Speechless: Giving voice to refugees

Chris Reid

Composed in response to the inadequate reception for The Forgotten Children report, Speechless, a new opera by Monash University Professor of Music Cat Hope, brings together soloists, unusual instrumentation and a community choir.

The Rape of Lucretia, put to the test

Keith Gallasch

With superb musicianship, striking design and challenges for its actor-singers, Sydney Chamber Opera’s provocative take on Benjamin Britten’s The Rape of Lucretia tests the work’s moral and gender framework.

Making the most of end time

Victoria Carless

In The Danger Ensemble’s very timely The Hamlet Apocalypse, actors oscillate between playing themselves and Shakespeare’s characters with verve as the world goes to pieces, writes Victoria Carless.

Dancenorth & Urab Dancers: Power shifts

Bernadette Ashley

In Tectonic, Dancenorth stages a work about power and climate change juxtaposed with a performance by the Urab Dancers from the slowly sinking Torres Strait island of Poruma.

Editorial 16 August 2017

This week in our Arts Education & Training Feature we take you into the postgraduate screen-world with an in-depth look at the Australian Film Television and Radio School’s new Masters Degree programs.

Top of the Lake: China Girl: Beauty concealing violence

Eloise Ross

With its feminist focus on a dynamic group of women, the new season of Top of the Lake takes Eloise Ross beneath Sydney’s shiny exterior into a murky world of sex workers, illegal surrogacy and missing girls.

Andrée Greenwell’s Cinéaste: reflections & refractions

Keith Gallasch

Cinéaste Vol. 1 is a fascinating assemblage that allows composer Greenwell to lovingly reflect on the idiom of film scoring and to inventively refract her own compositions, yielding aural gems: riffs, ostinatos, hooks and soundscapes, the stuff of movies actual and imagined.

Sky Blue Mythic: Angela Goh’s fantastical myth-making

Keith Gallasch

More essay than review, Keith Gallasch’s response to Angela Goh’s Sky Blue Mythic explores the relationship between experiencing a powerfully disconcerting work, reviewing it and engaging with the artist’s account of it.

Narcifixion: Watching the narcissists

Keith Gallasch

Anton’s vigorously propulsive, grimly funny dance work, Narcifixion, about screen-bred narcissism provokes Keith Gallasch, watching a finely streamed performance, to appreciate the logic of its structure and respond to its account of a complex condition.

Rakini Devi’s nightwork: the performer as visual artist

Keith Gallasch

The exhibition Inhabiting Erasures powerfully attests to a passion to arrest the wrongs done to women, conjures a magical otherworld of female strength and beauty and exquisitely reveals painting to be the foundation of Devi’s practice.

Excellent everyday Kathak: Raghav Handa’s TWO

Keith Gallasch

With amusing conversation and exquisite partnering dancer Raghav Handa and tabla player Maharshi Raval reveal much about collaboration, Kathak dance and the testing of boundaries.

Album review: Offspring Bites 3: En Masse

Keith Gallasch

From Ensemble Offspring potent works by Alex Pozniak (dramatically assaying weight in music), Holly Harrison (a witty take on instrumental and other distortions) and Thomas Meadowcroft (a gently vibrating meditation that opens out to a pulsing expansive vision).

Editorial Thursday 27 August 2020

Keith Gallasch & Virginia Baxter

The highly successful 2019 exhibition In Response: Dialogues with RealTime, which celebrated the interplay between RealTime and the artists Martin del Amo, Vicki Van Hout and Branch Nebula, is now exhibited online. We also interview instigator and co-curator Dr Erin Brannigan about her motivation for mounting this innovative exhibition. In another bold archival venture, Madeleine Hodge and Sarah Rodigari have created Timely Readings, a visual mapping of live art in Australia.