Maybe traditional performing arts could learn a lot from YouTube vloggers and online games. For the launch of BLEED 2020, Robert Reid investigates live digital performance
New on Witness
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Harriet Cunningham on two virtual operas – Three Tales, an adaptation of Flaubert’s stories from Victorian Opera, and Gertrude Opera’s 2020 take on Menotti’s The Telephone
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It’s not the same as being there but, says Robert Reid, Redline Productions’ live streamed Thom Pain (Based on Nothing) offers something else
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Monique Grbec investigates The Ministry of Mundane Mysteries, an immersive audio work from Canada that crafts a new story for every participant
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‘It’s almost like theatre’: Alison Croggon reviews Malthouse Theatre’s The Lockdown Monologues and Uninvited Guests’ Love Letters Straight from the Heart
‘A slow, conscious rebuild’: If we’re going to come back after COVID-19, says Isabella Vadiveloo, we should take the time to do it right
What is a play? What does it mean to read it? Mark Pritchard takes us through the process of conjuring a three-dimensional world from the two dimensions of a page
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