‘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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The Witness Interview: ‘There’s something fundamentally wrong with young men…that they gravitate to war, that they gravitate to violence, that they gravitate to self destruction…I’ve always felt compelled to wrestle with that.’ Thomas M Wright talks to Alison Croggon
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Caryl Churchill’s devastating Escaped Alone at Red Stitch features some of the finest theatrical talent in this city, says Robert Reid
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How do white artists use refugees to make art? Return to Escape from Woomera prompts Robert Reid to ponder well-meaning political art in the Age of Morrison
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Simon Stephens’ Heisenberg is faux theatre for a poverty-stricken time, says Alison Croggon
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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‘We cannot keep pulling up the past behind us as we go’: Robert Reid on the rolling cultural disaster of unpublished Australian plays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
The Witness Interview: ‘There’s something fundamentally wrong with young men…that they gravitate to war, that they gravitate to violence, that they gravitate to self destruction…I’ve always felt compelled to wrestle with that.’ Thomas M Wright talks to Alison Croggon
by Ben Keene
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
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