Alexandra Tálamo – The War at Home: Choreographies of Transfer Across an Ocean


Alexandra Tálamo

University of New South Wales

Remote Dramaturg – Richard Pettifer

The War at Home: Choreographies of Transfer Across an Ocean

In this film-as-performance, I explore the aesthetics of postmemory by inviting my family to re-enact the Islas Malvinas/Falkland Islands war. The Islas Malvinas/Falkland Islands war is the distant instigating event of my father, brother and sister’s migration to Australia, but it is also an ongoing negotiation of memory that is played out within the family unit. This presentation integrates durational performance-to-camera, video interviews, media materials and family mythologies, with each family member recalling different facets of the war. The performance of ‘family’ as shaped by the war and the family’s ‘performance’ of the war through remembering, acts to expose and disturb the imagined boundaries that define a familial identity. Within postmemorial aesthetics, this troubling of family memory enables a critique of how the memories we inherit can be shaped by nationalist narratives and propaganda. This research attends to the imaginative work of migrant families, and demonstrates how intergenerational memory can be further opened out to experiences of conflicting multi-positionalities. The development of this work has been shaped by its translation from stage to screen, with an attention to the ways that the medium acts both as a documentation of performance and, concurrently, a site of remembrance. 


Alexandra Tálamo

University of New South Wales

30,000 Shots: Gestures from the Argentinian Dictatorship

When my father emigrated from Argentina he left a country that ‘disappeared’ 30,000 of its citizens during a brutal military dictatorship. In this exhibition, I explore the inherited memories, gestures and mythologies of this period as they appear and erupt within a contemporary Australian body. Drawing on family testimony, cultural references and the media images that the second-generation inherits, the work reflects the experience and labour of intergenerational memory from the perspective of an artist working within aesthetic lineages, and a daughter, living within a border-anxious state. 

The collection presents photography and video works that were created through residencies undertaken in Mexico and Sydney. It also includes the live performance of 30,000 Shots, in which I posed 30,000 times for a camera over eight hours on the opening night of the exhibition, and the multi-channel video work that was subsequently made from the documentation of this performance. The varied media used in the exhibition extends the exploration of re-enactment into form, as one of the ways that memories can be transferred and also reworked.

Alexandra Tálamo is a performance artist whose work uses choreographically-based strategies to explore autobiographical and mythological frameworks of postmemory. She is a graduate of VCA (Postgraduate Diploma in Performance Creation 2012) and a current PhD Candidate in Creative Practice at UNSW Sydney, where she was also awarded the 2017 University Medal for her BA (Hons) in Theatre and Performance Studies. In 2018 she was awarded the Philip Parsons Prize from ADSA. Her work has been presented at Kaffee Kuchen-Action Art III (Weimar, 2018), MCA ARTBAR (2018), Venice International Performance Art Week (2017), Performance Studies international (2016), and Art+Activism month at FCAC (2016).

Olivia Kristine D. Nieto and Layeta P. Bucoy – MonoVlog, an Emergen(t)cy Digital Performance


Olivia Kristine D. Nieto and Layeta P. Bucoy

University of the Philippines Diliman and University of the Philippines Los Banos

MonoVlog, an Emergen(t)cy Digital Performance

In this performance lecture, we intend to explore the MonoVlog (monologue and vlog) as an emergent mode of performance during the Metro Manila lockdown due to the COVID-19 pandemic. Presented in Facebook Live, the MonoVlog became a series of original digital performances probing lockdown experiences in response to national affairs. Its form is bundled as a proof of life, a COVID 19 health advisory, a private Zoom conversation, a tribute to frontliners, a testimony, a death folder, a shoutout video of advocacy groups, a set of community-led responses to the pandemic, and a #ProtestFromHome movement. The form is being adopted by the Cultural Center of the Philippines’ Tanghalang Pilipino, the Bikol community theatre Sining Banwa, and the performance group Icebag Online. The presentation explores the MonoVlog’s aesthetics and sociality based on the reason as to why it emerged as a form and on how it is shaped in the age of COVID-19. In the end, the process of creating a MonoVlog is a testament on how quarantined performance-makers in the Philippines reimagine the future of performance by innovating efforts to make an emergency shift to digital platforms, and by creating virtual communities in the time of the “viral” and the virus.

Olivia Kristine D. Nieto is an assistant professor at the Department of Speech Communication and Theatre Arts (DSCTA), College of Arts and Letters, University of the Philippines Diliman. She is also an actor in theatre, television, and film. 

Layeta P. Bucoy is an associate professor at the University of the Philippines Los Banos. She is a playwright, a screenplay writer, a fictionist, and an erotic column writer.

Keywords: digital performance, protest

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Performance – Marvellous Now – Meredith Rogers, Hester Joyce, Maude Davey


Marvellous Now – The Audio Version

  • Writers/Performers – Meredith Rogers and Hester Joyce
  • Director/Dramaturg – Maude Davey
  • Composer – Madeleine Flynn

Marvellous began as a sort of long goodbye from two older daughters to their mothers who were in the last stages of their living and dying. It is a play about the everyday lives and extravagant, sometimes fantastical inner lives of two nonagenarian women and their 60+ plus daughters. It inter-weaves the voices and psycho-physicalities of these women: their connectedness, their failing/falling bodies and their wayward imaginative memory worlds. At this stage the Covid 19 lockdowns have seen the live performance for La Mama postponed twice. We are sure we will be able to perform that play (or a version of it) live to an audience sharing the same space at some time in the future. In the meantime we are sharing here an audio version along with some work-in-progress visual materials towards a digital iteration).

The pandemic has not simply required us to turn to new methods for presenting the material, but also to pay serious attention to the new challenges our subjects face in this transformed environment. In the current climate of guilt-induced sentimentality and political point scoring using the lives and deaths of our oldest citizens, the inner lives behind the wrinkled faces on our TV screens are made more invisible than ever. The conflicted, emotions of their sons and daughters are similarly reduced to sound bites and screen grabs. 

While never entirely losing sight of the physical realities of these protagonists’ lives and deaths, our digital exploration will focus on their inner lives. It will dwell on their states of dream and delirium, their wondering about the condition of non-being ahead, their internal arguments with themselves and with those they hold closest.

Marvellous Now will give back to audiences many of their own experiences and dilemmas in being, or caring for, what the demographers call the “oldest old” in our families and communities. 


  • 15 minutes introduction from Hester, Meredith and Maude
  • 30 minutes of Audio with a work-in-progress presentation of visual materials 15 minutes discussion
  • Audience members are welcome to bring along a drink

Meredith Rogers (PhD) has chalked up 5 decades of making, teaching and writing about theatre and performance, most recently with queer site-specific theatre company, Gold Satino, co-writing and performing in Seduction 2019 and This Is Grayson 2018 (Two Green Room Awards) for Melbourne International Fringe Festival, and playing Maria in Bagryana Popov’s site-specific Uncle Vanya over five seasons, concluding in the Adelaide Festival for the Arts 2019 (Hans Heysen’s House, Adelaide Hills).In the 1980s she co-founded the feminist theatre company Home Cooking Theatre Co. for which she performed, co-designed or directed, and produced six productions includingthe much-travelled and anthologised Running Up a Dress. She played Clytemnestra in James McCaughey’s Oresteia at the Pram Factory in 1974, the same year she became assistant director of the contemporary art gallery, the Ewing and George Paton. She was also a member of the editorial collective of Lip – a feminist journal of the visual arts, and She left the gallery to join the innovative and influential Mill Theatre Company in Geelong. Her book, The Mill: Experiments in Theatre and Community was published in 2016 by Australian Scholarly Publishing. An Honorary Life Member of ADSA, she co-edited Australasian Drama Studies from 2013 – 2017. 

Hester Joyce trained at Theatre Corporate in Auckland (1980-1983), two years in the ensemble included roles in Piaf, Mother Courage, Elephant Man, Top Girls, Outside In, Vinegar Tom, As You Like It, and Phaedra. Hester also created performances with children, adolescents, indigenous and minority cultures as well as industry professionals: Promise Not to Tell (Scott, 1983), Pass It On (Renee, 1984) Guide to Life (Dramadillo, 1987) and as scriptwriter and dramaturge for Douglas Wright Dance Company, Forbidden Memories (1997) and Buried Venus (1996). As Script Consultant/Reader/Assessor (1998-09) she has numerous screen credits, including working for TVNZ Drama Department, on Gloss, producer Janice Finn (1986-1991) Shadow Trader, Producer Finola Dwyer (1990), Boy from Andromeda producer Caterina de Nave (1990), TV 3 Sunday Night Drama, executive producer Fiona Copland, NZ on Air/TV3 (1996-7), with NZ Film Commission and NZ on Air , NZ Screenwriters Lab 2002/04 and AFC. Her film credits include: as Trish, The Five Provocations (Black, 2018), April (lead) Sure to Rise (Caro, 1994) in competition Palme d’Or 1994 Cannes Film Festival, short film Capture (writer/producer/director,2013). Hester (PhD 2003) teaches scriptwriting, and installation at La Trobe University (2004-20). Institution, Industry & Cultural Change (Trisha Dunleavy & Hester Joyce, 2012) was published by Intellect, UK. 

Maude Davey OAM has been making work in and out of Melbourne for more than thirty years. Trained as an actor at VCA, she regularly appears in film, on TV and on stage. She traveled the world with Finucane & Smith’s The Burlesque Hour/Glory Box. Her autobiographical retrospective, My Life in the Nude, was acclaimed all over the country. Her show Retro Futurismus toured Australia over 4 years and was nominated for 6 Green Room Awards. In 2019 she and Mama Alto created Gender Euphoria, presented by Arts Centre Melbourne at the Melbourne Festival, and at Sydney Gay & Lesbian Mardi Gras 2020. Recent acting includes Anthem, (Melbourne Festival 2019, Sydney and Perth Festivals 2020); and Melancholia (Malthouse Theatre) for which she won a Green Room Award for Outstanding Performance. Film and TV work includes: Five Bedrooms, Sisters, The Left Overs (HBO); Offspring; My Year Without Sex, (Sarah Watts), Noise (Matthew Saville), and Summer Heights High. She has made four solo shows: My Life in the Nude, Future of the Species Part One (2004), Pickle or the Pickle Jar (2000) and Mouthing the Day (1992). She was Artistic Director of Vitalstatistix Theatre Company 2002-2007, and of Melbourne Workers Theatre, 2008-2009.