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Australian
and international
exploratory
performance and
media arts

Issue 55:

Dead Man Walking

Keith Gallasch

1 June 2003
Hearing is believing

Hearing is believing

Greg Hooper

1 June 2003
Glass-Ginsberg Musical Lightning

Glass-Ginsberg Musical Lightning

Anne Kellas

1 June 2003
Totally Huge contemporary chamber music

Totally Huge contemporary chamber music

Sarah Combes

1 June 2003
A virago took my baby!

A virago took my baby!

Laura Ginters

1 June 2003
Bastards do Dad proud

Bastards do Dad proud

Keith Gallasch

1 June 2003

Simon Cavanough; a precarious suspension

Keri Glastonbury

1 June 2003

The performing gallery

Louise Martin-Chew

1 June 2003
Beauty , boards and boredom

Beauty , boards and boredom

Jena Woodburn

1 June 2003

Art & the natural born archivist

Michelle Moo

1 June 2003

An eye on mortality

Gavin Findlay

1 June 2003

Art to bump into

Bec Dean

1 June 2003

Narcissus

Keith Gallasch

1 June 2003
Putting multicultural arts on the map

Putting multicultural arts on the map

RealTime

1 June 2003

Sonic show and tell

Nat Bates

1 June 2003

The body: sensual, recollected and phantasmic

Jonathan Marshall

1 June 2003

The Fondue woman

Ghita Loebenstein

1 June 2003

Artful devices and the afterlife

Helen Omand

1 June 2003

Ten days of puppetry on the island

Susanne Kennedy

1 June 2003
Dramaturgy in an age of ambient anxiety

Dramaturgy in an age of ambient anxiety

Peter Eckersall & Paul Monaghan & Melanie Beddie

1 June 2003

Cutting through the fog

Keith Gallasch

1 June 2003
The power of perilous negotiations

The power of perilous negotiations

Mary Ann Hunter

1 June 2003

The art of seeing yourself

Sue Moss

1 June 2003

Hip hop; the culture and the activist toolkit

Ted Nielsen

1 June 2003

Towers of power

Keith Gallasch

1 June 2003
NICA's first batch

NICA's first batch

Mary Ann Robinson

1 June 2003
Editorial RT 55

Editorial RT 55

1 June 2003
Tele-scoping: Small Screen Big Picture

Tele-scoping: Small Screen Big Picture

Mick Broderick

1 June 2003

Evolution as showbiz

Martin Thomas

1 June 2003

To drive the work, compel the listening

Mary Ann Hunter

1 June 2003

History, culture, body, stage…

Jonathan Marshall

1 June 2003

All in the timing

Virginia Baxter

1 June 2003

Zoomorphia: deathly clamour

Jane Goodall

1 June 2003
Nurturing the writer, re-shaping the theatre

Nurturing the writer, re-shaping the theatre

Virginia Baxter

1 June 2003

Naive desire and coffee table fetishism

Anna Munster

1 June 2003

Featured Artist: Nicola Loder

RealTime

1 June 2003

Photography's phantasmagorias

Mireille Juchau

1 June 2003

Kiarostami: a visionary at the axis of action

Mike Walsh

1 June 2003

Seeing the light

Blake Ayshford

1 June 2003

Painleve's scientific surrealism

John Potts

1 June 2003

Deferred detonations; thrilling pessimism

Robert Cook

1 June 2003

Queensland: award dilemmas

Danni Zuvela

1 June 2003

An ark floating over the surface of history

Dan Edwards

1 June 2003
Onscreen Editorial

Onscreen Editorial

Keith Gallasch

1 June 2003

An independent trajectory

Hunter Cordaiy

1 June 2003
In full flight

In full flight

Erin Brannigan

1 June 2003

Revelation in the new cathedral

Kevin Murray

1 June 2003
Cornerfold reinivigorates new writing

Cornerfold reinivigorates new writing

Simon Sellars

1 June 2003

The meme game: Escape from Woomera

Melanie Swalwell

1 June 2003

Expanding the cultural universe

Keith Gallasch

1 June 2003

The musical state

Keith Gallasch

1 June 2003

Liquid Architecture; on sonic wings

RealTime

1 June 2003

How the balloon taught the piano to play

Russell Smith

1 June 2003

realtime

RealTime is published by Open City, an Incorporated Association in New South Wales.Open City was supported 1994-2018 by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy (VACS), an initiative of the Australian, State and Territory Governments.

Open City was supported 1994-2018 by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy (VACS), an initiative of the Australian, State and Territory Governments.

Australia Council for the Arts

Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher.

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