‘We should be thinking, not about how these processes inhibit our expression, but how they might liberate it’: actor Dan Spielman explores the implications of #MeToo for the performing arts
Dan Spielman has established a reputation as one of Australia’s leading theatre, film and television actors. Theatre credits include THE BLIND GIANT IS DANCING for Belvoir, Barrie Kosky’s THE LOST ECHO, THE CHERRY ORCHARD, THE CRIPPLE OF INISHMAAN; A MIDSUMMER NIGHT’S DREAM, THE SEASON AT SARSAPARILLA and MOTHER COURAGE AND HER CHILDREN for the Sydney Theatre Company MACBETH, THE SEAGULL for the Melbourne Theatre Company; MACBETH for Bell Shakespeare Company; A GOLEM STORY, KNIVES IN HENS, THE HAM FUNERAL and THE JOURNAL OF THE PLAGUE YEAR for the Malthouse Theatre; IVANOV for Eager Seamstress, and over a dozen productions for the acclaimed Keene/Taylor Theatre Project from 1998-2002. Television credits include the upcoming RECKONING and THE END, starring Harriet Walter, Network Ten’s SISTERS, and the ABC’s acclaimed series THE CODE, AN ACCIDENTAL SOLDIER; and DEEP WATER for SBS,. Feature Film credits include ONE PERFECT DAY, TOM WHITE, and THE HUNTER, alongside Willem Dafoe. He is a proud Equity member, sits on the Equity Screen committee, and is convener of the Equity Committee to Develop Intimacy Guidelines in the Performing Arts. Dan was awarded a 2003 Churchill Fellowship to translate the work of Arthur Rimbaud. He has exhibited drawings at Linden Gallery St Kilda, and the Cannery in Brooklyn, New York. His writing has been published in Masthead Literary Arts Ezine and Theatre Notes.