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realtime 134

Aug-Sept 2016



How animal are humans?
Ben Brooker: Tutti, Stepping Stone & Andres Busrianto, Beastly

OzAsia Festival: Exorcising America
Ben Brooker: interview, Toshiki Okada, God Bless Baseball

2016 Darwin Festival: the power of art in the making
Kaye Hall: Lippy; Gobyerno; You and Me and the Space Between

2016 Darwin Festival: Tradition sustains innovation
Nicky Fearn: Tracks, Landed; Rianto, Medium; Finucane & Smith, The Birds

Cultural diversity’s new dramaturgy
Ben Brooker: The National Play Festival

Liveworks 2016: a storm of creativity
Keith Gallasch: interview, Jeff Khan, Liveworks Festival of Experimental Art

special features

Advancing the art of reviewing
Keith Gallasch: interview, Erin Brannigan, Reviewing the Arts, UNSW

An independent art school for all
Chris Reid: Adelaide Central School of Art

Another route to being human
Zsuzsi Soboslay: George Khut, Behind Your Eyes, Between Your Ears

Futuring music theatre in the academy
John Bailey: Jane Griffiths, Monash University Centre for Theatre & Performance

The making of performance makers
Keith Gallasch: interview, Chris Ryan, University of Wollongong

A conflict of interests
Rennie McDougall on criticism & its contradictions

Accepting the agency of the non-human
Jonathan W Marshall: Performance Studies International 2016

Adelaide College of the Arts: Acting, privilege and legacy
Ben Brooker: interview Terence Crawford & staff

Asia-Pacific artists screen climate change
Hugh Davies: book review, Screen Ecologies

Dance: LINK-ing and Mastering
Keith Gallasch: Interview, Michael Whaites, WAAPA

Occupying culture in Rio de Janeiro
Ann Deslandes: Ocupa MinC in Brazil’s Ministry of Culture

On the record: Australian artists in free-fall
Jana Perkovic: Ben Eltham, When the Goalposts Move

Reverse the trend; champion creative education
Liz Bradshaw: Sydney College of the Arts crisis in context

Tribute to a pioneering dance media artist
Keith Gallasch: Stephen Jones, Dancing the music: Philippa Cullen 1950-75


A just hearing in the court of theatre
Keith Gallasch: Powerhouse Youth Theatre & Griffin, Tribunal

An inclusive vision of Australian women
Keith Gallasch: Karen Therese, Women of Fairfield

Art & the inevitable
Kathryn Kelly: Emma Serjeant, Grace

Crime, punishment & role reversal
John Bailey: JR Brennan’s The Chat

Drought drama
Jason Richardson: Eastern Riverina Arts, Basin

Gaming climate change
Teik Kim Pok: Boho Interactive: The Best Festival Ever

Girls lost and found
Keith Gallasch: Andrea James, Winyanboga Yurringa; Angela Betzien, The Hanging

Imagination and incarceration
Elyssia Bugg: Squidsolo, RIMA

Living beneath life
Keith Gallasch: Sydney Chamber Opera, Notes from Underground

The cruelties of God, evolution & showbusiness
Jonathan W Marshall: Nathaniel Moncrieff’s A Perfect Specimen

The virtues of self-indulgence
John Bailey: Zoey Dawson, Conviction; THE RABBLE, Cain and Abel

Troubled bodies tangle with truth
Keith Gallasch: Force Majeure, Off the Record


For All We Know (or thought we knew): Part I
Dean Walsh

From Picasso to music to dance
Bernadette Ashley: Dancenorth, Lee Serle, The Three Dancers

Inquisitive pairings of data and forms
Andrew Fuhrmann: MetaData, Re-make, Mermermer

Salamanca Moves: making visible dance’s diversity
Keith Gallasch: interview, Kelly Drummond Cawthon

Something more than ourselves
Maximilian: Lee Serle, MULTIMODAL

Taking on the panic machine
Keith Gallasch: interview Tim Darbyshire, Stampede the Stampede

Tasmanian youth: dancing with a mission
Judith Abell: Stompin, Launceston, 1992-present

The aesthetics of kinetic impact
Nikki Heywood: Tim Darbyshire, Stampede the Stampede

The call to dance
Jonathan W Marshall: MoveMe Festival 2016

The metadata that counts
De Quincey Co, Metadata, Melbourne and Sydney

visual arts

Degrees of green art radicalism
Lyndon Blue: Radical Ecologies, PICA

Imaginary ecologies: real fears & hopes
Debra Petrovitch: Keith Armstrong, Over Many Horizons

Slow traumas or apocalypses of choice?
Francis Russell: Inanition: A Speculation On The End of Times

The screen: inside and out
Robert Shumoail-Albazi: The Screen as a Room, The Substation


Music Writers’ Workshop

BIFEM 2016
BIFEM 2016’s unprecedented scale and vision
Matthew Lorenzon: festival overview

BIFEM 2016
Fine friction between sound & meaning
Alex Taylor: Leah Scholes, Simulcast

BIFEM 2016
Four quartets, from musing to outburst
Zoe Barker: Argonaut Quartet, Glossolalia

BIFEM 2016
Loops within loops
Claudine Michael: SISTER, Work

BIFEM 2016
Mastering the power of unpredictability
Bec Scully: Peter de Jager, Marathon, works by Xenakis

BIFEM 2016
On the precipice
Bec Scully: ELISION/ANAM, Enno Poppe, Speicher

BIFEM 2016
The corralling of disparate voices
Alex Taylor: Argonaut Ensemble, Seeing Double

BIFEM 2016
The dead arise, play and dance
Zoe Barker: ELISION/ANAM, Machine for Contacting the Dead

BIFEM 2016
The ensemble as organism
Madeline Roycroft: ELISION ensemble, The Wreck of Former Boundaries, How Forests Think

BIFEM 2016
The sounding of dance data
Matthew Lorenzon: Kasper T Toeplitz, Myriam Gourfink, Data_Noise

BIFEM 2016
When light plays an orchestra
Madeline Roycroft: COD.ACT, pho:ton, Bendigo Symphony Orchestra

ELISION ensemble: a bold 30-year adventure
Matthew Lorenzon: interview, Daryl Buckley

Exploratory music on a high in Bendigo
Matthew Lorenzon: interview, David Chisholm, BIFEM 2016

Improv idol 2016

Sound by nature, music by name
Philip Brophy: Inland 16.4, Through Savage Progress

The critical limits of sound
Thomas Smith: Liquid Architecture, Autotune Everything

film & screen culture

Racism laid bare: not so funny
Katerina Sakkas: Abe Forsythe’s Down Under

+onscreen media arts

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