An artistic collaboration between India and Australia, playing as part of this year’s Perth Festival, stirs its audience to action on climate change.
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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.
Based on a play by Georg Büchner, Alban Berg’s opera Wozzeck brings visions of a tormented fusilier’s terror to life through music.
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.
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.
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.
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.
Theatre, offers an experiential engagement with daily acts of placemaking.
The Rocky Horror Show and its star, Frank-N-Furter, debuted in 1973. His character owes much to older performance traditions.
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 group of diasporic Syrian actors in Marseilles came together with a few remaining in their home country to create this touching, hard-hitting play.
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.
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.
Health professionals need a dose of drama in their training to build clinical and interpersonal skills.
Stephen Sewell’s play questions truth, humanity and what constitutes our individual and collective worlds.
The incredible physical control of the Circa acrobats, and their ability to make bodies seem weightless, is breathtaking.
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.
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.
Principais colaboradores
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Professor of Creative Arts, Griffith University
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Researcher, The Australian Centre, The University of Melbourne
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Adjunct Associate Professor, Auckland University of Technology
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Lecturer in English, Australian National University
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Associate Professor of English Literature, University of Sydney
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Senior Lecturer, English and Theatre Studies, The University of Melbourne
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Professor of Drama and Theatre Studies, Royal Holloway University of London
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Canada Research Chair in Socially Engaged Theatre; Director, Centre for Socially Engaged Theatre (C-SET), University of Regina
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Senior Lecturer in Theatre and Performance Studies, UNSW Sydney
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Lecturer in Theatre, The University of Melbourne
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Research assistant, Empire, Migration and Belonging, University of Oxford
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Sessional lecturer and researcher, The University of Melbourne
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Associate Professor of Theatre Arts, Curtin University
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Hon Research Fellow in Poetry and Theatre studies, The University of Western Australia
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Associate professor, Macquarie University
