'A special relationship: a survey of Japanese actor training methodologies' influence on Brisbane actor training since the 1990s'

For a small enclave of self-consciously avant-garde theatre-makers in Brisbane in the 1990s Japanese theatre was a lode-star—an answer to what we saw as the moribund strictures of Australian nationalism. Pre-eminent Australian theatre critic Alison Croggan describes this push in the 1990s against the existing agendas of Australian “New Wave” 1970s theatre “that challenged not only the local nationalistic rhetoric…but the Anglocentric main stages that took their cues primarily from the West End and Broadway. In the process…Australian theatre has become one of the most diverse and interesting in the Anglo world.” In Brisbane, this manifested as the adoption of Japanese actor training focusing on embodiment, presence and intensive and passionate training, in particular, the methods of Tadashi Suzuki. This influence has been felt in all of the actor training academies in the city, from our home institution, QUT, to vocational education, private training and actor training provided by artists and independent companies. In turn, the culture of physical training has had a profound impact on the making processes and the distinctive repertory of the city of Brisbane