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By Joanne Tompkins

This learn investigates contestations over spatiality in a single culturally composite country, Australia, the place modern theatre levels competing cultural and political agendas via area and position. overlaying a variety of performs it is going to have vast charm for problems with house, spatiality and territory in all sorts of theatre, in all countries.

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In cultural representation, the beach usually connotes holidays and/or some semblance of freedom from regular urban existence: in David Williamson’s play, Travelling North (1979), the seaside is differentiated from the cities of Sydney and Melbourne. Frank and Frances seek warmth, the sea, companionship, and, to some extent, escape from their adult children, and they live in various coastal locations until Frank’s death. Frances’s plan to travel further north releases her from the sense of capture that she felt in the city, living too near her family.

Epstein reasons, ‘Some of us are more foreign than others. And the blacks are the most foreign of all’ (Bovell: 30). Even when they are present, Aboriginal people are effectively rendered foreign in their own land or even absented altogether, to the extent that the voices of the two Aboriginal women are all but removed from the historical record. In spite of Obedience’s claim that she is witnessing history, that history fails to be officially – or even unofficially – recorded. ), but he tears out many of the pages in an effort to hide the reality of the massacre.

This decision also questioned the extent of terra nullius and made room for native title as a constituent part of common law. A second famous claim, on behalf of the Wik and Thayorre people of the Cape York Peninsula in Far North Queensland, found that since continuous occupation of the land could be proved, the Wik people could be permitted to use the land as required for ceremonies, as long as they did not interfere with the legal title owners’ legitimate use of the land. This decision that land could have multiple uses, even simultaneously, exemplifies the Gelder/Jacobs version of the uncanny.

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