Australian theatre of the late 60s and early 70s worked to undermine the traditional, flawed, romantic characteristics

of the perceived Australian persona. Furthermore, from Norm and Ahmed to The Removalists, we move from attacking outsiders to attacking ourselves, since we cant agree and progress as a society. They attempt to portray a society struggling with problems just as everyone else, including xenophobia, police brutality and generational envy, whilst painting a menacing picture of Australian stereotypes (Norm, Kenny, Simmonds). Norm and Ahmed (1968) He [AHMED] walks past NORM metaphorically moving forward Tension created by stage images NORM: Then we started circling each other in the dark [Circling AHMED] AHMED: When I obtain my degree I intend to return to Pakistan and attempt to render assistance to the under-privileged peoples NORM: Put er there, mate. He offers his hand. Final moment before the beating. Implications of generational envy and racism: essentially a comment that Australian society needed to move forward from its conservative origins. The Removalists (1971) Simmonds as metaphorical for authority within society a problemed society (SIMMONDS gets up and circles ROSS.) SIMMONDS: Nothing changes in this world boy. SIMMONDS: I have never made an arrest in all my twenty-three years in the force. Unmasking of Australian stereotypes Removalist REMOVALIST: (Looking at his watch) This is the last thing, then? SIMMONDS: (To KATE, a little hysterical himself) Youre a liar, woman. Kenny an ocker, but portrayed in a negative manner; and with real problems. KENNY: (Getting up and moving to her, roaring) Get out into the kitchen, open the fridge, get out a piece of sliced cow and put it under the griller, you lazy bitch. KENNY: (Hurt, outraged)That little kid loves me.

Brecht MC Spring 1624. The Swedish Commander-in-Chief, Count Oxenstierna is raising troopsMother Courage, loses one son. (Scene 3-4) SERGEANT: Know him? Mother Courage shakes her head. Followed by MOTHER COURAGE: But I got a complaint to make. LOG Confirmation of the Copernican system done between scenes 3 and 4. SAGREDO: ? MATHEMATICIAN: Sooner or later Mr Galilei will have to reconcile himself to the facts leaving without merely looking in the telescope. Galileo recants his doctrine of the motion of the earth afraid of physical pain. In the course of the audience he is robed. Outside is heard the shuffling of feet.