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Articles on Melbourne Festival

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Robert Lepage explores his past, and the notion of memory, in his autobiographical show 887. Supplied

In 887, Robert Lepage has built a memory palace out of theatre

We all store parts of our memory outside of our head: in our phones, our computers and our friends. In 887, Robert Lepage brings his memory to life in a gloriously intricate one-man production.
Paul Kelly, Camille O’Sullivan and Feargal Murray marry poetry and music in a compelling performance as part of the Melbourne Festival. Sarah Walker

Death, beauty and poetry come together in Ancient Rain

In a new collaboration, Paul Kelly has joined singer Camille O'Sullivan and pianist Feargal Murray to set 100 years of Irish poetry to music. As the emerald isle is sung into being, the words of Yeats and Joyce still stand out.
Festivals can no longer focus solely on their recurring, physical events. AAP Image/Bella Ann Townes

Crowded house: how to keep festivals relevant in an oversaturated market

Festivals are a vibrant part of Australian culture but, as arts funding dries up, festival organisers will have to get creative if they want to survive. The recurring, physical event isn’t enough.
The Experiment is a musical monodrama that examines the nature of experimentation itself against two key themes: memory and trauma. Shane Reid.

The Experiment is a musical monodrama to love, hate, or both

The Experiment – showing at the Melbourne Festival – is just that: an experiment. It aims to create a meditation in which disquieting questions can menacingly float. Does it succeed? Well …
Desdemona is one of several productions at this year’s Melbourne Festival that invites its audiences to listen to tragedy and its reverberations. Mark Allan/Melbourne Festival

Toni Morrison’s Desdemona invites us to listen not just hear

Tony Morrison’s Desdemona, which opens today in Melbourne, asks many questions of its audience. Perhaps most pressingly: what does it really mean to listen, rather than hear?
Every year thousands of students read George Orwell’s 1984 and are doubtless convinced that its perspective on language and power is “definitive”. Except that it’s not; and hasn’t been since at least the 1970s. Manuel Harlan/Melbourne Festival

Goodbye to all that: Orwell’s 1984 is a boot stamping on a human face no more

Many still regard George Orwell’s 1984 and its message about the nature of language and power “definitive”. But globalisation has revolutionised how we communicate; 1984 tells us nothing about our future.
Known as “the Pedro Almodovar of dance theatre”, Peeping Tom eschew traditional storytelling in favour of blurred realities in 32 rue Vandenbranden. Herman Sorgeloos

Melbourne Festival: the Flemish Wave still ebbs and flows in 32 rue Vandenbranden

The founders of Belgian dance company Peeping Tom draw their performance language from the influential Flemish Wave movement of the late 1980s and 90s. Their 32 rue Vandenbranden is part of Melbourne Festival.
Goebbels has a deft hand at creating moments that surprise, turning the surreal and the macabre into exquisite moments of beauty. Photo: Wonge Bergmann, Melbourne Festival

Striking, original theatre: Heiner Goebbels at the Melbourne Festival

When the mountain changed its clothing, the Heiner Goebbels-directed show currently on at the Melbourne Festival, is an evasive piece of theatre, but it is through its elusive and mysterious qualities…

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