Dr Laura Ginters

BA (Hons), LLB, PhD
Senior Lecturer
Director, Postgraduate Arts and Social Sciences Research Centres (PGARC)

A20 - John Woolley Building
The University of Sydney

Telephone +61 2 9351 6849

Biographical details

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, performed and adapted: her translation of Brecht’s Threepenny Opera was adapted for Company B Belvoir Street (2003), and it has since been produced at Malthouse Theatre (2010) and Sydney Theatre Company (2011). Laura has worked 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, historical and contemporary rehearsal, feminism and theatre, translation, performance analysis and Indigenous theatre, as well as performance reviews for the arts journals Post/West and RealTime.

Research interests

  • Rehearsal studies
  • Feminist performance theory
  • Writing for performance
  • Dramaturgy
  • Recent Australian theatre history (including: Sydney University Dramatic Society (1959-65), Rex Cramphorn)

Teaching and supervision

Teaching

Rehearsal Studies; Gender and Performance; Dramaturgy; Documentation of Performance; Theatre History; The Playwright in the Theatre.

Supervision

  • Feminist performance theory
  • Gender and performance
  • Law, liveness and performance
  • Indigenous performance
  • Creation of "family" in theatre practice
  • Dramaturgy
  • Translation
  • Australian theatre history

Current projects

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.

Rehearsal in Europe 1550-1880: Performance Preparation before the Director

This ARC-funded project (with Associate Professor Tim Fitzpatrick, Dr John Golder and Professor Tiffany Stern) investigates rehearsal processes in European theatre before the advent of the director in the nineteenth century, focussing on England, Italy, France and Germany. This contrastive analysis of historical rehearsal practice will constitute a significant rethinking of how and why European theatre practice developed as it did before the arrival of the figure of the independent director. What did rehearsal consist of, how did it develop in relation to performance, and how did collaborative processes evolve to create a space for the director?

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, compiled and edited by Dr Ian Maxwell.

Associations

  • 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)

Editorial Boards

  • Member, Editorial Board, Australasian Drama Studies Journal (2007+)
  • Member, Board of Advisors, Philament (2006+)
  • Member, Editorial Board, About Performance (2005+)

PhD and master's project opportunities

Selected grants

2013

  • Happy Birthday SUDS! Sydney University Dramatic Society at 125; Ginters L; School of Letters, Art and Media, University of Sydney/Research Support Scheme.

2010

  • Rex Cramphorn: A Performance History; Maxwell I, Ginters L; Faculty of Arts, University of Sydney/Faculty Research Support Scheme.
  • Rehearsal without a Director: Rethinking Theatre History; Fitzpatrick T, Ginters L, Golder J, Stern T; Australian Research Council (ARC)/Discovery Projects (DP).
  • Australian Women Theatre Directors; Ginters L; School of Letters, Art and Media, University of Sydney/Research Support Scheme.

2009

  • The Grace of Creativity: Rex Cramphorns theatre productions 1969-1991; Ginters L; DVC Research/Brown Fellowships.
  • Production Chronology of Georg Buchner's Plays; Ginters L; School of Letters, Art and Media, University of Sydney/Research Support Scheme.
  • A Performance History of Georg Buchner's Plays; Ginters L; Faculty of Arts, University of Sydney/Faculty Research Support Scheme.

2008

  • Rehearsal in Europe until the Advent of the Director; Fitzpatrick T, Golder J, Ginters L; University of Sydney/Bridging Support Grant.
  • Production Chronology of Georg Buchner's "Dantons Tod" 1998-2008; Ginters L; School of Letters, Art and Media, University of Sydney/Research Support Scheme.
  • Georg Buchner's "Dantons Tod" on the German Stage 1998-2008; Ginters L; Deutscher Akademischer Austausch Dienst (DAAD)/Re-invitation Programme.

2007

  • Richard Wagner, the Ballet Master and the Making of the Modern Director; Ginters L; University of Sydney/Career Interruption.
  • Re-thinking Theatre History: The Impact of Rehearsal; Fitzpatrick T, Ginters L; ARC Network for Early European Research/NEER Research Clusters.

2006

  • Richard Wagner and the Little Ballet Master that Could; Ginters L; Faculty of Arts, University of Sydney/Research Seed Funding Scheme.
  • Sydney University Dramatic Society (SUDS) 1959-1965: The ripples before the wave; Ginters L; University of Sydney/Early Career Researcher.
  • Richard Wagner, the Ballet Master and the Making of Modern Director; Ginters L; University of Sydney/Research & Development.

2005

  • Contemporary developments in theatre rehearsal; Ginters L; University of Sydney/Early Career Researcher.
  • Sydney University Dramatic Society (SUDS) 1959-1965: The Ripples before the Wave; Ginters L; Faculty of Arts, University of Sydney/Research Seed Funding Scheme.

2002

  • Advanced Seminar for Cultural Workers; Ginters L; Goethe Institute (Berlin)/Advanced Seminar for Cultural Workers.
  • National Identity in Post-War Austrian Theatre and Drama; Borgert U, Moulden K, Bandhauer A, Ginters L; Faculty of Arts, University of Sydney/Research Seed Funding Scheme.

2001

  • Retrospective Season of Performances by Barbara Campbell, and Edited Catalogue Essays; Ginters L; Visual Arts and Craft Board, Australia Council for the Arts /Presentation & Promotion Grant.
  • Retrospective Season of Performances by Barbara Campbell, and Edited Catalogue Essays; Ginters L; University of Sydney/Sesquicentennial Grant.

Selected publications & creative works

Download citations: PDF RTF Endnote

Edited Books

  • Ginters, L., Campbell, B. (2002). Flesh Winnow. Sydney Australia: Power Publications.

Book Chapters

  • Ginters, L. (2013). Australia. In Anne Fliotsos, Wendy Viero (Eds.), International Women Stage Directors, (pp. 18-29). Urbana: University of Illinois Press.
  • Ginters, L. (2013). Glimpsing the Hidden World: Australian Directors on Rehearsal. In Richard Fotheringham, James Smith (Eds.), Catching Australian Theatre in the 2000s, (pp. 45-78). Amsterdam, Netherlands: Rodopi.
  • Ginters, L. (2012). Georg Buchner - a Selective Stage History. In Matthew Wilson Smith (Eds.), Georg Buchner: The Major Works, (pp. 235-256). London, United Kingdom: W.W Norton & Company.
  • Cohen, M., Dwyer, P., Ginters, L. (2008). Performing "sorry business": reconciliation and redressive action. In Graham St John (Eds.), Victor Turner and contemporary cultural performance, (pp. 76-93). Oxford, New York: Berghahn Books.
  • Ginters, L. (2008). Wir sind das Volk! How a failed revolutionary wrote about the French Revolution - and thereby helped cause one 154 years later: Georg Buchner's Dantons Tod on the German stage. In Denise Varney (Eds.), Theatre in the Berlin Republic: German drama since reunification, (pp. 165-198). Bern: Peter Lang Publishing.
  • Ginters, L. (2005). Violating the Past: Beatrix Christian. In Rachel Fensham and Denise Varney (Eds.), The Doll's Revolution: Australian Theatre and Cultural Imagination, (pp. 238-284). Melbourne: Australian Scholarly Publishing.

Journals

  • Ginters, L. (2013). [Book Review] Not Magic But Work: An Ethnographic Account of a Rehearsal Process by Gay McAuley. Australasian Drama Studies, 63(October 2013), 130-133.
  • Ginters, L. (2010). [Book Review] 'To Watch Theatre: Essays on Genre and Corporeality' by Rachel Fensham. Performance Paradigm, 6, 93-95.
  • Ginters, L. (2010). On Audiencing: The Work of the Spectator in Live Performance. About Performance, 10, 7-14.
  • Ginters, L. (2009). "A continuous return": Tristan and Isolde, Wagner, Hollywood and Bill Viola. Screening The Past, (26), 1-23.
  • Ginters, L. (2008). Lindy Davies: Finding a Path to a Process Part, 2 - Interview by Laura Ginters. Australasian Drama Studies, 52(April), 85-96.
  • Ginters, L. (2007). Lindy Davies: A Path to a Process: Interview by Laura Ginters. Australasian Drama Studies, 50, 78-90.
  • Ginters, L. (2006). 'And there may we rehearse most obscenely and courageously': pushing limits in rehearsal. About Performance, 6, 55-73.
  • Ginters, L., McAuley, N. (2004). "Hello Wien!" The Eighth Annual Rex Cramphorn Lecture, by Barrie Kosky. Australasian Drama Studies, 44, 17-35.
  • Gallasch, K., Ginters, L. (2004). Australian music theatre: continuity and hybridity. Australasian Drama Studies, 45, 3-9.
  • Ginters, L. (2003). Theatre in Vienna and Berlin: Vision and Scale. RealTime: +onscreen, 53(February-March).
  • Ginters, L. (2002). Aus dem Busch zu Bondi-Beach (From the Beach to the Bush). Zeitschrift fur Kulturaustausch, , 55-59.
  • Ginters, L., Schaffer, K. (2001). 'The more things change the more they stay the same..'? feminisms and Performance Studies. Australasian Drama Studies, 39, 104-124.
  • Ginters, L. (2001). 'We Want Hope.' The Power of Indigenous Arts in Australia Today. Australasian Drama Studies, 38.

Conferences

  • Ginters, L. (2008). Wagner and the little ballet master that could. 2006 Conference of the Australasian Association for Drama, Theatre and Performance Studies, Sydney: University of Sydney.
  • Ginters, L. (2005). Radio Drama as Music Theatre? Re-defining a Genre in Plays by Noëlle Janaczewska. Radio Conference 2005, Melbourne (Aust): RMIT Publishing.

Other Works

  • Ginters, L. (2010). CUB Malthouse. The Threepenny Opera, (pp. 1 - 129). Melbourne, Australia: Laura Ginters.

Magazine / Newspaper Articles

  • Ginters, L. (2003). Review: "A Virago Took my Baby!", another night: medea (The opera Project). RealTime, 55.
  • Ginters, L. (2003). Review: The Fondue Set. RealTime, 53.
  • Ginters, L. (2002). Review: "That Business with the Cat", Entertaining Paradise (The opera Project). RealTime, 49.
  • Ginters, L. (2002). Review: The Flood Drummers (Théâtre du Soleil), Sydney Festival 2002. Imago, 20.
  • Ginters, L. (2001). Review: Burning by Verity Laughton (Griffin Theatre Company) and Imago by Emma Vuletic (B Sharp, Belvoir Street). Postwest, 19.

Report

  • Ginters, L. (2011). Darung Muru 'dance pathways': Inaugural NSW Aboriginal Dance Forum. Report and Recommendations. Report commissioned by Ausdance NSW and the NSW Ministry for the Arts.
  • Ginters, L. (2004). Dramaturgy and Script Development in Theatre in NSW: the Australian National Playwrights' Centre and Playworks.

Other

  • Ginters, L., Borgert, U. (2001), Translation of: Margret Kreidl, Grateful Women (Dankbare Frauen). Pp. 237-64 in Women's Words. Women's Works. An Anthology of Contemporary Austrian Plays by Women.
  • Ginters, L., Borgert, U. (2001), Translation of: Marlene Streeruwitz, New York, New York. Pp. 143-96 in Women's Words. Women's Works. An Anthology of Contemporary Austrian Plays by Women.

Research Reports

  • Ginters, L. (2011). Darung Muru dance pathways: Inaugural NSW Aboriginal Dance Forum Report and Recommendations, (pp. 1 - 16). Sydney, Australia: AusDance.

2013

  • Ginters, L. (2013). [Book Review] Not Magic But Work: An Ethnographic Account of a Rehearsal Process by Gay McAuley. Australasian Drama Studies, 63(October 2013), 130-133.
  • Ginters, L. (2013). Australia. In Anne Fliotsos, Wendy Viero (Eds.), International Women Stage Directors, (pp. 18-29). Urbana: University of Illinois Press.
  • Ginters, L. (2013). Glimpsing the Hidden World: Australian Directors on Rehearsal. In Richard Fotheringham, James Smith (Eds.), Catching Australian Theatre in the 2000s, (pp. 45-78). Amsterdam, Netherlands: Rodopi.

2012

  • Ginters, L. (2012). Georg Buchner - a Selective Stage History. In Matthew Wilson Smith (Eds.), Georg Buchner: The Major Works, (pp. 235-256). London, United Kingdom: W.W Norton & Company.

2011

  • Ginters, L. (2011). Darung Muru 'dance pathways': Inaugural NSW Aboriginal Dance Forum. Report and Recommendations. Report commissioned by Ausdance NSW and the NSW Ministry for the Arts.
  • Ginters, L. (2011). Darung Muru dance pathways: Inaugural NSW Aboriginal Dance Forum Report and Recommendations, (pp. 1 - 16). Sydney, Australia: AusDance.

2010

  • Ginters, L. (2010). [Book Review] 'To Watch Theatre: Essays on Genre and Corporeality' by Rachel Fensham. Performance Paradigm, 6, 93-95.
  • Ginters, L. (2010). CUB Malthouse. The Threepenny Opera, (pp. 1 - 129). Melbourne, Australia: Laura Ginters.
  • Ginters, L. (2010). On Audiencing: The Work of the Spectator in Live Performance. About Performance, 10, 7-14.

2009

  • Ginters, L. (2009). "A continuous return": Tristan and Isolde, Wagner, Hollywood and Bill Viola. Screening The Past, (26), 1-23.

2008

  • Ginters, L. (2008). Lindy Davies: Finding a Path to a Process Part, 2 - Interview by Laura Ginters. Australasian Drama Studies, 52(April), 85-96.
  • Cohen, M., Dwyer, P., Ginters, L. (2008). Performing "sorry business": reconciliation and redressive action. In Graham St John (Eds.), Victor Turner and contemporary cultural performance, (pp. 76-93). Oxford, New York: Berghahn Books.
  • Ginters, L. (2008). Wagner and the little ballet master that could. 2006 Conference of the Australasian Association for Drama, Theatre and Performance Studies, Sydney: University of Sydney.
  • Ginters, L. (2008). Wir sind das Volk! How a failed revolutionary wrote about the French Revolution - and thereby helped cause one 154 years later: Georg Buchner's Dantons Tod on the German stage. In Denise Varney (Eds.), Theatre in the Berlin Republic: German drama since reunification, (pp. 165-198). Bern: Peter Lang Publishing.

2007

  • Ginters, L. (2007). Lindy Davies: A Path to a Process: Interview by Laura Ginters. Australasian Drama Studies, 50, 78-90.

2006

  • Ginters, L. (2006). 'And there may we rehearse most obscenely and courageously': pushing limits in rehearsal. About Performance, 6, 55-73.

2005

  • Ginters, L. (2005). Radio Drama as Music Theatre? Re-defining a Genre in Plays by Noëlle Janaczewska. Radio Conference 2005, Melbourne (Aust): RMIT Publishing.
  • Ginters, L. (2005). Violating the Past: Beatrix Christian. In Rachel Fensham and Denise Varney (Eds.), The Doll's Revolution: Australian Theatre and Cultural Imagination, (pp. 238-284). Melbourne: Australian Scholarly Publishing.

2004

  • Ginters, L., McAuley, N. (2004). "Hello Wien!" The Eighth Annual Rex Cramphorn Lecture, by Barrie Kosky. Australasian Drama Studies, 44, 17-35.
  • Gallasch, K., Ginters, L. (2004). Australian music theatre: continuity and hybridity. Australasian Drama Studies, 45, 3-9.
  • Ginters, L. (2004). Dramaturgy and Script Development in Theatre in NSW: the Australian National Playwrights' Centre and Playworks.

2003

  • Ginters, L. (2003). Review: "A Virago Took my Baby!", another night: medea (The opera Project). RealTime, 55.
  • Ginters, L. (2003). Review: The Fondue Set. RealTime, 53.
  • Ginters, L. (2003). Theatre in Vienna and Berlin: Vision and Scale. RealTime: +onscreen, 53(February-March).

2002

  • Ginters, L. (2002). Aus dem Busch zu Bondi-Beach (From the Beach to the Bush). Zeitschrift fur Kulturaustausch, , 55-59.
  • Ginters, L., Campbell, B. (2002). Flesh Winnow. Sydney Australia: Power Publications.
  • Ginters, L. (2002). Review: "That Business with the Cat", Entertaining Paradise (The opera Project). RealTime, 49.
  • Ginters, L. (2002). Review: The Flood Drummers (Théâtre du Soleil), Sydney Festival 2002. Imago, 20.

2001

  • Ginters, L., Schaffer, K. (2001). 'The more things change the more they stay the same..'? feminisms and Performance Studies. Australasian Drama Studies, 39, 104-124.
  • Ginters, L. (2001). 'We Want Hope.' The Power of Indigenous Arts in Australia Today. Australasian Drama Studies, 38.
  • Ginters, L. (2001). Review: Burning by Verity Laughton (Griffin Theatre Company) and Imago by Emma Vuletic (B Sharp, Belvoir Street). Postwest, 19.
  • Ginters, L., Borgert, U. (2001), Translation of: Margret Kreidl, Grateful Women (Dankbare Frauen). Pp. 237-64 in Women's Words. Women's Works. An Anthology of Contemporary Austrian Plays by Women.
  • Ginters, L., Borgert, U. (2001), Translation of: Marlene Streeruwitz, New York, New York. Pp. 143-96 in Women's Words. Women's Works. An Anthology of Contemporary Austrian Plays by Women.

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