The preparation of this document was commissioned by Drama Australia to foster access and participation in learning, taking in the broader context of Indigenous educational perspectives and redefining their relevance in the study of Contemporary Indigenou
The Greenroom's Kate Foy talks with Wesley Enoch following his first twelve months at the helm of Qeensland Theatre Company.
As Currency Press' featured author for August 2007, Wesley Enoch talks about 'The Story of the Miracles at Cookie’s Table', opening at Griffin Theatre that month.
“Somehow it’s about all of us”: Black Medea's White Taboo - "Wesley Enoch’s adaptation of the Euripides tragedy was performed at Belvoir St earlier this year. The author’s comment on the production and also examine the way other reviewers responded to the play."
"Enoch's production is unapologetically theatrical. As Medea, Margaret Harvey is skin-tighteningly compelling; the force of her curse literally gave me goosebumps."
"The story of an Aboriginal woman from the desert coming to the city and coping with seeing her love slip away is so potent for Indigenous Australians."
"Wesley Enoch's appropriation of Euripides' searing tragedy Medea as a vehicle to convey the contemporary tragedy of Aboriginal dispossession is an ambitious move that seems fully justified in terms of the scale of the problems he reveals."
'Black Medea' features in a double bill, presented by Toronto's Obsidian Theatre, reviewed by John Coulburn.
An academic essay reviewing Wesley Enoch's production of Black Medea and comparing it to the original play of Euripides' Medea.
"It's not just the telling of Euripides' tale, it's the telling of an indigenous experience."
"Writer-director Wesley Enoch’s Black Medea is an uncompromising account of tensions between urban and traditional Indigenous cultures, represented by a woman caught between the two."
"My own writing is a natural extension of my relationship with the work on the floor. I’m more of a director than a writer."
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