Actors are often required to tap profound emotions in their performance, which is one of the reasons for poor mental health in the industry.
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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.
Muriel Heslop stole Australia’s heart when she debuted on screen in 1994. Now she gets a loving, ABBA-filled musical tribute, that is definitely not terrible.
Sophia Forrest as Eli in Let the Right One In.
Photo credit Daniel J Grant
It is a strange reality but opera as an artform is always given special and arguably preferential treatment by governments and other influential forces in Western society. This happens, it seems, regardless…
New survey from the Australia Council shows pretty much all Australians engage with the arts, and 8-in-10 do so online. However more people are ambivalent about public arts funding, and more people think the arts are too expensive.
Elizabeth Esguerra, Belinda McClory and Ming Zhu Hii in Revolt. She Said. Revolt Again. at Melbourne’s Malthouse.
Pia Johnson
‘Well behaved women seldom make history,’ wrote historian Laurel Thatcher Ulrich, and Revolt. She said. Revolt again. at Melbourne’s Malthouse Theatre takes the idea to its apocalyptic extremes.
As thrilling as they are for audiences, Australia’s musical theatre scene is dominated by productions honed on the West End and Broadway.
PAUL MILLER
Musical theatre nominees at the 2017 Helpmann Awards are dominated by overseas productions. Our own productions need way more support to compete on the world stage.
The Chapel Perilous follows the life of Sally Banner “a rebel in word and deed”.
Flickr/Andrew Sutherland
No other Australian playwright has mined their own life as much as Dorothy Hewett. In this expressionist drama, she depicts a girl of yearning heart, looking for love and hungry for life.
Scrutinising the output of a national theatre at a time of rising nationalism is a worthwhile activity, but it needs either radical intention or emotional insight.
Shakespeare’s use of dialect is a key argument used by those who stand by the traditional author. But these so-called “Warwickshire dialect” words are nothing of the sort.
Cassamarca Foundation Chair in Latin Humanism and Chief Investigator, ARC Centre of Excellence for the History of Emotions: Europe 1100-1800, The University of Western Australia