Editorial Monday 10 September 2018

Spring brings promise in the shape of highly focused, inspirational arts festivals of the ilk of Performance Space’s Liveworks Festival of Experimental Art (image above), Adelaide’s OzAsia Festival and the recent Extended Play Festival of Experimental Music in Sydney. South Australia’s artists and audiences, however, are set to endure a wintry slashing of art funding and unified portfolio support.

10 September 2018

Liveworks 2018: It’s Alive! It’s Alive!

Virginia Baxter

Spring for ravenous culture vultures means Liveworks, the annual, two-week feast of seductively challenging live art presented by Sydney’s Performance Space with Asian and Australian artists working side by side.

10 September 2018

Liveworks 2018: Nicola Gunn

As a prelude to Nicola Gunn’s appearance in Performance Space’s Liveworks in Working with Children, we’re linking you to a revealing 2015 interview-based article by Susan Becker on the performer’s vision and creative habits and also to Gail Priest’s fascinating 2014 RealTime TV interview with Gunn.

8 September 2018

OzAsia 2018: mutualism & displacement; interview, Joseph Mitchell

Keith Gallasch

Joseph Mitchell’s enticing program features striking works by female Asian visual artists, a Chinese performance about young women living in a social media bubble, theatre from Iran, Syria and Malaysia, dance from Japan and Indonesia, and South Australian-Asian collaborations.

8 September 2018

Great Extended Play: now for the long play!

Keith Gallasch

A new midday to midnight festival of experimental music filled every space of City Recital Hall, rewarding the curious and the committed with superb performances from ELISION, Ensemble Offspring, Lisa Moore, Bang on a Can All-Stars and many more artists. Exactly the kind of event new music needs more of in the long-term in Sydney.

8 September 2018

On having no style

Linda Marie Walker

While reflecting on writing for RealTime, Linda Marie Walker had been commissioned by a magazine to write about a visual art exhibition. The magazine’s rejection of her piece threw up for the writer questions around house style, poetic language, the general reader and writing as a way of being in the world.

8 September 2018

Authenticity: heritage and avant-garde

As a companion piece to our review of Vicki Van Hout’s plenty serious TALK TALK, we’re re-publishing the artist’s insightful 2012 essay on the challenges faced by an artist of Wiradjuri heritage when making use of dance steps from other Australian Indigenous peoples in experimental hybrid dance works.

8 September 2018

Vicki Van Hout, dancing on a cultural knife-edge

Keith Gallasch

Vicki Van Hout’s new dance theatre work for FORM Dance Projects, plenty serious TALK TALK, is wickedly funny, existentially intimate, culturally complex, bitingly political and superbly danced beneath an exquisite grass sculpture woven by the artist.

8 September 2018

Liveworks: Return to Escape from Woomera                  

In 2003 Migration Minister Phillip Ruddock was furious with the Australia Council for funding the video game Escape from Woomera. In anticipation of Applespiel’s revival of the work as a live gaming and performance experience, we’re linking you to Melanie Swalwell’s fine account of the saga in our archive.

8 September 2018

Back to Back, In Between Time & RealTime

Osunwunmi

Osunwunmi visits the making of the latest account of Back to Back Theatre’s The Democratic Set for the We are Bristol Project, and, with In Between Time Festival Artistic Director Helen Cole reflects on IBT’s relationship since 2006 with RealTime.

8 September 2018

Editorial 22 August 2018

RealTime will take performative shape on 21 October. Titled RealTime in real time and part of the just launched 2018 Performance Space Liveworks Festival of Experimental Art program, it’s a five-hour open conversation focusing on a quarter of a century of extraordinary change in the arts — for artists and audiences and not least reviewers.

22 August 2018

Performance in a progression-regression helix, Adelaide 2011-17

Ben Brooker

While reflecting on works, companies and festival productions that deeply engaged him when reviewing performance for RealTime in 2011-17, Ben Brooker worries at the disadvantages suffered by the city’s small-scale innovators.

22 August 2018

Theatre of Soak: on drunkenness as performance

Bernard Cohen

Novelist, essayist and leading creative writing teacher Bernard Cohen in his younger years wrote an occasional series on performance-in-the-everyday (shifting furniture, driving with aggro, etc) for RealTime in the 1990s. Here he drolly delves into a variety of alcohol-induced competencies.

22 August 2018

Writing the art experience: Itching shaking crying being held – Part I: Of silence and silencing

Zsuzsanna Soboslay

In the first of two intensely felt, lyrical accounts of works she wrote about for RealTime for over two decades, Zsuzsanna Soboslay tracks her physical and emotional responses with concomitant observations about the writing body and the politics of gender and ability.

22 August 2018

The Long Forgotten Dream: a dream-in-progress

Keith Gallasch

H Lawrence Sumner’s play about fate and loss of Indigenous culture yields powerful performances from Wayne Blair and Melissa Jaffer, and immersive design and music, but the script’s lumbering exposition, underdeveloped characters and uneven dialogue deny the work greatness.

22 August 2018

Editorial 1 August 2018

The utterly distinctive artist and radically dissenting thinker Philip Brophy is one of RealTime’s most popular writers, his words spilling from our pages over the decades, demanding to be read aloud given their inherent rhythms and oratorical drive.

1 August 2018

Move fast and hear things: writing Audiovision

Philip Brophy

Reflecting on the random and contradictory perceptual impulses in works that drive his passion for audiovisuality, and the driven writing that flows from it, Philip Brophy surveys his output for his Audiovision column 2012-2017.

1 August 2018

The comeback: TOOTH & CLAW with Jack Rufus

A resurrected Jack Rufus selects the best of Tooth & Claw, his column for RealTime in the 1990s, lamenting the sacking of Theatre of Cruelty footballer Eric Cantona and the flight from the stage by chess superstar Garry Kasparov after losing to the Deep Blue computer. More Jack, and Vivienne Inch, soon.

1 August 2018

Andree Greenwell: Listen to Me

Keith Gallasch

Composer Andrée Greenwell’s new digital album, Listen to Me, addresses the subject of gendered violence with intensely lyrical and dramatic songs framed by musically underscored personal statements that lend this timely project documentary immediacy.

1 August 2018

NSW arts-funding: disgrace & disrespect    

Keith Gallasch

Small to medium sector artists in NSW anxiously awaited Round 2 grant application results in April. Nothing. For months. They complained, despaired and now, en masse, are protesting not just the intolerable, art-wrecking delay but also the cruelly meagre 2.7% success rate outcome — six successful applicants.

1 August 2018
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