image by: Darcy kent
Alyson Campbell is a Melbourne-based director and dramaturg, researcher and teacher. She has worked in the UK, USA and Australia since 1990, across a range of spaces and modes, but with a focus on independent work. She is a ‘slow’ director, choosing to focus her energies mostly on developing new work with long-time creative collaborator Lachlan Philpott.
Alyson’s current projects include directing Lachlan’s Colder for Red Stitch Actors Theatre, Melbourne (March 2018); new work Cake Daddy in Belfast with collaborators Lachlan, Ross Anderson-Doherty and Marty Byrne; and a book on HIV and AIDS in performance in the 21st Century (Palgrave, 2018).
Alyson has largely directed works that tend now to be framed as postdramatic. These include: the Australian premiere of Martin Crimp’s Fewer Emergencies (2006, Red Stitch, Melbourne), Tony Kushner’s Terminating (multiple venues Melbourne 2002; Belfast 2008), Sarah Kane’s 4.48 Psychosis (2007, Red Stitch, Melbourne). She has directed premieres of Lachlan’s Bison (Melbourne 2000), Catapult (2002) and the The Trouble with Harry (Belfast, 2013). Her Australian premiere production of The Trouble with Harry, (Melbourne International Festival, 2014) was nominated for 8 Green Room Awards, winning best director and best production. She has also directed UK premieres of Bison(Belfast 2008, London 2009) and Bustown (Brunel University, 2012). Her most recent works GL RY, WHoLE and Tea Dance were made in collaboration with Philpott, Anderson-Doherty and a large creative team as well as people living with HIV in Northern Ireland (Belfast, Outburst Festival, TheatreofplucK, 2016). She directed a queer alternative to Christmas panto, Hilary McCollum’s ‘queertivity’ The Pirates of Portrush(Belfast, TheatreofplucK, 2016).
Alyson is currently an Associate Professor in Theatre at the Victorian College of the Arts, The University of Melbourne, where she coordinates masters in directing and dramaturgy. She has research interests in queer dramaturgies, gender and sexuality, and HIV and AIDS in performance. She is co-editor of Queer Dramaturgies (Palgrave 2015, with Stephen Farrier) and has published widely, often on her own work through a Practice as Research model. She regards her research, practice and teaching as interweaving forms of activism and is deeply committed to the power of the arts in society.
The following is a list of research publications by Alyson Campbell. Alyson often uses a Practice as Research model that interweaves theory, creative practice and pedagogy to articulate forms of performance activism.
This is simply a list of publications; each should be accessible using university library resources. We understand most individuals do not have ready access to such services, so feel free to contact us if you require any assistance locating or accessing these publications.
We are invested in supporting future queer practitioner-researchers. Alyson is currently co-supervising wreckedAll collaborator Jonathan Graffam’s MFA research project titled, ‘Making Cake Daddy: Dramaturgies to Fatten the Queer Stage’. This partnership includes a creative mentorship in our upcoming Cake Daddy collaboration in Belfast.
Campbell, A & Gindt, D (eds.) 2018, Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century, Palgrave Macmillan, London.
Campbell, A & Farrier S (eds.) 2015, Queer Dramaturgies: International Perspectives on Where Performance leads Queer, Palgrave Macmillan, London.
Campbell, A 2018, ‘GL RY – A (w)hole Lot of Woman Trouble: HIV Dramaturgies and Feral Pedagogies’ in Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century, A Campbell & D Gindt (eds.), Palgrave Macmillan, London (page numbers not yet available).
Campbell A & Graffam J 2018, ‘Blood, Shame, Resilience and Hope: Indigenous Theatre Maker Jacob Boehme’s Blood on the Dance Floor’ in Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century, A Campbell & D Gindt (eds.), Palgrave Macmillan, London (page numbers not yet available).
Campbell, A 2015 ‘Taking an Affective Approach to ‘Doing’ Queer Histories in Performance: Queer Dramaturgy as a Reparative Process of Erotohistoriography’ in Queer Dramaturgies: International Perspectives on Where Performance leads Queer, A Campbell & S Farrier (eds.), Palgrave Macmillan, London, pp. 223-243.
Campbell, A & Farrier S, 2015 ‘Cripqueer Performance: A Dialogue with Margrit Shildrick and Robert McRuer in Queer Dramaturgies: International Perspectives on Where Performance leads Queer, A Campbell & S Farrier (eds.), Palgrave Macmillan, London, pp. 263-278.
Campbell A & Farrier S, 2015 ‘Introduction: Queer Dramaturgies’ and Introductions to Parts 1, 2 & 3 in Queer Dramaturgies: International Perspectives on Where Performance leads Queer, A Campbell & S Farrier (eds.), Palgrave Macmillan, London, pp 1-26; 27-33; 151-156; 257-261.
Campbell A & Patman, S 2013, ‘Le Monkey Homosexual: Ruth McCarthy’s lesbian queerzines in Northern Ireland’, Performing Feminisms in Contemporary Ireland in L Fitzpatrick (ed.), Carysfort Press, Ireland.
Campbell, A & Farrier, S 2015, ‘Queer Practice as Research: A Fabulously Messy Business’, Theatre Research International, Vol. 40, Issue 1, pp. 83-87.
Campbell, A & Walsh, F 2015, ‘Forum: Contemporary Queer Theatre and Research. Introduction’, Theatre Research International, Vol. 40, Issue 1, pp. 67-69.
Campbell, A 2011, ‘Adapting musicology’s use of affect theories to contemporary theatre making: directing Martin Crimp’s Attempts on Her Life’, Journal of Adaptation in Film and Performance, Vol. 4, Issue 3, pp. 303-318.
Campbell, A 2011, ‘Translating ‘gaytown’: the collision of global and local in bringing Australian queer play Bison to Belfast’, Australasian Drama Studies, Issue 59, pp. 141-55.
Campbell, A 2011, ‘From Bogeyman to Bison: a herd-like amnesia of HIV?’ Theatre Research International, Vol. 36, Issue 3, pp. 196-212.
Campbell, A 2006, ‘It ain’t over ’til…?’, Traffic, Issue 8, University of Melbourne Postgraduate Association, pp. 31-48.
Campbell A 2005, ‘Experiencing Kane: an affective analysis of Sarah Kane’s ‘experiential’ theatre in performance’, Australasian Drama Studies, Issue 46, pp. 80-97.