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.

Research interests

  • Theatricality and theatrical metaphor
  • Seventeenth and eighteenth century approaches to acting

Teaching and supervision

Areas of Teaching

  • Theories of Acting
  • Performance Theory
  • Documenting Performance

Current Doctoral Supervision

  • Christopher Hay ‘Brave Souls Pushing Boundaries: A Study of the NIDA Directing Course and its Graduates’ (PhD)
  • 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 projects

  • 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?
  • Semiosis and Affect: How Stylised Acting Techniques Created Embodied Responses in Audiences 1650-1850. I am in the early stages of this research. Essentially I’m interested in sidestepping the internal/external dichotomy in acting theory in order to explore the apparent paradox that stylised and histrionic modes of acting nonetheless produced affective responses in audiences.

Associations

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

Conference Presentations

  • 2013, June ‘Passion and Infection: Towards a Community of Sentiment in the 18th C. Theatre’, Sourcing Emotions in the Medieval and Early Modern World, University of Western Australia
  • 2012, June ‘A Spectacle that Enthrals: Social Media and the Theatre of Memory’, Australasian Association of Theatre, Drama, and Performance Studies (ADSA), Queensland University of Technology, Brisbane
  • 2011, September, (with Chris Hay), ‘Picturing Success: Imaging Collaborative Networks Amongst NIDA Directing Graduates’, Ausstage Symposium, Deakin University
  • 2011, July, ‘Motions of the Mind: Communicating the Passions on the Early Modern Stage’ Australasian Association of Theatre, Drama, and Performance Studies (ADSA), Monash University, Melbourne
  • 2011, June, ‘Motions of the Mind: Communicating the Passions on the Early Modern Stage’ Emotions In The Medieval And Early Modern World, University of Western Australia
  • 2011, February, ‘The Wonderful Scene’: Theatricalising the Unknown in Eighteenth Century Science’ Romantic Studies Association of Australasia, University of Sydney
  • 2010 “The Persistent Essentialism of Theatricality”, Australasian Association of Drama, Theatre and Performance Studies (ADSA), ANU, Canberra
  • 2009 “Theatrum Mundi: the ‘booming’ metaphor” , ADSA, Curtin University, Perth
  • 2008 “The Picturesque World Stage” Australasian Association of Drama, Theatre and Performance Studies (ADSA), University of Otago, Dunedin, New Zealand
  • 2007 “Globing the globe: September 11 and theatrical metaphor”Australasian Association of Drama, Theatre and Performance Studies (ADSA), University of Melbourne
  • 2006 “The Discursive Formation of Theatricality as a Critical Concept”, American Comparative Literatures Association conference, Princeton University, Princeton, USA
  • 2005 “Self Fashioning and Fashioning the Self: the Renaissance Crisis of Interiority”, ADSA Conference, Charles Sturt University, Wagga Wagga
  • 2003 “’Theatricality’: Examining the Genealogical and Discursive Issues of a Critical term”, ADSA Conference, Australian Catholic University, Brisbane
  • “Faking truth: the 'problem' of 'theatricality'”, International Federation of Theatre Research Conference (IFTR), Jaipur, India
  • 2002 “The Emperor’s New Clothes: Reinventing ‘Theatricality’ as ‘Performance’”, International Federation of Theatre Research (IFTR), University of Amsterdam, Amsterdam, The Netherlands
  • 2001 “Evoking the Theatrical Fetish: The Function of Disavowal and Fetishism in Trans-acting the ‘Real’ in Performance”, ADSA Conference, University of NSW, Sydney
  • 2000 “’Do Not Forget You Are Mortal!’ The Suppression of Theatricality in the Staging of State Spectacles”, ADSA Conference, University of Newcastle, Newcastle

PhD and master's project opportunities

Selected publications & creative works

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Edited Books

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

Book Chapters

  • 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. (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.
  • 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(April), 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.

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.

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.
  • 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(April), 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.

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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