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profiler aug 24, 2016

articles/reviews


The naked truth E-dition. Revealed this week, Performance Space’s 2016 Festival of Experimental Art features a stellar line-up of Asian and Australian innovators, including Mish Grigor [cover] whose The Talk, about the family and sex, is one of the featured works. In Off the Record, Force Majeure’s performers expose themselves to uncomfortable truths. In Tribunal, Powerhouse Youth Theatre’s stark revelations about our oppression of Aboriginal Australians and refugees render us naked. In Down Under, writer-director Abe Forsythe strips bare the perpetrators of the Cronulla Riots, would-be emperors of the Australian beach. As concerns for refugees and Aboriginal Australians escalate in the face of undeniable facts, the naked truth must displace the lies, denialism and “truthiness” (thanks Stephen Colbert) at which governments excel. Keith & Virginia

TANGLING WITH THE TRUTH
TANGLING WITH THE TRUTH

Impeded by isolation, difficult bodies, fraught minds and communication failure, the mixed-ability performers in Force Majeure’s Off the Record face the challenges of truth-telling with verve.

THE SCREEN INSIDE OUT
THE SCREEN INSIDE OUT

At Melbourne’s The Substation, The Screen as a Room illuminatingly tests the relationship between live performance and performative screen works, writes Robert Shumoail-Albazi.

THEATRE JUSTICE
THEATRE JUSTICE

In Powerhouse Youth Theatre’s Tribunal, an actual Aboriginal elder presides over a hearing in which real refugees and a refugee support worker resiliently challenge traumatising codes imposed by the Government.

CRONULLA COMEDY
CRONULLA COMEDY

Our horror film specialist Katerina Sakkas finds Abe Forsthye’s testosterone-loaded Down Under, about the perpetrators of the Cronulla Riots, to be well-crafted and acted, less than funny and truly scary.

LIVEWORKS FESTIVAL 2016
LIVEWORKS FESTIVAL 2016

Exuberant Performance Space Artistic Director Jeff Khan gives advance notice of an immersive two-week program rich in Asian and Australian experimental art and taking over the Carriageworks complex.

AUSTRALIAN ARTISTS IN FREE FALL
AUSTRALIAN ARTISTS IN FREE FALL

Jana Perkovic applauds Ben Eltham’s Platform Paper, When the Goal Posts Move, a record of how unprecedented, long-term damage has been inflicted on the Australia arts community and cultural policy abandoned.

THE STOMPIN VISION
THE STOMPIN VISION

Launceston’s Stompin, a dance-based company for young people, commits to creating innovative performance and engaging with communities. Former artistic directors Jerril Rechter and Emma Porteus reflect on Stompin’s achievements.

OZASIA 2016: BUNNY
OZASIA 2016: BUNNY

Cleo Mees discovered “a new sense of my own desire” on seeing the Australian premiere of Luke George and Daniel Kok’s BUNNY. Since seen in New York, BUNNY will now play in Adelaide’s OzAsia, inviting audiences into a world of colourful bondage.

GIVEAWAY: WHEN THE GOAL POSTS MOVE
GIVEAWAY: WHEN THE GOAL POSTS MOVE

In the latest Platform Paper, described by Jana Perkovic as “an excellent work of political journalism,” Ben Eltham guides you through the history of the LNP Government’s assault on artists and the Australia Council.

Previous e-ditions

realtime 134 aug-sept 2016

Realtime 134 Cover

contents

cover


realtimedance : RealTime's new portal to Australian dance opens our extensive dance archive back to 1994, profiles 12 leading Australian choreographers, features dance on screen and Realtime onsite at dance events.

dance highlights


gideon obarzanek: after glow
keith gallasch, chunky move’s gideon obarzanek, rt81
garry stewart: dance evolution in the age of robotics
erin brannigan, adt's devolution, rt71
lucy guerin: between temperature & temperament
jonathan marshall, rt52
rosalind crisp: a european future
erin brannigan, rt48
helen herbertson: the place where things slip
philipa rothfield, delirium, rt36
tess de quincey & stuart lynch: dancing the city
keith gallasch, compression 100, de quincey lynch, rt11

Cover image (detail): Mish Grigor, The Talk, Liveworks 2016, Performance Space, photo Jess Olivieri