‘A galvanising moment’: a conference last month on contemporary opera saw the frustrations of women creators boil over. Alison Croggon reports
New on Witness
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Do we really need another play that excuses male violence? After seeing Swansong, Carissa Lee thinks not
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Robert Reid considers the epic nostalgia that is the phenomenon of Malthouse Theatre’s Cloudstreet
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A clever script, skilful direction and compassionate performances showcase the work of a brilliant new writer in Yirra Yaakin’s Cracked, says First Nations Emerging Critic Jacob Boehme
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‘An excellent example of how critique can be embodied. How it can be physical and funny as well as scalpel sharp’: Robert Reid on Vicki Van Hout’s plenty serious TALK TALK
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‘A galvanising moment’: a conference last month on contemporary opera saw the frustrations of women creators boil over. Alison Croggon reports
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‘We cannot keep pulling up the past behind us as we go’: Robert Reid on the rolling cultural disaster of unpublished Australian plays
by Robert Reid -
‘Disabled artists should be a priority for this industry. Many artists are already there creating work. They don’t need mentorships! They need money.’ Jessica Walton on the power of disability-led art
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Last year, Witness associate editor Carissa Lee saw a lot of performances about death. What does it mean when we put death on our stages? In particular, what does it mean if you’re Aboriginal?
by Carissa Lee
Robert Reid talks to broadcaster, writer and general arts stalwart Richard Watts, discussing his background as a poet, activist and advocate, and his passionate and abiding connection to Australian arts.
by Ben Keene
‘When I think about art, I think: what raises the hair on your arms’ In Part 1 of this super fabulous and candid Witness Interview, Ben Keene talks to performance artist Moira Finucane on the development of her unique queer performance art
by Ben Keene
In this month’s Video History, join Witness historian Robert Reid on a walking tour of Melbourne’s lost theatres
by Robert Reid
Force Majeure’s You Animal, You is full of dramaturgical silences that tear holes in the text, says Robert Reid
by Robert Reid