In the third Witness essay for BLEED 2020, Alison Croggon explores the ongoing evolution of virtual worlds
New on Witness
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Caitlin Beresford Ord embodies a forgotten Australian vaudeville star in Black Swan’s The Perfect Boy. Robert Reid checks it out
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‘Weird shit par excellence’: Harriet Cunningham on Rắn Cạp Đuôi’s performance Re:Sounding
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Can we really describe dance? Olivia Muscat reviews Blindly Following Matisse, a work created from audio description for the Tempo Dance Festival
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Audio drama has a long and luminous history. So why does the MTC’s Audio Lab turn away from…theatre? Robert Reid reports
In the third Witness essay for BLEED 2020, Alison Croggon explores the ongoing evolution of virtual worlds
In the third Witness essay for BLEED 2020, Alison Croggon explores the ongoing evolution of virtual worlds
In the second Witness essay on digital life for BLEED 2020, highly-online writer Asher Wolf contemplates her online and corporeal lives in an isolated forest during COVID-19
by Asher Wolf
Are we capable of imagining a world without inequality? Jess Flint on Daz Chandler’s The Parallel Effect for Next Wave’s Assemble
by Jess Flint
‘An atmospheric portal opened up and dropped me somewhere I don’t think I can describe’. Blind critic Olivia Muscat goes on a walk with Rachel Meyers’ Southern Ecophony: Wind and Water
Robert Reid continues his exploration of the hidden corners of Australian playwriting with a story of colonial Tasmania, Catherine Shepherd’s 1938 play Daybreak
by Robert Reid
Podcast: The Witness Interview with Candy Bowers. ‘You are asking someone from the field into the house, and we are going to fight. Because I will always fight to decentralise the white patriarchy’
by Ben Keene
The Witness Interview: In this month’s podcast, Robert Reid talks to the unclassifiable Nicola Gunn, one of Australia’s most important and intriguing theatre makers
by Ben Keene
Robert Reid continues his exploration of the hidden corners of Australian playwriting with a story of colonial Tasmania, Catherine Shepherd’s 1938 play Daybreak
by Robert Reid