Many of the scholarly observations made about plays – who wrote them, when and why, their history, their canonical status, or not – are irrelevant. Audiences do not need to know such things.
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Articles on Theatre
Displaying 301 - 320 of 380 articles
Bowie and the Bible have long been tied together in the work of director Ivo van Hove.
Is it too soon for this dark episode to be recreated on stage? Not if it is handled properly.
Anyone who has seen a play can tell you whether it “works” or not – but very few people can tell you exactly why. We all need a better grasp of this. Why? So that playwriting can better represent contemporary Australia.
If you’d taken a trip to the theatre in 1815 Paris, chances are that the stage would be political.
The devised performance text of Beauty and the Beast at the Adelaide Festival promises to highlight concerns related to disability and societal taboos – but falls short of a world-class standard.
Nothing to Lose, by dance theatre company Force Majeure, invites the audience to engage with the richness, nuance, and variety of fat bodies and fat experiences.
Olwen Fuoéré’s extraordinary adaptation of Finnegans Wake for the stage brings a work with a reputation for obscurity back into the realm of popular culture.
Theatre reviewing should be a public judgement pronounced with discernment. So what are we to make of those who do it badly?
Playwright Nakkiah Lui plays herself in Kill the Messenger, now on at Sydney’s Belvoir Theatre. Hers is a strong, passionate and resilient Indigenous voice – and she has a message to deliver.
Sociologist Max Weber once called politics “the slow boring of hard boards”. If he had been in the arts he might have added, “using your head as a drill”. Australia’s cultural agenda often feels like an…
What do Shakespeare’s Hamlet, The Simpsons, and Alejandro G. Iñárritu’s film Birdman have in common? All three utilise the concept of meta-theatre. The concept of meta-theatre, or meta-text, in its crudest…
This week, as part of Sydney Festival’s Bankstown: Live program, Michael Mohammed Ahmad will present a stage-adaptation of his debut novel. The Tribe, published in 2014, tells the story of three generations…
During an artist talk just an hour before performing Wot? No Fish!! on Saturday at the Sydney Festival, English writer/actor Danny Braverman observed that as an artist he seeks “to foreground universals…
Sony’s decision to cancel the Christmas Day release of its film The Interview is drawing harsh criticism from Hollywood’s elite. George Clooney is asking everyone to stand up against the cancellation…
Director Ridley Scott recently set off a firestorm when he dismissed those who criticized him for casting white actors as every major character in the recently released Exodus: Gods and Kings, while reserving…
The Melbourne Theatre Company’s (MTC) production of David Williamson’s 2013 play Rupert has finally made it to Sydney, via Melbourne and Washington, in late 2014. Along the way, the MTC has acquired the…
The Shakespeare First Folio (1623), the first collected edition of his plays and the sole source for half of them (including Macbeth, Antony & Cleopatra, All’s Well, As You Like It, and The Tempest…
In any Opera History 101 course, Christoph Willibald Gluck (1714-1787) is cited as one of the most influential figures in the development of opera. And, of course, this is true. Gluck’s operas, and his…
There aren’t many things I miss about London. Waiting for the 22 bus on evenings of interplanetary cold: no. Inching down Oxford Street through crowds like rows of rugby prop forwards: not really. The…
Top contributors
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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
