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the bougainville photoplay project
Submitted by Suzanne Tate on Tuesday, 17th Aug 2010
Dwyer, a lecturer with the Department of Performance Studies at the University of New South Wales, starts by introducing his research into restorative justice as performance, and from there goes on to immerse the audience in a complex story that runs the gamut of emotions. Dwyer has a gift for storytelling, and draws the audience effortlessly into his tale with his self-deprecating style, gentle humour and a range of fascinating (and often confronting) resources including old slides, x-rays, video, photographs, journal and newspaper articles, tools and skeletal examples. The use of original items to tell his father’s story adds authenticity and helps create the immersive atmosphere – the audience felt part of the story. While it may be possible for the AV component to have been combined into one modern digital presentation, the use of documentary videos from the time, and slides from the 1960’s projected with his father’s original slide projector adds to the atmosphere that Dwyer and his production team have so cleverly created. The staging and AV requirement seem extremely low-tech, until Dwyer shows the flip chart he uses to display the media when performing the Photoplay in Bougainville itself.
There were minimal costume requirements for this performance. Dwyer does undergo one change, early in the show and in full view of the audience, during one of the videos. While Dwyer did get a laugh with his reference to his ‘ethnographic research attire’ of shorts and a polo shirt, the change seemed somewhat unnecessary and did not particularly add to the performance.
Date of Show:
Friday, 13th August 2010 (All day)
Venue:
North Melbourne Town Hall The power of this piece is in Dwyer’s performance.
I was taken on an amazing journey on Friday night. Dr Paul Dwyer’s The Bougainville Photoplay Project tells a number of stories – that of Dwyer’s father, who made several trips to Bougainville in the 1960’s to perform Pro Bono Orthopedic surgery, the impact of the Australian owned Panguna copper mine on the lives and land of the Bougainvillean people, and the subsequent civil war that caused the deaths of up to 1/10 of the population, and Dwyer’s own trips to Bougainville in recent years to conduct ethnographic research into the area of reconciliation, and to some degree, retracing his fathers steps by meeting his past patients.
Dwyer, a lecturer with the Department of Performance Studies at the University of New South Wales, starts by introducing his research into restorative justice as performance, and from there goes on to immerse the audience in a complex story that runs the gamut of emotions. Dwyer has a gift for storytelling, and draws the audience effortlessly into his tale with his self-deprecating style, gentle humour and a range of fascinating (and often confronting) resources including old slides, x-rays, video, photographs, journal and newspaper articles, tools and skeletal examples. The use of original items to tell his father’s story adds authenticity and helps create the immersive atmosphere – the audience felt part of the story. While it may be possible for the AV component to have been combined into one modern digital presentation, the use of documentary videos from the time, and slides from the 1960’s projected with his father’s original slide projector adds to the atmosphere that Dwyer and his production team have so cleverly created. The staging and AV requirement seem extremely low-tech, until Dwyer shows the flip chart he uses to display the media when performing the Photoplay in Bougainville itself.The Bougainville Photoplay Project appears flexible enough to be performed in almost any space. The left wall is covered with a map, photos, newspaper cuttings and journal articles, and 2 screens are on the back wall for the slide and video presentations. 2 simple tables fill the stage, covered in the props, paperwork and books that Dwyer uses to bring his tale to life. The right side of the performance space is filled with the lighting and AV control desk, manned by Lighting Designer and Stage Manager Frank Mainoo, and Video Operator Richard Manner. Mainoo and Manner become a part of the performance to varying degrees, as Dwyer frequently refers to them and incorporates them in his story. The audience cannot relegate them to the role of behind-the-scenes crew that we are used to. The lighting, while simple, helps to focus the audience’s attention, and adds atmosphere at appropriate moments – a public lecture, an intimate space viewing family slides, the darkness of a Bougainville night…
There were minimal costume requirements for this performance. Dwyer does undergo one change, early in the show and in full view of the audience, during one of the videos. While Dwyer did get a laugh with his reference to his ‘ethnographic research attire’ of shorts and a polo shirt, the change seemed somewhat unnecessary and did not particularly add to the performance.The power of this piece is in Dwyer’s performance. While he is not playing a character per se, his role as the storyteller is paramount, and he fulfils it extremely well. The issues discussed throughout the show are frequently serious and at times, confronting, even distressing. Dwyer’s delivery makes the performance entertaining as well as informative and he approaches these issues with a light touch, despite their serious nature. Dwyer’s fluent use of the native language adds to the atmosphere, and the nature of the language means the audience frequently understands the key points (or the punch line) before hearing the translation. During the performance, the audience is often laughing, but also moved to tears upon occasion, and one is left with the feeling that you have been part of something very special.
The performance ends quite suddenly. Dwyer is still in the middle of his research and he leaves the audience with his plans for the future, and a definite feeling of hope. Despite the heavy subject matter, the overall performance is quite uplifting. I was not sure what to expect from this performance, but I found myself thoroughly entertained, frequently moved, and well educated about an important period of recent local history.
Suzanne Tate has been writing for Theatrepeople for 12 months and performing in Amateur Musical Theatre since 2000. She has worked with Harlequin, Windmill, SLAMS and PEP Theatre Companies and her most significant role was as Robin, in Godspell. Suzanne was nominated for a Highly Commended Performance in a Variety in the 2008 Lyrebird Awards.
State:
VIC