Titlebook: Barrie Kosky’s Transnational Theatres; James Phillips,John R. Severn Book 2021 The Editor(s) (if applicable) and The Author(s), under excl

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,“Aesthetic Ideas”: Mystery and Meaning in the Early Work of Barrie Kosky,ocus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point

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Something for Everybody? Art, Community, the Unfamiliar, and Barrie Kosky at the Adelaide Festival,. In the first part I focus on Kosky’s time as Artistic Director of the 1996 Adelaide Festival, in which he demonstrated a competency with arts administration in ways that expanded the understanding of the role of Artistic Director beyond that shown by his predecessors. As a rare example of a young

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,Dramaturgies of Repetition and the Denial of Catharsis: Traumatic Breaking Points in Barrie Kosky’sanalyses Kosky’s use of repetition in scenes from . (1998), . (2006), and . (2008). These analyses reveal that Kosky staged characters’ encounters with trauma using dramaturgies of repetition that ultimately denied catharsis to the character and, by extension, the audience. This chapter considers th

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,When All Else Fails, Sing: Barrie Kosky’s ,heatre Company in 2008, is an exemplar of his particular approach to the use of music in theatrical productions. Into Tom Wright’s terse adaptation of Euripides’s . Kosky inserted a wide variety of vocal music, ranging wildly in style and compositional period. The selections include John Dowland son

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,Barrie Kosky’s Grotesques and the Ecstasy of Theatre, the innocuous make-believe of show business without reasserting the norms of everyday life. It is a way of making spectacle serious but not humourless, of pushing spectacle into ecstasy and surprise. This strain in Kosky’s work communicates with the grotesque tradition of Australian comedy (Sir Les

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