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The present study aims to address the Brisbane Powerhouse-Powerhouse Theatre’s production details for “Chef: Come Dine with Us” in the Brisbane Festival. The study argues to develop justifications in the support of this innovative production of Brisbane Powerhouse. In order to describe the theatre related pioneering ideas of this production house, the study emphasizes the postmodern art-making practices.
Chosen Idea for Theatre Production
The Brisbane Powerhouse’s production theatre named “Chef: Come Dine with Us” clearly portrays one of the postmodern art-making practice that is hybridity. The concept of hybridity had initially been taken from the biological perspective, as per which it meant a mixture or ‘cross-breading’ of something (Pavis, 2010). Fundamentally, it is allied with the aspect that reflects the scenario of discourse on identity, anti-racism, multiculturalism and globalisation. The concept of hybridity was therefore taken from the domain of cross-fertilisation of plants, which later on was utilised in various others arenas such as in social, cultural and art arena. It is one of the revolutionary tools in the context of mixing aspect. Contextually, hybridity in art is portrayed as a mixed environment of reality. This reality eventually considers the creation of physical and digital formats within the art forms. The hybridisation on new technical elements with the traditional form of art can be identified as the pure reflection of hybridity (Knight, 2013).
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The Production’s Work on Old Text for Contemporary Audiences
The theatre production will offer theatre lovers and interested audiences a great essence of drama, food and comedy through “Chef: Come Dine with Us” in Brisbane Festival. The combination is undoubtedly portrayed as a mixture of theatre, food and comedy, which can influence audiences’ psychology and physiology. It can hence be defined as the satisfactory circumstances for ‘theatre loving foodies’. The primary thought of the theatre that was presented by Brisbane Powerhouse is quite an old concept, which portrays the ultimate rivalry of two ‘sous chefs’ in a cooking show. It is a common reality concept that audiences experience in daily soaps. However, the theatre production is capable enough to portray the scenario with a twist, which can be considered as the clear portrayal of hybridity. This theatre production depicts the concept with an essence of beat-boxing, break-dancing and great acrobatic displays. These jaw dropping combinations of visual display creatively mesmerise its audiences and also delights them with the innovative kitchen recipes (Brisbane Festival, 2017). It is a creative, fresh and unique portrayal of theatre concept that argues on hybridity theoretical aspects. In relation with the theoretical concept, it can also be stated that the theatre production genuinely offers Korean foods for the audiences in Brisbane, which is another representation of racial hybridity within the art form (Fortier, 2016; Liu, 2013).
Brisbane Powerhouse is one of the potential names of innovative theatre production, which offers a great combination of theatre, food and comedy. Moreover, this theatre production also portrays a clear reflection of hybridity theory, which is one of the major aspects of postmodern art-making practices. The study significantly emphasises the areas, wherein the theatre production critically depicts the theory.
- Brisbane Festival, 2017. Brisbane Festival: 9-30 September 2017. Printed Program.
- Fortier, M., 2016. Theory/Theatre: An Introduction. Routledge.
- Knight, A., 2013. Hybridity in New Art. Dazed.
- Liu, S., 2013. Performing Hybridity in Colonial-Modern China. Springer.
- Pavis, P., 2010. Crisis of Political Correctness. Intercultural Theatre today, pp. 5-14.