Opera Australia has been hit hard by the pandemic’s economic impact. It’s time to rethink our approach to funding opera, with a focus on local companies.
Articles on Performing arts
Displaying 21 - 40 of 45 articles
The theatre industry is facing an existential crisis and government action is urgently needed to ensure its survival.
The arts and cultural sector was plunged into crisis three months ago and pleaded for help. Now a federal rescue package has been announced – but who is it for and is it enough?
Forty years since Fame showed the vulnerability of performing arts students, we can still do more to protect them. As we resume physical contact, we can use performance to renegotiate safe intimacy.
COVID-19 has exposed the insecurity of the cultural workforce. Making the performing arts freely available online may further diminish their value, right when the sector is arguing its worth.
Sole traders helped by UNSW Tax Clinic who were behind on their quarterly Business Activity Statements were on average seven years behind.
Performing arts centres will be hardest hit by COVID-19. Looking at the fortunes and pressures facing Queensland’s Home of the Arts can help us understand the challenges faced by around 150 centres.
A new quarterly essay looks at changes in how we market Australian performing arts – but is this necessary in a globalised digital marketplace?
‘Two polar bears walk into a bar …’ is an unlikely opener for a joke, but memes and parodies are surprisingly effective ways to get people talking about climate change.
Debates about the place of the monologue in theatre fall away when you have a show as compassionate and funny as The Weekend.
Women make up the majority of arts consumers and employees, but men dominate at every level of arts leadership.
Opera goers are high multiplier voters. Win them over and you might get a few more supporters along the way.
While we appreciate an actor’s craft on the stage, the deep emotions they draw on in performance take their toll on mental health. Actors need to “take off” their characters to return to normal life.
Performing for the crowd, acting up and showing off – how physical culture’s origins as theatre have fed into today’s toxic masculinity, and how they can help it change.
Expressing music into mathematical formulae can help us understand why some pieces and performances can send shivers down your spine.
Claims have been made that having a male panto dame in this day and age is sexist (Oh no it isn’t!)
Small organisations are creating Australia’s most exciting art. Yet a recent report shows that even the most popular art-forms are bleeding revenue, while government funding dwindles.
From a dancer moving against a wash of static, to a show that takes the audience hostage, Adelaide’s OzAsia Festival celebrates both high art and high energy performances.
Non-commercial arts organisations face a funding dilemma. Confronted with limited local support, they are forced to rely on inconsistent international donors.
Given the pressure being applied to the majority of people working in the arts sector, we would be foolish not to consider the roles and inherited rights of Australia’s major performing companies.
Top contributors
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Associate Professor and Principal Fellow (Hon), School of Culture and Communication, The University of Melbourne
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Principal Fellow and Professor of Music, The University of Melbourne
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Associate Professor and Director of Arts Management, American University
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Professor of Creative Arts, Griffith University
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Director of Individualised Studies Degree Program, Dixie State University
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Professor of Political Economy and Public Policy, Chair at Danish Institute for Advanced Study, University of Southern Denmark
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Casual lecturer W.A.Academy of Performing Arts, Edith Cowan University
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Professor of Digital Media, Queen Mary University of London
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Professor of Drama and Film Education, Anglia Ruskin University
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Visiting Associate Professor, National Taiwan Normal University
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Professor, Griffith University
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Lecturer in Curriculum and Pedagogy, University of the Sunshine Coast
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Professor of Management, University of the Sunshine Coast
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Lecturer in Music, Queensland University of Technology
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Associate Head of Theatre, The University of Melbourne