Hilary Halba and Stuart Young

À propos de Hilary Halba and Stuart Young

HILARY HALBA has studied acting and the teaching of acting at the prestigious Neighborhood Playhouse in New York City, and is one of New Zealand's only accredited teachers of the Meisner Technique. She contributes to international theatre journals and presents regularly at national and international conferences. In 2010, Hilary and Professor Stuart Young were keynote speakers on documentary & verbatim theatre at the "Acting with Facts" conference at the University of Reading, UK. In 2009, she was guest co-editor of the Australasian Drama Studies journal special edition (issue 55), focussing on the theatre of Aotearoa and the Pacific. She is a founder member of southern bicultural theatre collective Kilimogo Productions, and has directed a number of works for this company. She continues to investigate the artistic practice of the actor, and has acted through New Zealand as well as in Europe and the USA. She is a founder member of Wow! Productions Trust, a Dunedin professional theatre collective. Hilary has worked on numerous Wow! Productions as an actor, including Dancing at Lughnasa, Twelfth Night, Unidentified Human Remains and the True Nature of Love and Arcadia. In 2010, with Quartett Theatre Company, Hilary completed a European tour of New Zealand playwright Gary Henderson's Skin Tight (as director) and Mo and Jess Kill Susie (as actor). Hilary has also appeared in over 25 professional theatre productions in New Zealand, most recently In the Next Room by Sarah Ruhl, Play by Samuel Beckett and Jumpy by April de Angelis for the Fortune Theatre (Dunedin), Backwards in High Heels by Stuart Hoar for Circa Theatre (Wellington) and Winston’s Birthday by Paul Baker for the Court Theatre (Christchurch). She was named Best Female Performer in the 2012 Dunedin Theatre Awards for her role in Samuel’s Beckett’s Play (Fortune Theatre, Otago Festival of the Arts) and Dunedin's best actor of 2003 by the NZ Listener for her role in Three Days of Rain (Greenberg, USA). ======== ======= ======== ====== ====== IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Professor STUART YOUNG is Head of the Music, Theatre and Performing Arts Department at the University of Otago. His research interests include: Russian drama, in particular Chekhov, and its reception abroad; Translation Studies and translation for the theatre; modern British drama and theatre; documentary/verbatim theatre; New Zealand theatre; and gay and queer drama. He has published in Modern Drama, Theatre Journal, New Theatre Quarterly, Australasian Drama Studies, New Zealand Slavonic Journal, and Journal of Dramatic Theory and Criticism. He is also a director, translator, and performance reviewer. He has translated plays by Chekhov, Pushkin, and Simon Gantillon. Circa Theatre, Wellington, has produced his translations of The Cherry Orchard and Uncle Vanya. His practice-led research on documentary theatre has resulted in the creation of Hush: A Verbatim Play about Family Violence, which played in various parts of New Zealand from 2009 to 2011; Be | Longing (2012), which explores immigrants’ experiences of settling in New Zealand; and The Keys are in the Margarine: A Verbatim Play about Dementia (2014). He is co-convenor of IFTR’s Translation, Adaptation and Dramaturgy Working Group.

Articles par Hilary Halba, Stuart Young:

Cyberthéorie

Embodied Technology in a Specific Verbatim Theater Practice

Hilary Halba and Stuart Young novembre 19, 2019

Increasingly, computerized technology – in the form of iPods, mobile phones and smart watches – has become an extension, even part, of the human body, and in the process has modified and perhaps even determined human behavior. Over the last six years we have developed a form of “verbatim theatre,” whose use of such audio […]

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