Historical Overview of Theatre in Aotearoa/New Zealand

Polynesian Exploration ancestors of the Maori arrived in Aotearoa from East Polynesia c.800 CE Aotearoa = “Land of the Long White Cloud” established tribal kin groups remained undisturbed until first European explorers arrived in 17C

European Exploration Abel Tasman, 1642 From Holland employee of the Dutch East Indies Company Searching for Terra Australis Incognita, the legendary, rich southern land Encountered Aotearoa, called it “Nieuw Zeeland” after the Dutch province

James Cook, 1769 British sailor and navigator also sent to search for southern land, but proved it didn’t exist circumnavigated Aotearoa/New Zealand interaction and trade with local Maori first complete map

Cook’s Map of New Zealand

Navigation --> Trade --> Industry & commerce --> Missionaries --> Christian settlement --> Immigrants --> Systematic colonization

European Immigration 19C European settlement from 1830s “Britain of the South” “classless society” opportunity to start new lives evangelical influence: “humane colonization”

The Treaty of Waitangi, 1840 (Te Tiriti o Waitangi)

Two Peoples, One Nation?

Drama in Aotearoa/New Zealand Three general periods: –19C Colonial drama – Amateur period –Post-1945 Postcolonial dramatic consciousness

19C Drama of Colonization was a period in which the dramatic text was not particularly valued as literature early theatrical activity was a showcase for “Old World” fashion developing cities; military camps; goldfields farces, melodramas, Shakespeare festivals, variety performances, musicals, local satirical dramas “scenic spectaculars” (1870s-1890s) end of 19C = first sense of emergent local identity

Amateur Movement, rapid increase in amateur theatre Repertory Theatres in most cities British Drama League University drama societies realism; national identity Mulgan, Three Plays of New Zealand (1920) The Workers’ Theatre (late 1930s)

Early Postcolonial Period After WWII, cultural dictates of parent culture begin to be questioned; more complex probing of cultural identity distinct signs of change in theatrical environment writers in other genres exploring possibilities of the stage mid-1960s: Community Theatres established, encouraged new generation of professional dramatists

Late Postcolonial Period 1975: International Women’s Year; Maori Land March time of social change: “Maori Renaissance” post-1975 a new era in NZ literature. Flourishing of women, Maori, gay and lesbian writers; writing by other ethnic groups, such as Chinese, Pacific Island. drama becomes increasingly diverse; minority voices and marginalized groups acknowledged; new issues explored; new modes of theatrical experimentation introduced

Maori Dramatic Literature oral traditions until European settlement (inc. performance) 1815 Maori orthography writing and print = profound social change emphasis on English by 1970s, fears that spoken Maori might be dying out revival programs; literacy for pedagogical purposes

Four “Stages” of Maori Drama 1. (1960s/1970s) Assimilation, conforming to Pakeha models. Works mostly in English. 2. (late 1970s) Questioning of cultural constructs, elements of resistance. 3. (1980s) Resistance/revolt. Works that address loss of cultural heritage, openly condemning Pakeha intervention. “Confrontational” use of Maori language. 4. (1990s - present) New generation of dramatists taking different position in relation to polycultural society; asking new questions; Maori language used as tool for articulating new perspectives.