Abstract Direct address is considered to be the hallmark convention of verbatim theatre. Coined by Derek Paget in 1987, verbatim theatre is a form that involves engagement with a community about a topic or event. Conversations and interviews are recorded, and this material becomes the stimulus for the creative development of performance. This article researches and analyses the broad diversity of conventions evident in three Australian verbatim plays; Alana Valentine’s Parramatta Girls (2007), Campion Decent’s Embers (2008) and David Burton’s April’s Fool (2010). Developing a greater understanding of the function of verbatim theatre’s conventions therefore deepens our knowledge of dramatic composition and the choices these playwrights have made in translating their verbatim stories into dramatic material. It also enables educators to respond more comprehensively in their analysis of plays, and encourage their students to create their own verbatim theatre in more nuanced and dynamic ways.

中文翻译：

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逐字记录剧院惯例在三部澳大利亚戏剧中的作用

摘要直接地址被认为是逐字剧院的标志性惯例。逐字剧院由德里克·佩吉特（Derek Paget）于1987年创立，是一种涉及与社区就某个主题或事件进行互动的形式。记录了谈话和访谈，这些材料成为表演创新发展的动力。本文研究和分析了三种澳大利亚逐字戏剧所体现的各种约定。娜拉·瓦伦丁（Alana Valentine）的《巴拉玛打女孩》（Parramatta Girls）（2007），坎皮恩·德森特（Campion Decent）的余烬（2008）和戴维·伯顿（David Burton）的《愚人节》（2010）。因此，对逐字剧的惯例的功能有了更深入的了解，就加深了我们对戏剧构图的了解，并加深了这些剧作家在将其逐字故事转变成戏剧性材料方面的选择。