Meg Mumford

Senior Lecturer

I am a Senior Lecturer in Theatre and Performance Studies at UNSW.  I specialise in modern and contemporary German theatre, and have an ongoing research interest in socially engaged performance.  My research focuses on the way in which theatre writing, staging and spectating respond to socio-historical contexts,  ideologies and habitual modes of perception.  This focus underpins my work on the following topics: the relation of Marxist discourse to the theory and practice of German playwright-director Bertolt Brecht (1898-1956); sex-gender ideology and intercultural encounter within German drama, performance and dance theatre since the early twentieth century; and the engagement with cultural diversity within innovative forms of contemporary Theatre of Real People from both Australia and Germany. My research advances disciplinary understanding of theatre’s capacities and strategies for engaging with social inequity and difference.  It also speaks to a broader audience interested in the kinds of response that art can make to a world increasingly marked by interaction with complex cultural identities. I have recently worked as Asia-Pacific Book Reviews Editor for Theatre Research International, and am currently a member of the editorial board for The Brecht Yearbook / Das Brecht Jahrbuch.

 

BOOKS

 

Garde, Ulrike & Meg Mumford, Theatre of Real People: Diverse Encounters from Berlin's Hebbel am Ufer and Beyond (London: Bloomsbury, 2016).

Birgfeld, Johannes, Ulrike Garde & Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015).

Mumford, Meg, Bertolt Brecht (London and New York: Routledge, 2009). [Included in Choice magazine's list of Outstanding Academic Titles for 2009. Revised edition re-issued 2018.]

 

ARTICLES 

Mumford, Meg & Ulrike Garde, 'Staging Real People: On the Arts and Effects of Non-Professional Theatre Performers', Performance Paradigm, 11 (2015): 5-15, http://www.performanceparadigm.net/index.php/journal/article/view/167

‘Rimini Protokoll's Reality Theatre and Intercultural Encounter: Towards an Ethical Art of Partial Proximity’, Contemporary Theatre Review, 23.3 (2013): 153-65. 

‘Pina Bausch Choreographs Blaubart: A Transgressive or Regressive Act?’, German Life and Letters, LVII, 1 (2004): 44-57.

‘Barthes on Brecht’s Tableau: Fetish meets Flux’, Communications from the International Brecht Society, 32 (June 2003): 42-7.

Mumford, Meg & Alison Phipps, ‘Translating the Strange, Performing the Peculiar: Marieluise Fleißer's Fegefeuer in Ingolstadt’, Studies in Theatre and Performance, 22, 2 (2002): 69-81.

‘Gestic Masks in Brecht’s Theatre: A Testimony to the Contradictions and Parameters of a Realist Aesthetic’, The Brecht Yearbook, 26 (2001): 143-71.

‘Brecht on Acting for the 21st Century: Interrogating and Re-Inscribing the Fixed’, Communications from the International Brecht Society, 29, 1 & 2 (June 2000): 44-9.

‘Brecht Studies Stanislavski: Just a Tactical Move?’, New Theatre Quarterly, 11, 43 (1995): 241-58.

CHAPTERS 

Mumford, Meg, "Brecht's Perspectives, Then and Now: Class, Gender and the Social Stakes of Performance", in David Barnett (ed.), The Great Stage Directors, vol. 2 (Meyerhold, Piscator, Brecht) (London: Bloomsbury Methuen Drama,  2018).

Mumford, Meg, '100% City and Popular Factual Television: A New Game Plan for Managing Proximity to People?', in Johannes Birgfeld, Ulrike Garde & Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015), pp. 278-301.

Birgfeld, Johannes, Ulrike Garde & Meg Mumford, 'Introduction: Diverse and Close-Up Navigations of Rimini Protokoll's Theatre', in Johannes Birgfeld, Ulrike Garde & Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015), pp. ix-xxv.

Mumford, Meg, 'Toward Transculturality in Reality Theatre from Berlin and Sydney: A Study of the Nomad in Rimini Protokoll's Cargo Sofia-X and the "Spiritual Medium" in Fast Cars and Tractor Engines by Urban Theatre Projects', in Alan Corkhill and Alison Lewis (eds), Intercultural Encounters in German Studies (St. Ingbert: Röhrig, 2014), pp. 181-196.

Garde, Ulrike & Meg Mumford, ‘Postdramatic Reality Theatre and Productive Insecurity: Destabilising Encounters with the Unfamiliar in Theatre from Sydney and Berlin’, in Jerome Carroll, Steve Giles and Karen Jürs-Munby (eds), Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance (London: Bloomsbury (Methuen Drama), 2013), pp. 157-64.

‘Fluid Collectives of Friendly Strangers: The Creative Politics of Difference in the Reality Theatre of Rimini Protokoll and Urban Theatre Projects’, in Gerhard Fischer & Florian Vaßen (eds), Collective Creativity: Collaborative Work in the Sciences, Literature and the Arts (Amsterdam & New York: Rodopi, 2010), pp. 329-43.

Aftershocks: Voices from a Shaken Community', in Paul Brown (ed.), Verbatim: Staging Memory and Community (Currency Press: Sydney, 2010), pp. 37-48. 

Wake, Caroline, Meg Mumford & Ulrike Garde, ‘A Short History of Verbatim Theatre', in Paul Brown (ed.), Verbatim: Staging Memory and Community (Currency Press: Sydney, 2010), pp. 9-17.

Mumford, Meg & Alison Phipps, ‘Encountering Stories from Contemporary German Theatre’, Contemporary German Cultural Studies (London: Arnold, 2002), pp. 219-40. 

“Dragging” Brecht’s Gestus Onwards: A Feminist Challenge’, in Steve Giles and Rodney Livingstone (eds), Bertolt Brecht: Centenary Essays (Amsterdam: Rodopi, 1998), pp. 240-57.

OTHER PUBLICATIONS 

Panel Discussion Transcripts

Mumford, Meg & John Severn (eds.), 'Putting Real People on Stage: Helgard Haug (Rimini Protokoll) in Conversation with Australian Practitioners and Academics', Performance Paradigm, 11 (2015): 101-15, http://www.performanceparadigm.net/index.php/journal/article/view/165

Mumford, Meg (ed.), panel discussion transcript, 'Panel Discussion 100% Melbourne: Contemporary Documentary Performance that Puts "Real Melbournians" on the Stage', in Johannes Birgfeld, Ulrike Garde and Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015), pp. 302-17.

Conference Publication

‘Polykulturelle Akteure im “Reality Theater” von Rimini Protokoll und Urban Theatre Projects', in Ortrud Gutjahr, Deniz Göktürk, Alexander Honold (eds), Interkulturalität als Herausforderung und Forschungsparadigma der Literatur- und Medienwissenschaft, section 21 in Franciszek Grucza (ed.), Akten des XII. internationalen Germanistenkongresses Warschau 2010. Vielheit und Einheit der Germanistik weltweit, vol. 12 (Frankfurt am Main et al.: Peter Lang, 2012), pp. 191-5.    

Entries on ‘agitprop’, ‘bourgeois theatre’, ‘illusionism’, and ‘Verfremdung’, in Dennis Kennedy (ed.), The Oxford Encyclopedia of Theatre and Performance, vols. 1 & 2 (Oxford: O.U.P., 2003).

PERFORMANCE REVIEWS

Mumford, Meg, film review of The Threepenny Opera, director Georg Wilhelm Pabst, Nero-Film/ Tobis /Warner Bros., 1931, in Michelle Langford (ed.), Directory of World Cinema: Germany 2 (Bristol: Intellect, 2013), pp. 210-12.

Garde, Ulrike & Meg Mumford, ‘Rimini Protokoll Presents “Real” Experts: 100% Melbourne and Radio Muezzin’, Kultur, Magazine of the Goethe-Institut in Australia, 23 (2012): 16-17.  See also: http://issuu.com/goetheaustralia/docs/gi_kultur23_sep12/1 [accessed September 2012]

Garde, Ulrike & Meg Mumford, performance review of Radio Muezzin, by Rimini Protokoll, Everest Theatre, Sydney Festival, January 2012, in ‘Experts of the Everyday: Rimini Protokoll’, RealTime, 108 (2012): 26.  See also: http://www.realtimearts.net/article/108/10617 [accessed May 2012]

Aurin, Andreas & Meg Mumford, performance review of Baal, director Simon Stone, a co-production of Sydney Theatre Company and Malthouse Melbourne, Wharf 1, Sydney Theatre Company, May 2011, in Communications from the International Brecht Society, 40 (2011): 58-62.  

BOOK REVIEWS 

Contemporary Theatres in Europe: A Critical Companion. Edited by Joe Kelleher and Nicholas Ridout (London & New York: Routledge, 2006). Review in http://performanceparadigm.net/journal/issue-4/bookreviews/ [Issue 4, 2008]

Women and German Drama: Playwrights and Their Texts, 1860-194. By Sarah Colvin (Rochester, NY: Camden House, 2003). Review in Theatre Research International, (Summer 2005).

Brecht Sourcebook. Edited by Carol Martin & Henry Bial. London & New York: Routledge, 2000. Review in Theatre Research International (Autumn, 2000).

Schauspielerinnen im Europa des 18. Jahrhunderts: Ihr Leben, Ihre Schriften und Ihr Publikum. By Ruth Emde (Amsterdam-Atlanta: Rodopi, 1997).  In Theatre Research International (Summer, 2000).

German Expressionist Theatre: The Actor and the Stage. By David F. Kuhns (Cambridge: Cambridge University Press, 1997). Review in Theatre Research International (Autumn, 1998).

German Theatre: A Bibliography from the Beginning to 1995. By Michael Patterson (Leicester: Motley Press, 1996). Review in Theatre Research International (Winter, 1997).

The Shocking Ballad Picture Show. By Tom Cheesman (Oxford: Berg Publishers, 1994).  Review in Theatre Research International (Autumn, 1997).

TRANSLATION

Dr Barbara Panse, ‘Censorship in Nazi Germany: The Influence of the Reich’s Ministry of Propaganda on German Theatre and Drama, 1933-45’ in Günter Berghaus (ed.), Fascism and Theatre: Comparative Studies on the Aesthetics and Politics of Performance in Europe 1925-1945 (Providence US and Oxford UK: Berghahn Books, 1996), pp. 140-56. 

Subject areas

Publications

Books
add
Mumford M, 2018, Bertolt Brecht (2nd Edition), revised or 2nd edition, Routledge, London and New York
2018
Mumford M, 2018, Bertolt Brecht (2nd Edition), Routledge, London and New York
2018
Garde U; Mumford M, 2016, Theatre of Real People Diverse Encounters at Berlin’s Hebbel Am Ufer and Beyond, Methuen Drama Engage, Bloomsbury Publishing, London
2016
Mumford M, 2015, 'Rimini Protokoll Close-Up: Lektüren', Forum für deutschsprachiges Drama und Theater in Geschichte, Wehrhahn Verlag, Hannover
2015
Mumford M, 2009, Bertolt Brecht, Routledge, London and New York, http://dx.doi.org/10.4324/9781351180801
2009
Book Chapters
add
Mumford M, 2018, '"Brecht's Perspectives, Then and Now: Class, Gender and the Social Stakes of Performance"', in Barnett D; Shepherd S (ed.), "The Great European Stage Directors", vol. 2 on Meyerhold, Piscator, Brecht, edn. The Great European Stage Directors, Methuen Drama, Bloomsbury Publishing, London and New York, pp. 157 - 181
2018
Mumford M, 2018, '"Brecht's Perspectives, Then and Now: Class, Gender and the Social Stakes of Performance"', in Barnett D; Shepherd S (ed.), , Methuen Drama, Bloomsbury Publishing, London and New York, pp. 157 - 181
2018
Mumford M, 2015, ''Introduction: Diverse and Close-Up Navigations of Rimini Protokoll's Theatre'', in 'Rimini Protokoll Close-Up: Lektüren', edn. Forum für deutschsprachiges Drama und Theater in Geschichte, Wehrhahn Verlag, Hannover, pp. ix - xxv
2015
Mumford M, 2015, ''"100% City" and Popular Factual Television: A New Game Plan for Managing Proximity to People?'', in Birgfeld J; Garde U; Mumford M (ed.), 'Rimini Protokoll Close-Up: Lektüren', edn. Forum für deutschsprachiges Drama und Theater in Geschichte, Wehrhahn Verlag, Hannover, pp. 278 - 301
2015
Bowen J; Garde U; Griffith A; Guglielmo V; Haug H; Kaegi S; Mumford ; Watts R, 2015, '‘Panel Discussion "100% Melbourne": Contemporary Documentary Performance that Puts “Real Melbournians” on the Stage’', in Mumford M (ed.), 'Rimini Protokoll Close-Up: Lektüren', edn. Forum für deutschsprachiges Drama und Theater in Geschichte, Wehrhahn Verlag, Hannover, pp. 302 - 317
2015
Mumford M, 2014, ''Towards Transculturality in Reality Theatre from Berlin and Sydney: A Study of the Nomad in Rimini Protokoll's "Cargo Sofia-X" and the 'Spiritual Medium' in "Fast Cars and Tractor Engines" by Urban Theatre Projects'', in Corkhill A; Lewis A (ed.), Intercultural Encounters in German Studies, Röhrig, St. Ingbert, pp. 181 - 196, http://www.roehrig-verlag.de/print_product_info.php?products_id=55652
2014
Mumford M; Garde U, 2013, ''Postdramatic Reality Theatre and Productive Insecurity: Destabilising Encounters with the Unfamiliar in Theatre from Sydney and Berlin'', in Carroll J; Professor SG; Jürs-Munby K (ed.), Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance, edn. Methuen Drama Engage, A&C Black, London, pp. 147 - 164
2013
Mumford M, 2013, 'Film review: 'The Threepenny Opera'', in Langford M (ed.), 'Directory of World Cinema: Germany 2', Intellect, Bristol, pp. 210 - 212
2013
Mumford M, 2011, 'Fluid Collectives of Friendly Strangers: The Creative Politics of Difference in the Reality Theatre of Rimini Protokoll and Urban Theatre Projects', in Fischer G; Vassen F (ed.), COLLECTIVE CREATIVITY: COLLABORATIVE WORK IN THE SCIENCES, LITERATURE AND THE ARTS, edn. Internationale Forschungen zur Allgemeinen und Vergleichende, EDITIONS RODOPI B V, Goethe Inst Sydney, Sydney, AUSTRALIA, pp. 329 - 343, http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:000293600000024&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=891bb5ab6ba270e68a
2011
Mumford M, 2010, ''"Aftershocks": Voices from a Shaken Community'', in Brown P (ed.), Verbatim: Staging Memory and Community, edn. Original, Currency Press, Strawberry Hills, Sydney, pp. 37 - 48
2010
Mumford M; Wake C, 2010, 'A Short History of Verbatim Theatre', in Brown P (ed.), Verbatim: Staging Memory and Community, edn. Original, Currency Press, Strawberry Hills, NSW, pp. 9 - 17
2010
Mumford M, 2003, 'Encylopedia entry: 'Verfremdung'', in Kennedy D (ed.), The Oxford Encyclopedia of Theatre & Performance, edn. Original, Oxford University Press, Oxford New York, pp. 1404 - 1405
2003
Mumford M, 2003, 'Encyclopedia entry: 'Illusion'', in Kennedy D (ed.), The Oxford Encyclopedia of Theatre & Performance, edn. Original, Oxford University Press, Oxford New York, pp. 617
2003
Mumford M, 2003, 'Enyclopedia entry: 'Bourgeois Theatre'', in Kennedy D (ed.), The Oxford Encyclopedia of Theatre & Performance, edn. Original, Oxford University Press, Oxford New York, pp. 176 - 177
2003
Mumford M, 2003, 'Encyclopedia entry: Agitprop', in Kennedy D (ed.), The Oxford Encyclopedia of Theatre & Performance, edn. Original, Oxford University Press, Oxford New York, pp. 38
2003
Mumford M, 2002, '‘Encountering Stories from Contemporary German Theatre’', in Contemporary German Cultural Studies, Arnold, London, pp. 219 - 240
2002
Mumford M, 1998, ''"Dragging” Brecht’s Gestus Onwards: A Feminist Challenge’ in Steve Giles and Rodney Livingstone (eds), 'Bertolt Brecht: Centenary Essays'', in 'Bertolt Brecht: Centenary Essays', Rodopi, Amsterdam, pp. 240 - 257
1998
Journal articles
add
Mumford M; Severn J, 2015, 'Panel discussion title: 'Putting Real People on Stage: Helgard Haug (Rimini Protokoll) in Conversation with Practitioners and Academics from Australia'', Performance Paradigm, pp. 101 - 115, http://www.performanceparadigm.net/index.php/journal/article/view/165
2015
Mumford M; Garde U, 2015, ''Staging Real People: On the Arts and Effects of Non-Professional Theatre Performers'', Performance Paradigm, pp. 5 - 15, http://www.performanceparadigm.net/index.php/journal/article/view/167/165
2015
Mumford M, 2013, 'Rimini Protokoll's Reality Theatre and Intercultural Encounter: Towards an Ethical Art of Partial Proximity', CONTEMPORARY THEATRE REVIEW, vol. 23, pp. 153 - 165, http://dx.doi.org/10.1080/10486801.2013.777057
2013
Mumford M, 2012, 'Magazine article: 'Rimini Protokoll Presents Real Experts: "100% Melbourne" and "Radio Muezzin" (Sydney)'', Kultur, vol. 23, pp. 16 - 17
2012
Mumford M, 2012, 'Performance Review: ''Experts of the Everyday: Rimini Protokoll'', RealTime, vol. 108, pp. 26
2012
Mumford M; Aurin A, 2011, 'Performance review of 'Baal'', Communications from the International Brecht Society, vol. 40, pp. 58 - 62
2011
Mumford M, 2008, 'Book Review: Contemporary Theatres in Europe: A Critical Companion', Performance Paradigm
2008
Mumford M, 2005, 'Women and German drama: Playwrights and their texts, 1860-1945.', THEATRE RESEARCH INTERNATIONAL, vol. 30, pp. 194 - 195, http://dx.doi.org/10.1017/S0307883305251416
2005
Mumford M, 2005, 'Book Review: Women and German Drama: Playwrights and their Texts, 1869 - 1945', Theatre Research International, vol. 30, pp. 194 - 195
2005
Mumford M, 2004, 'Pina Bausch Choreographs Blaubart: A Transgressive or Regressive Act?', German Life and Letters, vol. 57, pp. 45 - 57
2004
Mumford M, 2003, 'Barthes on Brecht’s Tableau: Fetish meets Flux', Communications from the International Brecht Society, vol. 32, pp. 42 - 47
2003
Mumford M, 2002, '‘Translating the Strange, Performing the Peculiar: Marieluise Fleißer's "Fegefeuer in Ingolstadt"’', Studies in Theatre and Performance, vol. 22, pp. 69 - 81
2002
Mumford M, 2001, '‘Gestic Masks in Brecht’s Theatre: A Testimony to the Contradictions and Parameters of a Realist Aesthetic’', The Brecht Yearbook, vol. 26, pp. 143 - 171
2001
Mumford M, 2000, 'Book Review of: 'Schauspielerinnen im Europa des 18. Jahrhunderts: Ihr Leben, Ihre Schriften und Ihr Publikum.' By Ruth Emde (Amsterdam-Atlanta: Rodopi, 1997).', Theatre Research International
2000
Mumford M, 2000, 'Book Review: 'Brecht Sourcebook' Edited by Carol Martin & Henry Bial. London & New York: Routledge, 2000', Theatre Research International
2000
Mumford M, 2000, '‘Brecht on Acting for the 21st Century: Interrogating and Re-Inscribing the Fixed’', Communications from the International Brecht Society, vol. 29, pp. 44 - 49
2000
Mumford M, 1998, 'Book Review of: 'German Expressionist Theatre: The Actor and the Stage' By David F. Kuhns (Cambridge: Cambridge University Press, 1997).', Theatre Research international
1998
Mumford M, 1997, 'Book Review of: 'The Shocking Ballad Picture Show' By Tom Cheesman (Oxford: Berg Publishers, 1994).', Theatre Research International
1997
Mumford M, 1997, 'Book Review of: 'German Theatre: A Bibliography from the Beginning to 1995' By Michael Patterson (Leicester: Motley Press, 1996).', Theatre Research International
1997
Mumford M, 1995, 'Brecht Studies Stanislavski: Just a Tactical Move?', New Theatre Quarterly, vol. 11, pp. 241 - 258
1995