"We collaborate [t]here: processes of networked collaboration" -
chapter in "Intersecting
Art and Technology in Practice", eds. Camille
Baker & Kate Sicchio, published by Routledge, 2017.
"UpStage, cyberformance et assistance intermédiale" -
chapter in
Théâtre
et intermédialité sous la direction
de Jean-Marc Larrue, Lille (France), Presses universitaires du septentrion,
2014; ISBN-13 978-2-7574-0907-7;
"Real Time, Virtual Space, Live Theatre" - chapter in The
Aotearoa Digital Arts Reader, published 2008; ISBN: 978-0-9582789-9-7;
Dating,
Relating and Performing Inside the Internet - an article about the
cyberformance "swim - an exercise in remote intimacy", in
the third issue of Artefact, "Technomythologies", edited by
Marina Grzinic, November 2004;
Magdalena Australia - report on
the Magdalena Australia International Festival of Women's Performance,
6-16 April 2003;
"Avatars in Cyberspace", published in the 2003 issue of
The Open Page;
A Month of New Media and Theatre
- a report on the Medi@terra festival of new media and ANET festival
of independent theatre, December 2002;
web column for the NZ Infotech (2001-02); the articles have been archived and are only
accessible to stuff.co.nz subscribers - here is a sample
article (on genetic engineering sites);
"From paper and ink to pixels and links",
an article on the impact of the internet on theatre - cyber stages,
email collaborations, hypertexts - published in the 2001 issue of the
Open
Page.
make-shift, written in collaboration with Paula Crutchlow, 2010-12
Avatar
Body Collision:the work of this globally-dispersed
cyberformance troupe is devised online by the four Colliders, with
scripts developed from improvisations and chat dialogue. Helen contributes
to the shaping of scripts and was the main writer of texts for "swim
- an exercise in remote intimacy".
Playwriting: three stage plays professionally
produced, in Dunedin and Wellington (NZ), 1992-2001; and a fourth waiting
in the wings.
Water[war]s:
participation in Jill Greenhalgh's ongoing performance installation
project, Water[war]s, in 2001, 2002 and 2003, including scripting and
presenting a cyberformance and editing texts that were projected and
displayed during the installations and performances
The Fifty Percent Party
Commissioned by Suffrage 125, The Fifty Percent Party is a rewrite of Helen's 1992 play Women Like Us that updates the history of women in parliament in Aotearoa New Zealand and introduces new characters. The new script is aimed at a teenage audience and is accompanied by an education resource pack, written by Dr Lilicherie McGregor. It premiered at Marion College, Christchurch, in June 2019.
Phone Jam
Premiered in May 2014 by Te Aroha Repertory Theatre, Phone Jam is
the story of a woman trapped in a phone box. Physical theatre, sheer
poetry and universal truths are squeezed into this confined space and
played out within the complexity of contemporary human communication.
The script received a professional workshop with New Theatre Initiatives
in Auckland, NZ (Feb-April 2002), and is now eager to see the light of
the stage.
Between
"... a treasure of a play ... delightful yet profound." John Smythe,
National Business Review
Commissioned by the Young and Hungry Trust in 1999, Between is
a one act play for five actors, exploring the transition from childhood
to adulthood and the role of imagination in that transition. Premiered
at the 2001 NZ Fringe Festival; performed at Aurora
College, Invercargill, NZ, June 2010 (images from this performance
at right) and the Marlborough Repertory Society, Blenheim, July 2019.
Risky/Risque
"...rapturously rich, refreshingly real."Capital Times
"Helen Jamieson tackles head on the subject of lesbians and AIDS and,
miraculously, she has done it with humour and feeling and without sentimentality
and gloom." Evening Post
Performed at BATS Theatre, Wellington, during the 1995 Devotion Festival, Risky/Risque is
a dark comedy about the impact of AIDS on two women's relationship.
Women Like Us
"... a powerful play. As a debut full-length production it represented
an achievement little short of staggering." The Listener
"...crisp and challenging, sprinkled with moments of hilarity." City
Voice
"... light, airy and hilarious, but also a story of time and change against the backdrop of New Zealand politics ... one of the funniest plays I have seen in a long time." Kate Timms-Dean, Theatreview, 21 June 2019
Commissioned by the Suffrage Centenary Trust in 1993, Women Like
Us celebrates the little-documented history of women in New Zealand
politics in a two act play for three actors, who play more than 25 characters.
It premiered at the Globe Theatre, Dunedin in 1993
and has been performed at Taki Rua Theatre, Wellington during the 1994 Fringe Festival, and in June 2019 by Little Scorpion Productions at the New Athaneum Theatre, Dunedin.
Creative
Explorer: Helen researched and wrote the text for Creative Explorer,
a comprehensive CD-ROM on the arts of New Zealand (1996-97). This
included in-depth interviews with the six featured artists, sourcing
and copyright clearing hundreds of images, and researching hundreds
of related artists and topics. She also assisted with the layout,
testing and project management.
"... a very comprehensive resource and an extremely rich source
of information." Computers In New Zealand Schools
Online copywriting for Media Catalyst, Amsterdam (2005-2008);
