Peter Eckersall
Biographic Data
| ID | 372104 |
|---|---|
| NAME | Peter Eckersall |
| GIVEN NAMES | Peter |
| FAMILY NAME | Eckersall |
| SIGNATURE | ECKERSALL P |
| AFFILIATIONS | Monash University |
| ORCID | 0000-0001-5984-1814 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Performance enacting mobility and shifting borders – the global countryside
This essay considers how performances by Takayama Akira (founder of Port B) are made to explore experiences of mobility and migration among people who traverse geographical and geopolitical spaces in Japan and elsewhere. In making works that uncover hidden sites that are connected to diasporic and migratory passage, Takayama invites reflections on questions of borders, zones, regions, and the passages between them. Our paper will discuss how Taka…
The Dark Master, Kuro Tanino
In Kuro Tanino’s play The Dark Master (Daaku Masudaa), a person arrives at a rundown restaurant (yOshokuya) in working-class Osaka and orders typical Japanese comfort food from a crochety old “master.” Kuro’s 2020 VR theatre version of the play, Daaku Masudaa VR, reanimates the atmospheric setting of the restaurant and heightens its grotesque sensibilities. Using the extreme disorientation and intimacy of VR goggles and headphones, he creates thr…
Necessity or Choice
Towards a Dramaturgy of Robots and Object-Figures
Robotic and virtual figures have become increasingly visible in live performance. How these figures/performative agents come into the discussion of dramaturgy is considered in reference to recent works by Hirata Oriza and Kris Verdonck
Performance, Mourning and the Long View of Nuclear Space
In their responses to the Fukushima disaster, artists may struggle with the problem of representing these calamitous events in ways that connect meaningfully with audiences. Related to this is the durational experience of nuclear catastrophe; how can theatre deal with the long term effects of radiation? Some plays have tackled these issues realistically, whereas others explore the disaster in more existential ways. In this essay I discuss two suc…
Donald Richie
The Emotional Geography of Shinjuku
Ōuchida Keiya's Chikatetsu Hiroba (Underground Plaza, 1970), a film from the Japanese underground cinema movement, documents the gathering of ‘folk guerrillas’ (activists and student protestors) at the underground plaza linking the west and east exits of the vast Shinjuku railway station in February 1969. This essay analyses their protests by highlighting their apparent search for a new performative praxis, amidst evidence of complicated broken t…
On the Dramaturgical Field in Port B's Tokyo ‘Tour Performances’
Additional informationNotes on contributorsHayashi TatsukiJapanese names are given here family name first
Japan As Dystopia
In the 1960s, the angura (underground) theatre movement was a site of radical culture. But by the 1980s and '90s, angura was co-opted. Even so, there is some critical and transgressive post-angura theatre worth noting, most especially Kawamura Takeshi's Daisan Erotica
The Voyage of Contemporary Japanese Theatre
Film and video reviews
The Emotional Geography of Shinjuku
Ōuchida Keiya's Chikatetsu Hiroba (Underground Plaza, 1970), a film from the Japanese underground cinema movement, documents the gathering of ‘folk guerrillas’ (activists and student protestors) at the underground plaza linking the west and east exits of the vast Shinjuku railway station in February 1969. This essay analyses their protests by highlighting their apparent search for a new performative praxis, amidst evidence of complicated broken t…
Film and video reviews
The Voyage of Contemporary Japanese Theatre
Japan As Dystopia
In the 1960s, the angura (underground) theatre movement was a site of radical culture. But by the 1980s and '90s, angura was co-opted. Even so, there is some critical and transgressive post-angura theatre worth noting, most especially Kawamura Takeshi's Daisan Erotica
On the Dramaturgical Field in Port B's Tokyo ‘Tour Performances’
Additional informationNotes on contributorsHayashi TatsukiJapanese names are given here family name first
The Emotional Geography of Shinjuku
Ōuchida Keiya's Chikatetsu Hiroba (Underground Plaza, 1970), a film from the Japanese underground cinema movement, documents the gathering of ‘folk guerrillas’ (activists and student protestors) at the underground plaza linking the west and east exits of the vast Shinjuku railway station in February 1969. This essay analyses their protests by highlighting their apparent search for a new performative praxis, amidst evidence of complicated broken t…
Donald Richie
Towards a Dramaturgy of Robots and Object-Figures
Robotic and virtual figures have become increasingly visible in live performance. How these figures/performative agents come into the discussion of dramaturgy is considered in reference to recent works by Hirata Oriza and Kris Verdonck
Performance, Mourning and the Long View of Nuclear Space
In their responses to the Fukushima disaster, artists may struggle with the problem of representing these calamitous events in ways that connect meaningfully with audiences. Related to this is the durational experience of nuclear catastrophe; how can theatre deal with the long term effects of radiation? Some plays have tackled these issues realistically, whereas others explore the disaster in more existential ways. In this essay I discuss two suc…
Necessity or Choice
The Dark Master, Kuro Tanino
In Kuro Tanino’s play The Dark Master (Daaku Masudaa), a person arrives at a rundown restaurant (yOshokuya) in working-class Osaka and orders typical Japanese comfort food from a crochety old “master.” Kuro’s 2020 VR theatre version of the play, Daaku Masudaa VR, reanimates the atmospheric setting of the restaurant and heightens its grotesque sensibilities. Using the extreme disorientation and intimacy of VR goggles and headphones, he creates thr…
Performance enacting mobility and shifting borders – the global countryside
This essay considers how performances by Takayama Akira (founder of Port B) are made to explore experiences of mobility and migration among people who traverse geographical and geopolitical spaces in Japan and elsewhere. In making works that uncover hidden sites that are connected to diasporic and migratory passage, Takayama invites reflections on questions of borders, zones, regions, and the passages between them. Our paper will discuss how Taka…
Art (7 works) · Aesthetics (4 works) · Visual arts (4 works) · Asian Culture and Media Studies (3 works) · Computer Science (3 works) · History (3 works) · Japanese History and Culture (3 works) · Political science (3 works) · Art history (2 works) · Artificial Intelligence (2 works)