Barrie Kosky’s Transnational Theatres

James Phillips is Associate Professor in Philosophy at the University of New South Wales. His research interests are aesthetics, political philosophy and their interaction. He is the author of Heidegger’s Volk: Between National Socialism and Poetry (2005) and The Equivocation of Reason: Kleist Reading Kant (2007) and the editor of Cinematic Thinking: Philosophical Approaches to the New Cinema (2008), all of which came out with Stanford University Press. His most recent monograph is Sternberg and Dietrich: The Phenomenology of Spectacle, which was published by Oxford University Press in 2019.John R. Severn is a Research Fellow at Macquarie University, working on an Australian Research Council-funded project on the cultural and economic value of theatre in Australia. His wider research focuses on adaptation, theatre, opera and musical theatre, and community. He is the author of Shakespeare as Jukebox Musical, and co-editor with Ulrike Garde of Theatre and Internationalization: Perspectives from Australia, Germany and Beyond (both Routledge). His journal articles explore the ways operatic and musical adaptations have engaged with community inclusion from the eighteenth to the twenty-first centuries.

• It Begins with the Theatre: Barrie Kosky’s Workshop.- “Very much a laboratory”: Barrie Kosky and the Gilgul Ensemble 1991–1997.- “Aesthetic Ideas”: Mystery and Meaning in the Early Work of Barrie Kosky.- Something for Everybody? Art, Community, the Unfamiliar, and Barrie Kosky at the Adelaide Festival.- Dramaturgies of Repetition and the Denial of Catharsis: Traumatic Breaking Points in Barrie Kosky’s Approach to Character.- When All Else Fails, Sing: Barrie Kosky’s The Women of Troy.- Barrie Kosky’s Grotesques and the Ecstasy of Theatre.- “Es klang so alt und war doch so neu”: Barrie Kosky and Wagner’s Die Meistersinger von Nürnberg.- (Not) Repeating the Past in Barrie Kosky’s Die Meistersinger von Nürnberg.