RealTime E-dition
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Next Wave

What goes through your mind and what happens to your body as a performance unfolds before and inside you? Engagement, contemplation, revelation, adrenalin hit, thump of the heart, tear in the eye, sweat on the brow, blow to the stomach? Bewilderment, irritation, the squirm in the seat, panic, the desire to flee? We mostly speak of performance in analytical and emotional terms, sometimes as physical response but also, importantly, as perceptual—a shift in point of view, displacement, disorientation, an adjustment to the senses.

In this e-dition, Nikki Heywood and Rennie McDougall, both writers and performers, find their states of being altered by idiosyncratic dance works. McDougall’s patience is tested as he struggles to engage with a performance by NY dancer Heather Kravas, acknowledging the challenge to reviewing that the work presents and the complexity with which its theme, “Women are not objects,” is realised. Heywood watches naked Australian dancers working with French choreographer Xavier Le Roy become animals and plants, their gaze implicating and reorienting the audience. Digital art, with VR now back in the picture, can reconfigure our perceptions, but so can dancers performing in unadorned spaces.

Keith & Virginia


ANGER & THE CRITIC         Heather Kravas epically rolls with a pillow and beats it to the point of exhaustion. Reviewer Rennie McDougall is compelled to estimate his patience and the subjective nature of reviewing on his way to understanding the work.
UNDERSTANDING CHANGE         Judith Abell travels to northern Tasmania to see Stompin youth dance company engage with the young people of a community deprived of local industry.
BEING A LION OR GRASS         Nikki Heywood finds “my mind letting go, letting desire for spectacle subside, desire for meaning drop away” as dancers working with Xavier Le Roy metamorphose into wild animals and plants.

Shot on a small camera and smuggled out of Iran, this is the third instalment in Jafar Panahi’s fascinating “cinema of confinement,” in which the filmmaker “moves through a public realm from which he is officially excluded.

Lisa Immordino Vreeland’s engrossing 2015 feature-length documentary account of the life of Peggy Guggenheim, conjures an empathetic portrait of a wealthy art benefactor whose tastes in art were ahead of the times.
At Brisbane’s La Boite, Circa wonderfully transforms this trio of Modernist theatre heroines into acrobats but, asks Kathryn Kelly, precisely to what end?
MERYL TANKARD    If you missed our brief account last week of dancer Meryl Tankard’s performance memoir for Nina Beier’s The Complete Works in the Biennale of Sydney, here it is, this time with photographs and a brief video.
THE DATA DID IT     Benjamin Kolaitis asks how we would react to Climate Change if the data really hurt. This and other propositions floated tonight in Mechanical Cognition, presented by Nature Strip and Liquid Architecture.
form dance

RealTime E-dttions are published by Open City an Incorporated Association in New South Wales. Open City Inc is supported by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy [VACS], an initiative of the Australian, State and Territory Governments. RealTime’s Principal Technology Partner is the national communications carrier, Vertel.

Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher. 

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