Features

‘A galvanising moment’: a conference last month on contemporary opera saw the frustrations of women creators boil over. Alison Croggon reports

‘We cannot keep pulling up the past behind us as we go’: Robert Reid on the rolling cultural disaster of unpublished Australian plays

‘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

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?

‘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 

‘You want to be a critic who thinks with all of her body’: Alison Croggon on the process of reviewing, extracted from her new collection of criticism, Remembered Presences

Kirsten Krauth speaks to directors Glyn Roberts, Lindy Hume and Glenn Wright about their upcoming regional arts festivals: the Newcastle State Festival, 10 Days on the Island and the Bendigo Autumn Music festival.

What are Relaxed Performances? Who are they for? And why do they matter? Tom Middleditch, artistic director of A-tistic, gives us the lowdown

As Next Wave opens its callout for artist submissions to the 2020 festival, Alison Croggon speaks to festival director Roslyn Helper about power, art and hope