline and as a professional practice: How does an actor act? By assessing a range of eighteenth-century sources, I take seriously what actors and their audiences considered important about performance. Fundamental to this enquiry is the role of emotion: how could acting in the so-called rhetorical mode affect audiences so powerfully?
  • The Idea of Theatre from the Age of Shakespeare to Facebook. This study explores how theatre became a root metaphor that inflected a range of experiences and cultural expressions from the mid-sixteenth century to the present day. When we begin to describe human behaviour in terms of role playing, or of “scripts”, or when we become aware of ourselves as spectators to what the world presents, then what we are doing is perceiving and responding to the world in theatrical terms. We are theatricalising the meanings that we make. The question is: how do we do this?

Associations

  • Australasian Association of Theatre, Drama, and Performance Studies (ADSA) - President
  • Chair, youMove Dance Co (2011 – 2013)

Editorial Boards

  • Member, Editorial Board, Australasian Drama Studies Journal
  • Member, Editorial Board, About Performance

PhD and master's project opportunities

Selected grants

2010

  • AusStage: Gateway to Australian live performance phase 4; Holledge J, Marlin C, Bollen J, Carlin D, Mullet J, Kelly V, tompkins J, Burvill T, D'Cruz G, Erskine S, Hassall N, Millne G, Tait P, Casey M, Grehan H, Makeham P, Durban K, Arrighi G, Watt D, Kiernander A, McCallum J, Maxwell I, Trenos H, McGillivray G, Mitchell R, Stone R, Gilbey K, Stephenson P, O'Leary M, Morgillo A, Myers R; Australian Research Council (ARC)/Linkage Infrastructure, Equipment and Facilities (LIEF).

Selected publications & creative works

Download citations: PDF RTF Endnote

Edited Books

  • McGillivray, G. (2011). Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance. Bern, Switzerland: Peter Lang Publishing.

Book Chapters

  • McGillivray, G. (2015). Arcadian Scenes: Bougainville, Banks and Theatrical Perception in the South Pacific. In Maryrose Casey (Eds.), Embodying Transformation: Transcultural Performance, (pp. 1-16). Melbourne: Monash University Press.
  • McGillivray, G. (2011). Still. Not seen: Photography and the archive under the bed. In McGillivray, Glen (Eds.), Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance, (pp. 173-189). Bern, Switzerland: Peter Lang Publishing.
  • McGillivray, G. (2011). The performance archive: Detritus or historical record? In McGillivray, Glen (Eds.), Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance, (pp. 11-28). Bern, Switzerland: Peter Lang Publishing.
  • McGillivray, G. (2005). Faking truth: the 'problem' of 'theatricality'. In Ravi Chaturvedi and Brian Singleton (Eds.), Ethnicity and Identity: Global Performance, (pp. 117-129). India: Rawat Publications.

Journals

  • McGillivray, G. (2013). Motions of the Mind: Transacting Emotions on the Eighteenth-Century Stage. Restoration and Eighteenth-Century Theatre Research, 28(2).
  • McGillivray, G. (2010). King/Cate: Stardom, Aura and the Stage Figure in the Sydney Theatre Company's Production of Richard II. TDR - the Drama Review, 54(3), 158-163. [More Information]
  • McGillivray, G. (2010). Pleasure out of Suffering: Negotiating Material Reality Through Fetishism and Disavowal in Food Court. About Performance, 10(2010), 93-106.
  • Bollen, J., Harvey, N., Holledge, J., McGillivray, G. (2009). AusStage: e-research in the performing arts. Australasian Drama Studies, 54, 178-194.
  • McGillivray, G. (2009). The discursive formation of theatricality as a critical concept. Metaphorik.de, 17, 101-114.
  • McGillivray, G. (2008). Globing the Globe: September 11 and Theatrical Metaphor. Theory and Event: an online journal of political theory, 11(4), 1-6.
  • McGillivray, G. (2008). Mis-recognised Knowledges: National Identity and the Unreliable Narrator in Jack Hibberd's A Stretch of the Imagination and Josephine Wilson's The Geography of Haunted Places. Australasian Drama Studies, 52, 69-84.
  • McGillivray, G. (2008). Still. Not seen: the hidden archive of performance. About Performance, 8, 31-45.
  • McGillivray, G. (2008). The picturesque world stage. Performance Research: a journal of the performing arts, 13(4), 127-139. [More Information]

Live Theatre

  • McGillivray, G. (2005). Blue by PJ Williams [Director]. Seymour Centre, Sydney, Australia.
  • McGillivray, G. (2004). Tea by Angus Strachan [Director]. Melbourne Arts Centre, Sydney Opera House, Parramatta Riverside Theatre, Australia, Australia.
  • McGillivray, G. (2002). Leda, a dance-theatre work by Kay Armstrong [Performance Dramaturg]. Australia.
  • McGillivray, G. (1999). The White Project, devised project with Shabnam Hameed [Director/Facilitator]. University of Western Sydney, Australia.
  • McGillivray, G. (1998). Customs by Josephine Wilson [Director/Dramaturg]. Theatre of Desire, Sidetrack Theatre, Australia.
  • McGillivray, G. (1997). The Glasses of Hector Margolez, devised project from a concept by Chris Strickland [Director/Dramaturg]. Theatre of Desire, The Performance Space, Australia.

2015

  • McGillivray, G. (2015). Arcadian Scenes: Bougainville, Banks and Theatrical Perception in the South Pacific. In Maryrose Casey (Eds.), Embodying Transformation: Transcultural Performance, (pp. 1-16). Melbourne: Monash University Press.

2013

  • McGillivray, G. (2013). Motions of the Mind: Transacting Emotions on the Eighteenth-Century Stage. Restoration and Eighteenth-Century Theatre Research, 28(2).

2011

  • McGillivray, G. (2011). Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance. Bern, Switzerland: Peter Lang Publishing.
  • McGillivray, G. (2011). Still. Not seen: Photography and the archive under the bed. In McGillivray, Glen (Eds.), Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance, (pp. 173-189). Bern, Switzerland: Peter Lang Publishing.
  • McGillivray, G. (2011). The performance archive: Detritus or historical record? In McGillivray, Glen (Eds.), Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance, (pp. 11-28). Bern, Switzerland: Peter Lang Publishing.

2010

  • McGillivray, G. (2010). King/Cate: Stardom, Aura and the Stage Figure in the Sydney Theatre Company's Production of Richard II. TDR - the Drama Review, 54(3), 158-163. [More Information]
  • McGillivray, G. (2010). Pleasure out of Suffering: Negotiating Material Reality Through Fetishism and Disavowal in Food Court. About Performance, 10(2010), 93-106.

2009

  • Bollen, J., Harvey, N., Holledge, J., McGillivray, G. (2009). AusStage: e-research in the performing arts. Australasian Drama Studies, 54, 178-194.
  • McGillivray, G. (2009). The discursive formation of theatricality as a critical concept. Metaphorik.de, 17, 101-114.

2008

  • McGillivray, G. (2008). Globing the Globe: September 11 and Theatrical Metaphor. Theory and Event: an online journal of political theory, 11(4), 1-6.
  • McGillivray, G. (2008). Mis-recognised Knowledges: National Identity and the Unreliable Narrator in Jack Hibberd's A Stretch of the Imagination and Josephine Wilson's The Geography of Haunted Places. Australasian Drama Studies, 52, 69-84.
  • McGillivray, G. (2008). Still. Not seen: the hidden archive of performance. About Performance, 8, 31-45.
  • McGillivray, G. (2008). The picturesque world stage. Performance Research: a journal of the performing arts, 13(4), 127-139. [More Information]

2005

  • McGillivray, G. (2005). Blue by PJ Williams [Director]. Seymour Centre, Sydney, Australia.
  • McGillivray, G. (2005). Faking truth: the 'problem' of 'theatricality'. In Ravi Chaturvedi and Brian Singleton (Eds.), Ethnicity and Identity: Global Performance, (pp. 117-129). India: Rawat Publications.

2004

  • McGillivray, G. (2004). Tea by Angus Strachan [Director]. Melbourne Arts Centre, Sydney Opera House, Parramatta Riverside Theatre, Australia, Australia.

2002

  • McGillivray, G. (2002). Leda, a dance-theatre work by Kay Armstrong [Performance Dramaturg]. Australia.

1999

  • McGillivray, G. (1999). The White Project, devised project with Shabnam Hameed [Director/Facilitator]. University of Western Sydney, Australia.

1998

  • McGillivray, G. (1998). Customs by Josephine Wilson [Director/Dramaturg]. Theatre of Desire, Sidetrack Theatre, Australia.

1997

  • McGillivray, G. (1997). The Glasses of Hector Margolez, devised project from a concept by Chris Strickland [Director/Dramaturg]. Theatre of Desire, The Performance Space, Australia.

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