Dr Laura Ginters
BA (Hons), LLB, PhD
A20 - John Woolley Building
The University of Sydney
|Telephone||+61 2 9351 6849|
Laura Ginters lectures in the Department of Performance Studies at the University of Sydney. Her doctorate is in Germanic Studies and Performance Studies and concentrated on the role of the female characters in, and female (actors’ and directors’) interpretations of, Georg Büchner’s "Danton’s Death". Laura worked for three and a half years at Playworks, the national women performance writers’ network, developing new women’s writing for theatre and performance. She was previously the Associate Director of the International Theatre Institute and has also worked for Opera Australia. She translates for the stage from German and her translations have been both published and performed: most recently she translated Brecht’s "Threepenny Opera" for Company B Belvoir Street (2003). Laura works as a dramaturg for companies such as Harlos Productions, Pact Youth Theatre, the Australian National Playwrights’ Centre and on independent projects, and has assessed scripts for Playworks and Griffin Theatre Company. She has had articles published locally and internationally in the areas of writing for performance, feminism and theatre, translation, performance analysis and Indigenous theatre, as well as performance reviews for the arts journals Post/West and RealTime.
- Rehearsal studies
- Feminist performance theory
- Writing for performance
- Recent Australian theatre history (including: Sydney University Dramatic Society (1959-65), Rex Cramphorn)
Teaching and supervision
Rehearsal Studies; Gender and Performance; Dramaturgy; Documentation of Performance; Theatre History; The Playwright in the Theatre.
- Feminist performance theory
- Gender and performance
- Law, liveness and performance
- Indigenous performance
- Creation of "family" in theatre practice
The Ripples Before the (New) Wave: Sydney University Dramatic Society 1959-64
SUDS and other University drama groups such as SU Players played a significant role in the—otherwise rather barren—theatrical landscape of Sydney in the late 1950s to the mid-1960s. A striking number of its members (for example Clive James, Bruce Beresford, Germaine Greer, Leo Schofield) went on to have high profile careers in the arts and have made significant contributions to Australian culture and the arts. The “New Wave” in Australian theatre can be traced back to the activities of those prominent in SUDS at this time and has been extensively researched, but almost no attention has been paid to this earlier, foundational period.
From the Fatal Shore to Far Shores: Australian directors overseas
In recent years a number of Australian theatre directors (for example Gale Edwards, Barrie Kosky and Beverley Blankenship) have achieved considerable international prominence, bringing a particular Australian sensibility to theatre productions and to the way in which productions evolve in the rehearsal and development phase.
Rex Cramphorn: Performance Histories
Rex Cramphorn was a highly original director of Shakespeare, French classical and contemporary Australian theatre. His untimely death at the age of 50 in 1991 cut short a significant artistic career. The Rex Cramphorn Committee has commissioned research for a book length study of Cramphorn’s work, both with the innovative companies he founded in the 1970s, and his later work, including his 5-year Resident Directorship of Melbourne’s Playbox Theatre. This will complement the collected edition of his writings, currently being compiled and edited by Dr Ian Maxwell.
- Member, Rex Cramphorn Committee (2002-2005)
- Board member, Theatre Kantanka (1998-2004)
- Board member, De Quincey Company (2000-2005, Chair 2003-2005)
- Board member, Sydney Arts Management Advisory Group (2002-2005)
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