Dance

Force Majeure’s You Animal, You is full of dramaturgical silences that tear holes in the text, says Robert Reid

‘A signal arising out of noise’: Robert Reid on Alice Will Caroline’s Lady Example

Andrew Fuhrmann on the intense minimalism of Myriam Gourfink and Hellen Sky’s Quake

‘We need more artists like Kelly to ask these complicated questions’: First Nations Emerging Critic Jacob Boehme on Karul Projects’ CO_EX-EN

Monumental and mythic: Philipa Rothfield on Jill Orr’s Dark Night

‘Are you having a lend, Mr P?’ Shock and awe camp from an earlier age: First Nations Emerging Critic Jacob Boehme on Phillip Adams BalletLab’s Glory

Exploring the similarities and differences between percussion and dance: Alison Croggon on Recital

‘It sounds just like a hangover feels’: Atlanta Eke’s The Tennis Piece demands too much intellectual labour from its audience, says Andrew Fuhrmann

Charming and heartbreaking: Robert Reid on Biladurang, Joel Bray’s performance about the cultural damage of colonisation

Creating worlds: Philipa Rothfield on Lilian Steiner’s Memoir for Rivers and the Dictator and Rachel Arianne Ogle’s i have loved the Stars too Fondly to be Fearful of the Night