This paper aims to compare and contrast two site-specific performance productions, both designed to grapple with processes of cultural remembrance, whilst also operating as successful tourist attractions. The narrativ...This paper aims to compare and contrast two site-specific performance productions, both designed to grapple with processes of cultural remembrance, whilst also operating as successful tourist attractions. The narratives encompassed by both productions revolve around shared Australian histories, for audiences attracted by place and what it is able to represent. Re-enactments of past events call into the present a consideration of what still remains, with both shows enabling new subjective interpretations of earlier times. The defining difference between the two, however, rests in the context of each performance, in the one case as a commodification of heritage and in the other case as the desire to produce an artistic yet popular theatrical product. Ballarat＇s, Sovereign Hill＇s light and sound show, Blood on the Southern Cross celebrates and commemorates, in mega-spectacle style, the Eureka Stockade, one of Australia＇s key historical events. Using a mechanised display of the original goldmining site of the Eureka rebellion, the performance is operated by computers with video-projection, multi-phonic sound, and moving model forms, with audiences moved around the massive site on transporters. The Piccolo Tales, a contrasting performance most notably in terms of size, unfolds the history of Kings Cross, through its setting in the miniscule iconic Piccolo Bar, in one of the tiny side streets of Sydney＇s bustling and densest suburb. This paper encompasses an investigation of how the cultural inscriptions of the two specific sites interweave with the performance styles, materials, political and social positioning of the works. Previous performance studies examining site-specificity are utilised, including the author＇s analysis of particular festival performances as ＂place-making＂ （Hayes, 2012, 2013）. Smith＇s （2009） model of ＂signposts＂ is used to consider acting within site-specific productions in a new light, whilst both performances are more completely analysed through Schneider＇s （2011） concept of incomplete pasts forming ＂cycles of memory＂.展开更多
The fascination of Vietnamese with drums and drumming reaches back into the pre-historic when bronze drums （Dong Son）, from the Red River Delta region of Vietnam＇s north, were prized trading commodities throughout ...The fascination of Vietnamese with drums and drumming reaches back into the pre-historic when bronze drums （Dong Son）, from the Red River Delta region of Vietnam＇s north, were prized trading commodities throughout the Asian world of that time. Now in the 21st century the Dong Son and other historically renowned drum types have become symbols for Vietnam＇s emergence into an international cultural and economic arena. This paper charts three Vietnamese international events that illustrate the emblematic use of traditional drumming as a nationalistic symbol of modern Vietnam： The Third Asian Indoor Games held in Hanoi in 2009 opened with a drumming spectacle using battle drums; the Jubilee celebrations of the Vietnamese Catholic Church in 2010, opened in the north in the Ha Nam province with an immense traditional drumming performance within its religious setting; the 2012 Hue International Arts Festival incorporated ＂Resounding the Vietnamese Spirit＂, a specific drums and percussion festival, with performances using Binh Dinh war drums, royal drums from Hue, Dong Son drums, and Tay Son battle drums. These displays of traditional drumming it is argued have popularised particular nationalistic styles of drumming amongst Vietnamese youth, extending from the use of drumming in lion dance performances to the emergence of small, youth drumming groups who perform in the streets of Hanoi and Ho Chi Minh City展开更多
文摘This paper aims to compare and contrast two site-specific performance productions, both designed to grapple with processes of cultural remembrance, whilst also operating as successful tourist attractions. The narratives encompassed by both productions revolve around shared Australian histories, for audiences attracted by place and what it is able to represent. Re-enactments of past events call into the present a consideration of what still remains, with both shows enabling new subjective interpretations of earlier times. The defining difference between the two, however, rests in the context of each performance, in the one case as a commodification of heritage and in the other case as the desire to produce an artistic yet popular theatrical product. Ballarat＇s, Sovereign Hill＇s light and sound show, Blood on the Southern Cross celebrates and commemorates, in mega-spectacle style, the Eureka Stockade, one of Australia＇s key historical events. Using a mechanised display of the original goldmining site of the Eureka rebellion, the performance is operated by computers with video-projection, multi-phonic sound, and moving model forms, with audiences moved around the massive site on transporters. The Piccolo Tales, a contrasting performance most notably in terms of size, unfolds the history of Kings Cross, through its setting in the miniscule iconic Piccolo Bar, in one of the tiny side streets of Sydney＇s bustling and densest suburb. This paper encompasses an investigation of how the cultural inscriptions of the two specific sites interweave with the performance styles, materials, political and social positioning of the works. Previous performance studies examining site-specificity are utilised, including the author＇s analysis of particular festival performances as ＂place-making＂ （Hayes, 2012, 2013）. Smith＇s （2009） model of ＂signposts＂ is used to consider acting within site-specific productions in a new light, whilst both performances are more completely analysed through Schneider＇s （2011） concept of incomplete pasts forming ＂cycles of memory＂.
文摘The fascination of Vietnamese with drums and drumming reaches back into the pre-historic when bronze drums （Dong Son）, from the Red River Delta region of Vietnam＇s north, were prized trading commodities throughout the Asian world of that time. Now in the 21st century the Dong Son and other historically renowned drum types have become symbols for Vietnam＇s emergence into an international cultural and economic arena. This paper charts three Vietnamese international events that illustrate the emblematic use of traditional drumming as a nationalistic symbol of modern Vietnam： The Third Asian Indoor Games held in Hanoi in 2009 opened with a drumming spectacle using battle drums; the Jubilee celebrations of the Vietnamese Catholic Church in 2010, opened in the north in the Ha Nam province with an immense traditional drumming performance within its religious setting; the 2012 Hue International Arts Festival incorporated ＂Resounding the Vietnamese Spirit＂, a specific drums and percussion festival, with performances using Binh Dinh war drums, royal drums from Hue, Dong Son drums, and Tay Son battle drums. These displays of traditional drumming it is argued have popularised particular nationalistic styles of drumming amongst Vietnamese youth, extending from the use of drumming in lion dance performances to the emergence of small, youth drumming groups who perform in the streets of Hanoi and Ho Chi Minh City
