The Australian premiere of La Passion de Simone uses multiple voices to tell a story about philosopher Simone Weil. But the work lacks the emotional drama of its subject’s life.
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Smee insists that the rich and intense visions of artists such as Cézanne or Chekhov are increasingly lost to us.
Through animation, video, light and sound, Theatre is Lying exposes how visual art, performance and theatrical devices can interrogate what is real and what is not.
Some of the best examples of horror and fantasy genre films have emerged from Australia. Unfortunately, The School is not one of them.
Artaserse is an old Roman fable of treachery and the ethical power of clemency that becomes a psychological study of conflicting desires.
There is nothing to prepare us for the shock to the senses in the National Gallery of Victoria’s latest exhibition combining the works of M. C. Escher with Japanese design firm nendo.
Forty-five years after his death, the Art Gallery of New South Wales has mounted a major exhibition of Tony Tuckson, focussing on his intensely personal Abstract Expressionist works
Few classical musicians can fill out an 8,000 seat hall. But then few classical musicians are like André Rieu.
A new show pairs the acrobatic skills of Circus Oz with the local comedians Die Roten Punkte.
This Perth exhibition is a raucous, overwhelming, exciting and at times confusing immersion into ideas about national identity.
Malouf’s late return to poetry seems to bring him back in a new way to steadying poems that do justice to the open gaze, the sly wit, the swift imagination and the poise he has in spades.
Sidi Larbi Cherkaoui’s fusion of the choreographic universe of contemporary dance with the kung fu techniques of the famed Shaolin monks is both masterful and unexpected
The Unconformity takes advantage of its unique location in the mining town of Queenstown to create a provocative, thoughtful arts festival.
Many harsh things are said in Summers’ book. It’s difficult to decide whether to praise its “breathtaking honesty” – as critics undoubtedly will – or draw back like a witness to some gruesome accident.
A group of diasporic Syrian actors in Marseilles came together with a few remaining in their home country to create this touching, hard-hitting play.
Korean choreographer Eun-Me Ah tnravelled up and down her native land, videotaping older women dancing.
Schiff persuaded his near-capacity audience to remain completely silent until the very end of each half of the program – a major coup.
However jagged, industrial and shapeless an evening of Forsythe choreography may seem to an eye used to Swan Lake, it is always grounded in ballet.
In a new production, Ibsen’s play is transformed to small-town Australia with the whistle-blower at the centre of the story played by Kate Mulvany.
This production, a collaboration with local theatre artists, stages a public debate hosted by the (made up) Melbourne Trust Forum. It unfolds as part media reportage and part gameshow.
Top contributors
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Joanna Mendelssohn is a Friend of The Conversation.Honorary Senior Fellow, School of Culture and Communication, The University of Melbourne
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Adjunct Professor of Art History, Australian National University
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Senior Industry Fellow, RMIT University
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Honorary Professor, Edith Cowan University
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Senior Lecturer of Art History, Griffith University
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Research Affiliate, Monash University
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Lecturer in Musical Theatre, Griffith University
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Researcher, The Australian Centre, The University of Melbourne
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Honorary Associate, Department of Theatre and Performance Studies, University of Sydney
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Honorary Lecturer, School of Literature, Languages and Linguistics, Australian National University
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Senior Lecturer and Programme Leader in Fine Art , University of Lincoln
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Senior Lecturer in Screen Studies, Adelaide University
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Lecturer in Communications and Media, University of Notre Dame Australia
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Sessional lecturer and researcher, The University of Melbourne
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Cellist and musicologist, University of Sydney