Ian Wilkes in Kwongkan, an artistic collaboration between Australia and India.
An artistic collaboration between India and Australia, playing as part of this year's Perth Festival, stirs its audience to action on climate change.
Stefan Zweig’s Beware of Pity is being staged at this year’s Sydney Festival by Schaubühne Berlin and Complicité director Simon McBurney.
Beware of Pity is a play based on Austrian author Stefan Zweig's novel of the same name. It is a coming-of-age story that asks whether pity can be our undoing.
John Longmuir as The Captain, Michael Honeyman as Wozzeck and Richard Anderson as The Doctor in Opera Australia’s production of Wozzeck.
Based on a play by Georg Büchner, Alban Berg's opera Wozzeck brings visions of a tormented fusilier's terror to life through music.
Cherish Violet Blood as Lila in Deer Woman, playing at this year’s Sydney Festival.
Deer Woman, written, directed, designed, composed, stage managed and performed by First Nations artists from Canada, is anchored by a solo performance of fierce skill, focus and precision.
Dust is a new show by far-north Queensland company Dancenorth, currently playing at the 2019 Sydney Festival.
Dancenorth's Dust explores a world on the brink of turning back to dust. Its themes are familiar in contemporary dance, but the show is replete with powerful images.
Based in Québec, Porte Parole led by Annabel Soutar has toured and run several documentary theatre shows. Pictured here, ‘The Watershed,’ a docudrama about the politics of water in Canada.
Reality based theatre is one way artists are challenging the lies put out by politicians like U.S. President Donald Trump, who exploits our contemporary insecurities.
Actors in a theatre of the oppressed show invite the audience to weigh in on events and change the script.
Not just for would-be actors: Theatre of the Oppressed is a unique genre of drama education through which students learn how to analyze social problems and change typical outcomes.
The author running a theatre workshop with pupils from Bertrams Junior School.
Theatre, offers an experiential engagement with daily acts of placemaking.
Tim Curry as Frank-N-Furter in 1975’s Rocky Horror Show.
The Rocky Horror Show and its star, Frank-N-Furter, debuted in 1973. His character owes much to older performance traditions.
Wes Mountain/The Conversation
Shakespeare’s first reputation was as a poet, and particularly as a sex poet. He would later incorporate his bawdy inclinations into his most famous plays.
A DJ provides the soundtrack of Damascus in While I Was Waiting.
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.
Kate Mulvany in An Enemy of the People.
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.
Hazem Shammas in Trustees: his powerful incantations towards the end of the production will leave you reeling.
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.
Barry McGovern in Watt.
Samuel Beckett wrote Watt while hiding from the Gestapo during the second world war. It describes Watt’s journey to, within, and away from Mr Knott’s house, where Watt lives for some time as a servant.
Training in improvisational theatre enables health professionals to learn deeper empathy, as well as mental agility and other clinical skills.
Health professionals need a dose of drama in their training to build clinical and interpersonal skills.
In Steven Sewell’s play, two physicists search for ‘truth’.
Stephen Sewell's play questions truth, humanity and what constitutes our individual and collective worlds.
Performers in Circa’s En Masse.
The incredible physical control of the Circa acrobats, and their ability to make bodies seem weightless, is breathtaking.
Plays like ‘Where the Blood Mixes’ (with actors Kim Harvey and Billy Merasty) help shed light on Indigenous stories, helping to educate Canadian audiences.
Indigenous theatre and storytelling provides an opportunity for all Canadians to honour the directives of the Truth and Reconciliation Commission. The Canadian government should support this mission.
David Woods and Eloise Mignon in the Malthouse’s production of Blasted.
Photo Pia Johnson
The central journey in Blasted is not a tourist trip through extreme violence. It's the emotional journey of a bully who learns to be grateful for small acts of kindness.
Shakespeare can survive a little chipping away at his 400-year reputation.