EDITORIAL

ABSTRACT

[...]to the ferocity expressed in Hyland's production, Adriann Smith interprets the dissonance and distance inherent in key definitions of dramatic irony through an analysis of the works of three New Zealand artists the songs of Andrew London, the play Home Land (Gary Henderson, 2005) and the opera Bitter Calm (Stuart Hoar, 1993). While acknowledging that these projects were, in part, a pragmatic response to diminishing on-campus resources, they present a compelling argument for the capacity of site-specific and site-responsive performance to embed student experience in their local communities. Demonstrating similar concerns with both the participation and representation of community in a regional Australian context, Vahri McKenzie offers a critical appraisal of the development of a process from which emerged a production of Euripides' The Bacchae (here renamed Bakkhai), in collaboration with an ensemble of professional and emerging artists and community members in Bunbury, Western Australia.