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“You’d know the film Metropolis, wouldn’t you?” I am sitting in the home of Melbourne printmaker, Marco Luccio, avidly pouring over a large portfolio of his work. He has arranged his images in chronological order and we’re steadily working our
“New media” is a funny term—part buzzword, part discursive umbrella—which gets bandied around a lot these days without anyone really questioning its semantic suitability. Like the pesky “post” in “post-modernity” (a term which could itself do with a far more
One of the difficulties with staging – and reviewing – a much-loved classic like Tchaikovsky’s The Nutcracker is that it is both much-loved and a classic. To what extent should choreographers and performers stick to traditional interpretations? To what extent
Contemporary audiences are at once both made for and yet terribly ill-suited to opera. On the one hand, we live in the society of the spectacle, thriving on a diet of bigger-is-better and quasi-operatic media events. On the other (which
Modernity is something that happens to the body. It takes it and it breaks it. It commodifies and rapes it. It empties it out and renders it hollow. It displaces and disembodies it. Then it puts it back together again,
“When fortune calls, offer her a chair.” – Yiddish Proverb It may sound like a bizarre observation – and indeed, on the face of it, it is one – but I can’t help but feel that Neil Armfield’s production of Mozart’s
As the world rushes headlong towards dystopia, one can’t help but note the recent spate of crypto-, quasi- and pseudo-prophetic productions that have emerged as if on cue to add their sound and fury to the death rattle. From timely
What can an image – a body – tell us? What can a sound – a voice – ? And what, what’s more, can they mask or gloss over? What possibilities can be opened up by denying them? Quebecois performance