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Many men and women fell for
Cramphorn. His capacity for empathising with actors, encyclopaedic knowledge especially of all things French, and "large pocket-Adonis" good looks prompted many to seek his personal commitment. Most remained his friends, however, long after he had persuaded them, gently,
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The best of
Cramphorn's theatre productions were said to be the equal of any Grotowski production; in others it was evident that Cramphorn seemed to demand almost as much of his audience as he did of his players. In a 1973 interview, Cramphorn described the kind of productions he hoped to create:
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I’m not interested in presenting the violence of life around me or its chaos and doubt. I’m interested, in a very simple-minded and romantic way, in things that confirm one’s faith in something – whether it be a thing as abstract as the skill of story-telling or whether it be a story like “The
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Tempest” about a personal and spiritual development. The theatre that I like to see and I’d like to make is outside reality. I’d like it to be an artistic whole, to have the kind of discipline that ballet and opera have. So I think I work in reaction to the life around me.
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A biennial $ 30,000 Rex
Cramphorn Theatre Scholarship has been established by the New South Wales Government. and the Australian Film TV and Radio school. An annual series of Rex Cramphorn lectures – a memorial set up by his friends and colleagues - was begun in 1995,
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Cramphorn died in Sydney, 22 November 1991 of AIDS related causes, aged 50. Glowing tributes and obituary notices began to appear, in contrast to the faltering recognition
Cramphorn had received in life. In them may be read assessments such as:
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Cramphorn was one of a generation of theatre directors who emerged in
Australia in the 1960s. He aspired to establish a permanent Australian performance ensemble, multi-skilled and committed, such as had been done by the Polish theatre director
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As a theatre critic during the early 1970s, Cramphorn contributed 110 theatre reviews to several newspapers. In these forthright, uncompromising and scholarly reviews, Cramphorn indicated initially that there was little that pleased him in the
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Among
Cramphorn's effects were thirty boxes of papers which he bequeathed to the Department of Performance Studies at the University of Sydney. Selections from this archive form the basis for Associate Professor Ian Maxwell's publication
95:(sometimes identified by the variant Cramphorne) (10 January 1941 – 22 November 1991) was an Australian theatre director, costume designer, theatre critic, theorist and translator, active in the 1970s and 1980s.
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with whom he worked for a time, but there was not the audience, the assured funding nor the interest in
Cramphorn's preference for non-commercial projects to achieve this.
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As a freelance director he was involved in some 55 theatre productions around
Australia in the 1970s and 1980s. He was resident director at Melbourne's
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A studio in the
University of Sydney's Centre for Performance Studies has been named in his honour (popularly known as "The Rex").
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You may love the boy and lay him naked across your knees and kiss him and make him laugh but it isn't you he sees
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321:. Vol. 59, no. 17, 906. Australian Capital Territory, Australia. 7 October 1984. p. 11
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I had the pleasure of working with Rex on several projects and will certainly add to this tribute.
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the most original director of his generation, and certainly the most rigorous and uncompromising.
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that they could be no more than that. At age 20 he inspired a poem containing this stanza:
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and many of his own productions. One of
Cramphorn's earliest projects was at the 1968
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Australian theatre has lost one of its most challenging and sensitive talents
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Judith C Green, in Four Poets, Cheshire, 1962, The Boy in the Green Gown
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that rare and important figure, a philosopher and visionary of the arts
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the most formally innovative director this country has ever produced
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this most intelligent, gentle and well-read of Australian directors
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A Raffish Experiment – The Selected Writings of Rex Cramphorn
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the only real philosopher the Australian theatre has produced
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Hazel de Berg, interview with Rex Cramphorn, October 1973
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in Four Poets, Cheshire, 1962, The Boy in the Green Gown
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in Maxwell, Ian (ed,), Raffish Experiment, A, 2009, iii
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Ian Maxwell, (ed.), Raffish Experiment, A, 2009, p 5
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Ian Maxwell, (ed.), Raffish Experiment, A, 2009, p 3
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William Yang, My Generation, Documentary Film, 2013
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149:Cramphorn designed the costumes for the musical
628:"Live Performance Australia Hall of Fame 2007"
596:James Waites, Theatre Reviews, 27 January 2013
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493:, Blood & Tinsel: A Memoir, 2008, p 158
329:– via National Library of Australia.
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442:. 2013. Archived from
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152:Jesus Christ Superstar
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572:Sydney Morning Herald
365:Raffish Experiment, A
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406:Obituaries Australia
131:Sydney theatre scene
115:in the early 1980s.
292:www.ausstage.edu.au
37:Rex Cramphorn, 1975
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553:Katharine Brisbane
363:Ian Maxwell,(ed.)
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685:1991 deaths
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653:Jim Sharman
491:Jim Sharman
343:Louis Nowra
313:"TIMESTYLE"
266:Jim Sharman
166:Richard III
135:Louis Nowra
85:, Australia
674:Categories
638:7 December
450:7 December
416:7 December
275:References
53:1941-01-10
606:John Bell
260:in 2009.
187:Australia
139:John Bell
65:Australia
325:17 April
297:17 April
183:Brisbane
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412:. 2010
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83:Sydney
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436:NIDA
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