Lola stayed too long.jpg
Living Room Theatre company were our artists-in-residence until 21st January 2018. One of the collaborators, David Roesner, Professor for Theatre and Music Theatre, LMU Munich
And 2018 Visiting Fellow, Sydney Environment Institute, had this to say about the experience.

When Michelle St Anne approached me six months ago, triggered by reading and resonating with my book Composed Theatre (co-edited and co-authored with Matthias Rebstock), I was intrigued by the traces of her work with The Living Room Theatre on its website. I was, however, unsure how I could be useful to her newest project, since my knowledge on climate change is that of an averagely informed newspaper reader.

Reading, by her recommendation, the excellent sociological study Heat Wave by Eric Klinenberg, I became more and more fascinated. Klinenberg's study and the subsequent second major inspiration for Michelle's work, Kari Norgaard's Living in Denial , which focused on a Norwegian community's absence of a response to the dramatic changes it faces, deal with an invisible killer (heat), an absence (of snow), of a lack of appropriate responses (denial by communities, individuals, local and national governments).

Theatre is all about showing, telling, making visible and audible: how would theatre as a medium be able to communicate some of the ideas and experiences, which the academic studies have put so expertly into words? Would it need to become a lecture, like British director Katie Mitchell's production 2071 or a kind of interactive game, hosted by actual climate scientist, which cast the audience as all the nations which were represented at the 2016 Paris climate conference, as the German theatre collective Rimini Protokoll staged it?

On arriving in Sydney on January 4, our first task as collaborators was to find a common language, to create a space, in which we could meaningfully interact. It turned out quickly that two factors helped in speeding that process along: not being precious about one's work or ego, and a sense of humour! (It also helped that Michelle very tactfully refrained from forcing my jet-lagged self into a dark rehearsal space on the first day. We spent it lunching at the Harbour and riding a ferry up and down the glorious Sydney bay.)

A next step was to establish some reference points: works and thoughts by other artists, who would allow us both to see her work - she had already developed a number of scenes and shown them at an open rehearsal, of which I had seen a video) - with a distance. Given the paradox outlined above (the invisibility of heat, the inaction of denial as material for a theatre performance), German composer and director Heiner Goebbels seemed an appropriate person to look at. His most recent book is called: Aesthetic of Absence! Despite different performative outcomes (and budgets!) his and Michelle's work share some similarities: both refrain from telling a straight-forward story, both work collaboratively, but also rely on their own artistic "voice" uncompromisingly, both create experiences for the audience and leave them with open questions and enigmatic images, refusing to tell them what to feel or think.
In the two weeks of working together - with Michelle directing and me functioning as a kind of dramaturg/outside eye - there were a few themes and questions that became important: what can an image, a gesture, a sound communicate, without being overly didactic and "on the nose", but without being completely cryptic either? How to create enough context for a scene to resonate on more than one level with the audience? How to hold the piece together, when its dramaturgy is not predetermined by a story and character we can identify with? And how to direct performers, whose wordless tasks on stage may be quite formal but cannot be mechanical?

Consequently, there were two main levels of feedback I could offer: first, what kinds of meaning and what associations I felt presented themselves in the often slow, ritualistic and evocative images Michelle invents: a women (Alicia Gonzalez) slowly sliding out of a blouse, which had tied her to a chair, another woman with an Elephant mask (Lian Loke) dancing to Barry Manilow's Copacabana, a dissection room full of tape recorders playing testimonies on the impact of heat on Sydney communities. Second, paying attention to what we called "sonic coherence" as shorthand (which sometimes turned into the misremembered, but also quite significant: sonic cohesion!). In other words, discussing with Michelle and her excellent sound designer Alex Spence over whether the piece made sense on a compositional level, for example by using different kinds of white noise as a motif in several permutations: a TV set with no reception, the wave-like noises of a tarpaulin, a few laboured final breaths, the low rumbles and hisses of an ice shelf breaking away.

I was fascinated by the simplicity and slowness of Michelle's work on the one hand, and its complexity on the other: her piece will, I am sure, offer a powerful echo chamber for communal and personal resonances of climate change and its societal impact on our lives: in Chicago, Norway, Sydney, or anywhere else.


David Roesner is Professor for Theatre and Music-Theatre at the LMU Munich. He previously worked at the Universities of Hildesheim, Exeter and Kent. In 2003 he published his first monograph on 'Theatre as Music' and later won the Thurnau Award for Music-Theatre Studies for his article "The politics of the polyphony of performance" in 2007. Recent publications include Theatre Noise. The Sound of Performance (with Lynne Kendrick, CSP, 2011), Composed Theatre. Aesthetics, Practices, Processes (with Matthias Rebstock, Intellect, 2012) and his latest monograph Musicality in Theatre. Music as Model, Method and Metaphor in Theatre-Making (Ashgate 2014). For a full list of publications and projects see:



This photograph was taken the morning Izabella found out she'd been awarded the University medal. Izabela Nantsou (pictured) and Lucinda Petchell both completed Honours in the department in 2017, and both were awarded a University medal for academic excellence.

Izabella's casebook is titled '"We're the show that people can't pronounce": Belvoir St Theatre's Hir and the field of Australian theatre' , and her thesis is 'Transgressing the Truth: Performative Ambiguity in Autobiographical Performance.



Last year Lucinda Petchell (pictured) and Izabella Nantsou finished their Honours year in the department. They were both awarded with a University Medal in recognition of their achievement in academic research.

Lucinda's thesis is called 'Together in the Aloneness: How to be a Body at 'Splendour in the Grass' and her casebook is 'Learning to Speak Body: Production and Practice in PLATFORM 2017'.



PACT is running another masterclass series. The event would suit artists of all stripes and may be of interest to your students. If you could share this with them it would be massively appreciated.

Copy below and photo attached.


PACT Masterclass: The Business of Being an Artist is a two day intensive for artists keen to learn more about funding, budgets, marketing and publicity.

Day one covers arts business with Brian Keogh and Julieanne Campbell (Cobalt59), and day two covers arts marketing with Amy Goodhew (Belvoir Theatre Company).

The masterclass runs February 12-13th. Tickets are $99 one day/$165 both days.

FACEBOOK: facebook



What would it actually take to stop climate change dead in its tracks? Guns? Revolution? A pumping soundtrack?

Next week Griffin will be rehearsing this production in the Rex Cramphorn Studio, and they have kindly offered a cheap ticket deal. Don't miss this one. If any of you have a particular interest in this production email and I will let you know if there is a showing or Q&A happening during the residency (more to follow on this matter in coming days)
I’m writing to let you know about our first main season show of the year, the 2017 Griffin Award-winning play Kill Climate Deniers by David Finnigan. Lee Lewis is directing this provocative, action-packed take on the climate change “debate.” The story follows a militant cell of eco-activists as they take the audience hostage during a concert at Parliament House. Led by charismatic spokeswoman Catch, they demand Australia immediately cease all carbon emissions and coal exports—or they’ll start executing their 1,700 hostages. It’s unlike any play you will have seen before. There’s a stellar cast, a great soundtrack and a scintillating dash of controversy (having Andrew Bolt condemn your play as “an outrage” just keeps things spicy doesn’t it?)

The show runs 23 Feb – 7 April here at the SBW Stables Theatre. People under 35 and groups of 8+ can get tickets for just $50, and we will also be releasing limited $20 rush tickets every Monday at noon.
Find out more here:
Hope to see you there!


2018_Anastasia Project.tiff

Prof David Roesner, Munich
Michelle St Anne, The Living Room Theatre
This residency forms part of the ‘Anastasia Project’ which is partly funded by Sydney Social Sciences and
Humanities Advanced Research Centre.
David Roesner is a Professor of Theatre and Music- Theatre at the LMU Munich. He previously worked at
the Universities of Hildesheim, Exeter and Kent and as theatre musician and facilitator. In 2003 he published his first monograph on ‘Theatre as Music’ and later won the Thurnau Award for Music-Theatre Studies for his article “The politics of the polyphony of performance” in 2007. Recent publications include Theatre Noise. The Sound of Performance (with Lynne Kendrick, CSP, 2011), Composed Theatre. Aesthetics, Practices, Processes (with Matthias Rebstock, Intellect, 2012) and his latest monograph Musicality in Theatre. Music as Model, Method and Metaphor in Theatre- Making (Ashgate 2014).

Michelle St Anne is the Artistic Director and founder of The Living Room Theatre. As a theatre-maker
she has created 18 ambitious productions and has received the 2013 national IDEA (Interior Design
Excellence Awards) Award in the Event Category. Her work has been performed in various venues in Sydney and Melbourne.
As a freelance actor she has worked for independent theatre companies, performing at Performance Space, The Stables Theatre, Belvoir St, Museum of Contemporary Art and a regional tour of
Queensland. She is a graduate of the Victorian College of the Arts 2003.
When: 2 January – 17 January 2018
Time: Various
Where: The Rex Cramphorn Studio
More information please contact
Michelle St Anne:


2018_Anastasia Project.tiff

The Living Room Theatre Company

This is part of the ‘Anastasia Project’ which is partly funded by Sydney Social Sciences and Humanities Advanced Research Centre.

‘What Lola Heard: Sounds from climate change’, is a fascinating insight into the creative process in
contemporary theatre – Part public talk, part installation, part concert, the evening brings together
internationally acclaimed improvising musicians in conversation with David Roesner, Professor of Theatre Studies at LMU Munich and Michelle St Anne, Artistic Director of The Living Room Theatre.
St Anne has created a body of work to interpret research conducted at the Sydney Environment Institute
for a new audience. Intrigued by the public lecture, she takes this idea and re-imagines it as a conversation with David Roesner which takes place at an ‘amplified’ kitchen table. Together they will discuss the exciting new ‘theatrical lens’ Composed Theatre.

The conversation is framed by two sets by the musicians performing compositions from LRT’s
environmental works and a collective improvisation around Lawrence English‘s soundscape from ‘Black
Crows Invaded our Country’.

Roesner and St Anne will take questions from the audience through live phone calls, messages and tape
recordings. These questions will be recorded live and used as source material for a final improvised and
electroacoustic performance.
This event will bring audiences into an environment of the ear; an auditory journey into the realities of
radical climate instability. to reveal an insightful musical embodiment of climate knowledge.
Alister Spence – prepared piano and samples
Mary Rapp – cello, double bass and voice
Alexandra Spence – field recordings, tapes and amplified objects

When: Thursday 11 January 2018
Time: 7.30PM
Where: Soundlounge | Seymour Centre |
Cnr City Rd and Cleveland St Darlington
TICKETS: $25/$15
More information and to register:


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Ensemble Theatre celebrates its 60th year in 2018, presenting four world premieres from Australia’s best writers; an adaptation of an award winning French play; four comedy classics and two international dramas. We perform in a 220-seat theatre in Kirribilli, situated on the edge of Sydney Harbour.

Ensemble Theatre offers a leading internship program in the theatre industry, primarily in the area of theatre production. Production interns are a vital and important part of our theatre season. Successful applicants will gain high-level, hands-on experience, and therefore must be willing to show initiative and take responsibility.

Production interns will gain experience in technical roles including: wardrobe, mechanist, lighting, sound, props, and bump-in/outs. They will assist the Production Manager, Head Technician, Production Assistant and Stage Manager to deliver all production aspects.

In 2018, production internships are offered on the following four productions:
MARJORIE PRIME by Jordan Harrison
Internship Dates: 14 May – 15 June 2018

UNQUALIFIED by Genevieve Hegney and Catherine Moore
Internship Dates: 28 May – 22 June 2018

LUNA GALE by Rebecca Gilman
Internship Dates: 6 August – 7 September 2018

Internship Dates: 17 September – 19 October 2018

Hours: By negotiation, with a minimum commitment of eight hours per week.

Applicants must meet one of the following criteria:
- be undertaking or have recently completed studies in live performance, theatre (including production, performance, administration or management) or associated fields
- demonstrate relevant experience in the field of live performance

Applications close COB Friday 2 February 2018.

Please submit an expression of interest (max. 2 pages) clearly outlining:
- your reasons for applying and what you hope to gain from an internship
- preferred production/s (from list above)
- area of study and/or relevant experience
- current CV

Address to:
Claire Nesbitt-Hawes
Artistic Producer
Ensemble Theatre
02 8918 3403


this is the show that Lawrence Ashford conducted fieldwork on (and performed in) for his PhD: Sydney Festival

It’s being performed at Sydney Festival by its creator, Tim Watts, and another performer, Arielle Gray. If anyone is interested in experiencing/playing the work, he would love to hear your thoughts or observations!

Also, word on the street is that the Festival isn’t selling too well across the board, and that there may be some sort of boxing day sale, so look out for that!


box of birds.jpeg
unrelated image of an earlier work featuring tess de Quincey. Linda Luke and Victoria Hunt, from Box of Birds, 2013. Photographs by ANNE FERRAN

A FUTURE BODY – a proposal
Frame: time for 3-way artistic exchange between Frank van de Ven, Peter Fraser &
Tess de Quincey; shared with observer Bianca Xavier de Mendonca and
photographic documenter Vsevolod Vlaskine

Brief: respond to the title; share & explore choreographic strategies and tactics for
each other and for self.
Prepare & Build: 3 self-choreographies; 3 x choreograph solos for each other; 3 x
choreograph duets; 3 choreograph trios; choreograph space; anything else that pops
Culmination: Friday 15 December a very intimate showing & discussion for a few
invited people & TAPS staff;
Tess de Quincey: I’m thinking of a body of transformation, of multiple perspectives
engaged by long-term, complex, evolutionary dimensions; fearlessly engaged in
liveness, in the act of discovery and the ethics of exchange – with the moment and
with the place. I want to elicit new steps, micro-signals that question, and that
realise new ways of being relative to the demands of a future that recognises
ecological interdependency of humans and non-humans and our responsibilities to a
future; challenging the apprehension of being human - a body that is participatory,
owned by all.
Peter Fraser: We are seeking a body transformed by ‘future’ active awareness of
what is already here, and on the way: A body brought forward as and when we
notice it with our already existing body and mind. A body that comes into view when
we question what is transpiring as and by means of our body; where is this bodily
experience going on (for instance not only inside the skin) and where is this body
located; how do we notice it (that is, by doing what, and by means of what senses
and phenomenal awareness); and with whom do we notice it (with what “I” and
together with what human or animal company - present, past or imagined)?
This body is a perceptual and communicative process, more or less located. Such a
body is inside and out; and is an active co-determining partner in the processes of
being and creating


Martin copy.jpg
Photo credit: Heidrun Löhr

The project Martin del Amo is undertaking during his two-week residency in the Rex Cramphorn Studio, forms part of the research activities he has been conducting as part of his recent Sidney Myer Creative Fellowship (2016/17). The Fellowship's aim has been to revisit past works by reflecting on them through writing and build a foundation from which to explore new choreographic strategies and compositional methodologies. During his residency at the Rex, Martin will focus on reworking a short solo piece he created 20 years ago (A Severe Insult to the Body, 1997) and investigate how it now sits within his current practice, both physically and conceptually.


It’s time for you to apply for a residency in the Rex Cramphorn Studio for 2018. I am looking forward to hearing about what exciting projects you are thinking about for the next year. (Also if you want support letters – let me know).

2018 is a year of change for the department of Performance Studies as we will be instigating some curriculum changes. The biggest change for us is that we will no longer offer rehearsal observation during the semester break, instead students will learn observation and rehearsal documentation skills during their weekly class sessions, observing rehearsals – this means that any artist-in-residence offer will most likely be offered with a condition that you and the artists be open to student observation. Please do talk to me about this if you think it might present any problems, and also to understand how often this might happen, and how many students might be observing – it’s certainly not an everyday requirement, but for example on Mondays during semester one it is likely that we’d like students to observe for up to three hours each week.

I will take this opportunity to highlight a few core areas of interest for artist residencies – and although I might suggest that we are looking for a particular art-form, please don’t be put off trying to change my mind! The following dates are open to expressions of interest. You do not need to apply for the entire period available, for example just because I say there is four weeks available, you are welcome to apply for just two weeks if that is what you need. Dates that are not mentioned below mean that teaching or research related activity has already been booked into the space.

Remember if you have any questions – give me a call on 9036 6507 on Mondays and Tuesdays.

Semester One:
6-25 March: Three week residency – any art form
17 April – 13th May: Four week residency available and there is preference for script based theatre – this does not mean that you cannot talk us into a non-text based theatre rehearsal. However this allocation of time will be granted to artists who will welcome students into the rehearsal room, and be rehearsing something in development that shows robust rehearsal activity – and most importantly, must commit to rehearse in front of a full class between 10am – 1pm every Monday).
14 May – 8 June (four week residency) there will be a class taught in the studio 2 days a week/ maybe 3 – it depends on numbers and we don’t know which days yet. So this period would suit someone who is happy to share and has no set/minimal set.

Semester two:
In semester two teaching will focus on questions of dangerous performance – from courageous artists taking on risky roles, to the extremes of performance art, contemporary performance and political action – if you have a work for rehearsal that pushes into this realm, or perhaps a work that will maintain an element of improvisation – I want to hear about it.
August: OPEN to all art-forms
September: OPEN to all art-forms
October – 11th November: OPEN to all art-forms
11 November – 3rd December: unavailable
3rd December – onwards: OPEN to all art-forms

Email for an application form - apologies there seems to be a glitch on our webpage.


The 99% Project

There are 6 artists involved in this research development, but not all people will be in the room all the time:
Concept, Direction, Screen archival research and Design – Yana Taylor (post-graduate form the department of Performance Studies); Performer/actors – Valerie Berry, Nancy Denis, Tariro Mavondo, Kenneth Moraleda; Video Artist – Sean Bacon.

With personal styles of leadership, international & Australian from the archive of film, video & radio as starting points, Yan is devising an intimate multi-screen performance. Despite assertions about how leaders are selected on merit – cameras & microphones intervene shaping perception of trustworthiness & authority. The selected comportment of bodies carries cues to culture & belonging.

When features of a leader’s personal presentation are publicly debated, unspoken limits are revealed. Recent shock jock & cyber-troll attacks on personal attributes of women in office had a profound impact on Yana, as did the relentless insistence that Barach Obama ‘Show us your papers’, questioning his nationality thus entitlement to election is another example of this dynamic.

The '99%' project, a group of 6 artists (mostly women performers trained in movement and voice with diverse cultural and linguistic heritage, a video artist and creative sound tech working with the director/deviser, Yana Taylor) will re-stage and re-mix performances of high profile international and historically significant leaders captured on film, in photos and audio recordings from the 20th and 21st century verbatim-style in an intimate multi-screen media studio type setting for theatres and galleries. Art form-wise they are extending ‘headphone verbatim theatre’ to encompass film in a cross-arts sound & choreographic practice. Performers will work off the distinctive ‘voice prints’ rather than written transcripts.

This phase of ‘99%’ project is creative research in a workshop mode. Yana Taylor intends to work with the performers to develop the vocabulary and techniques with the audio equipment for their response to the archival recordings of voice samples and build their familiarity with performing bodily with archival film of leaders’ public speeches and presentations. It could be thought of as like the preparation a choreographer requires in building with their dancers the necessary vocabulary and capacities from which to compose a whole performance. One example – Yana will investigate the degree of flexibility and interaction achievable when working more improvisationally with the actors interacting with media and vice versa. By the end of the residency Yana hopes to trial some short collated segments to see how they speak to each other; to see what the performing ‘grammar’ is (to use a metaphor) and see how some spectators relate to these, who the group will invite.

This phase provides a short term opportunity for people to work together and build the working methods of the team.

Please if you think this project is something you would like to observe, Yana has indicated a keen interest in having you in the room – so just get in touch with Kirstin Bokor in the department and she’ll help set something up.


The 99% Project

There are 6 artists involved in this research development, but not all people will be in the room all the time:
Concept, Direction, Screen archival research and Design – Yana Taylor (post-graduate form the department of Performance Studies); Performer/actors – Valerie Berry, Nancy Denis, Tariro Mavondo, Kenneth Moraleda; Video Artist – Sean Bacon.

With personal styles of leadership, international & Australian from the archive of film, video & radio as starting points, Yan is devising an intimate multi-screen performance. Despite assertions about how leaders are selected on merit – cameras & microphones intervene shaping perception of trustworthiness & authority. The selected comportment of bodies carries cues to culture & belonging.

When features of a leader’s personal presentation are publicly debated, unspoken limits are revealed. Recent shock jock & cyber-troll attacks on personal attributes of women in office had a profound impact on Yana, as did the relentless insistence that Barach Obama ‘Show us your papers’, questioning his nationality thus entitlement to election is another example of this dynamic.

The '99%' project, a group of 6 artists (mostly women performers trained in movement and voice with diverse cultural and linguistic heritage, a video artist and creative sound tech working with the director/deviser, Yana Taylor) will re-stage and re-mix performances of high profile international and historically significant leaders captured on film, in photos and audio recordings from the 20th and 21st century verbatim-style in an intimate multi-screen media studio type setting for theatres and galleries. Art form-wise they are extending ‘headphone verbatim theatre’ to encompass film in a cross-arts sound & choreographic practice. Performers will work off the distinctive ‘voice prints’ rather than written transcripts.

This phase of ‘99%’ project is creative research in a workshop mode. Yana Taylor intends to work with the performers to develop the vocabulary and techniques with the audio equipment for their response to the archival recordings of voice samples and build their familiarity with performing bodily with archival film of leaders’ public speeches and presentations. It could be thought of as like the preparation a choreographer requires in building with their dancers the necessary vocabulary and capacities from which to compose a whole performance. One example – Yana will investigate the degree of flexibility and interaction achievable when working more improvisationally with the actors interacting with media and vice versa. By the end of the residency Yana hopes to trial some short collated segments to see how they speak to each other; to see what the performing ‘grammar’ is (to use a metaphor) and see how some spectators relate to these, who the group will invite.

This phase provides a short term opportunity for people to work together and build the working methods of the team.

Please if you think this project is something you would like to observe, Yana has indicated a keen interest in having you in the room – so just get in touch with Kirstin Bokor in the department and she’ll help set something up.


Kate Maguire-Rosier from Macquarie University has been a frequent visitor to our seminar in the last year or so but every time I’ve asked her about offering a paper it’s always been “Sorry, I’m away on fieldwork” or “I’ve just got to finish editing this chapter” — well, as the detailed abstract below confirms, she has clearly been immersed in a really vital research project, rapidly nearing completion, and this will be a cracker of a seminar. Please come and join us for Kate’s talk, "Politicising Performances of ‘Care’: Dance Theatre by and with Australian Artists with Disability”

Same venue as always but note the later than usual start:
Friday 13th October, 4pm—5pm
Department of Theatre and Performance Studies AV Room (S113)
Level One, Woolley Building (entry from Manning Road)
University of Sydney

And just a quick request from Kate: if anyone on our seminar invite list, or anyone to whom one of you might like to extend the invitation for this seminar, has any access needs, please don’t hesitate to get in touch with Kate ( or with me ( Disability access down in the Woolley Building ain’t grand but do we have some viable contingency plans. All-comers are welcome!

Abstract for Kate Maguire-Rosier
Doctoral candidate, Macquarie University (Supervisors: Dr Julie-Anne Long and Nicole Matthews)

Politicising Performances of ‘Care’: Dance Theatre by and with Australian Artists with Disability
In Australia, contemporary dance practitioners are turning towards incorporating the aesthetics and lived experiences of disability into theatrical productions. My ethnographic study of this watershed moment for dance and disability in both Sydney and Melbourne solidified particular and unexpected manifestations of care. In this thesis, I distil moments of ‘care’ in the development and presentation of three professional dance works. These works include Murmuration’s first major work by Sarah-Vyne Vassallo with Dan Daw, Days Like These (2017), Force Majeure’s collaboration with Dance Integrated Australia, Off The Record (2016), and Dianne Reid’s collaboration with Melinda Smith, Dance Interrogations, (a diptych) (2015). I draw on feminist disability theory inflected by feminist care ethics to explore my observations from rehearsal studios and public performances supplemented by semi-structured interviews with directors, key artists, and a sample audience group responding specifically to Reid and Smith’s show. In so doing, I bridge dance theatre practice with disability and Deaf studies, especially feminist disability theory.

Throughout the dissertation, I explore the specific ways in which materialisations of care, in the studio or in the public performance space, reflect a feminist ‘ethics of care,’ a disability ‘politics of care,’ or both inextricably. I depart from the tension between feminist calls to reattribute value to ‘care’ as a gendered, classed and racialised concept and disability perspectives as outlined by Christine Kelly (2016) that regard ‘care’ as a masquerade for oppression, objectification and marginalisation of disabled and Deaf people. I suggest that a political and ethical conception of ‘care’ provides a generative framework which responds – in earnest sensitivity – to the emergent themes produced throughout this project, namely disclosure and visibility, ‘safe spaces’ and politicised agency. From the dance practice examined during this doctoral research, ‘care’ materialises through intimacy, attentiveness, and aesthetics. I fuse these dimensions into what I refer to as a ‘crystal of care’ – hard-edged (with the potential to inflict harm), concrete (or neomaterialist) and precious (following feminist preferences for ‘value’ instead of ‘usefulness’ but also referring to Butlerian ‘precariousness’) and produced by surrounding cultural forces. Applying James Thompson’s proposal of an ‘aesthetics of care’ (2015) to the context of performance work by and with artists with disability, I claim that a ‘crystal of care’ offers a critical reflection for the various caring acts, attitudes, and encounters that take place at specific points of rehearsal and live performance. I thus extend Thompson’s care aesthetics to disability and Deaf theatrical spaces wherein it becomes especially politicised.

Ultimately, this thesis testifies to the unique artistic value of dance practice by and with artists – directors and performers – identifying as Deaf or with disability, not for the (inevitable) benefit of those artists nor their audiences, but as important processes and outcomes unto themselves. Recently, Bree Hadley has noted that the Australian disability arts sector is ‘poised at the point of a boom in the volume, variety, and quality of practice’ (2017, p. 317). This research, neither prescribes nor proscribes, but documents a trace of this sector as deeply and dynamically sustained by practices of care. The performance-makers, both with and without disability, doing this labour, and their attendant audiences witnessing it, navigate creative, political and ethical cultural terrain both on and off stage.


From October 3 - 15 the Rex Cramphorn Studio promises to be an absolute hive of creative activity. We're proud to host a selection of artists involved in the Liveworks Festival (a festival of experimental art from 19-29 October), run by Performance Space, live at Carriageworks.

Across two weeks audiences will be invited to experience extraordinary new contemporary art – fall in love, wrestle with politics, face the future, unearth distant memories, get freaky with household appliances and flock across Sydney.

Throughout the festival Performance Space is giving you the chance to head behind the scenes and find out more about the artist’s process in our series of workshops, lectures and conversations. Learn theoretical and practical skills from the artists, educators and collaborators of the festival.

Liveworks is your chance to #getexperimental and try something new. Dive into the program and discover a world of wild experiences.

In the lead up to this incredible Festival we're hosting the following artists as they fine tune their work.

The projects that will be rehearsing here from October 3rd are:

Rhetorical Chorus by Agatha Gothe-Snape (a Performance Studies graduate btw)

Day For Night - various artists
Day for Night

The Future Leaks Out
The Future Leaks Out


Some of you might have seen this work in development, or read the scripts being worked on in the Dramaturgy unit... or you just might want to see an amazing work. Check this offer for $20 tickets. Have fun.



Griffin is delighted to offer you $20 industry tickets to select performances of Diving for Pearls –Katherine Thomson’s powerful play about about aspiration and reinvention.

Set in 1980s Wollongong, it's an enduring story that remains startlingly relevant – and the character of Barbara has become as iconic a figure in Australia's theatre history as Willy Loman has in America’s.

"If you’ve ever read it or studied it, you’ll know Diving for Pearls is one of those plays that leaps off the page. This production has it shaking you by the shoulders." ★★★★ Sydney Morning Herald

The dates available are:
Mondays 7pm: 25 Sep, 9 Oct, 16 Oct, 23 Oct
Wednesdays 7pm: 27 Sep, 4 Oct, 11 Oct, 18 Oct

Book online or call the Box Office on 9361 3817 and quote the promo code 'THOMSON'


Performance Space is on the hunt for some incredible individuals to volunteer on Liveworks Festival of Experimental Art.

Across two weeks from the 19th to the 29th of October, Liveworks takes over Carriageworks with an awe-inspiring program of contemporary art from across Australia and the Asia Pacific. Packed with performances, installations, workshops, conversations and lectures, Liveworks is the place to dive into a world of provocative experiences.

As a volunteer you’ll get a chance to head behind the scenes and discover all of the moving parts behind Australia’s leading contemporary arts festival. Click the button below to register your interest. A Performance Space team member will be in contact after you’ve completed the form.

Performance Space are now looking for a variety of volunteers – follow this link.


Please join us this Friday for another wonderful seminar offering. Many of you will know Paul Macneill through his involvement me, David Williams, James Dalton and other artists/researchers in the Sydney Arts and Health Collective (the steering committee for the “Grace Under Pressure” verbatim theatre project which— here comes the blatant cross-promotional plug—premieres at Seymour Centre next month: Grace under Pressure

For this Friday’s research seminar, Paul is going to lead a discussion about the aesthetic in arts and ethics. As the abstract below describes, his talk will be based on a recently published paper which is attached for your perusal. And, yes, there will be an aesthetic element to the food and drinks that will be served along with scholarly conversation, sparkling wit and ready repartee. Be there:

Friday 22nd September, 3pm-5pm
Department of Theatre and Performance Studies
AV Room (S113), Level One, John Woolley Building
Manning Road, University of Sydney

Hon. Assoc. Prof. Paul Macneill, Sydney Health Ethics + Sydney Arts and Health Collective

Abstract: "The aesthetic in arts (including performance) and ethics”
My presentation will be drawn from the attached article, just published in the journal Bioethics.

The article presents aesthetics as non-cognitive responsiveness that comprises sensory perception, emotion and feeling. My view is that aesthetic responsiveness is an important element in the arts (including theatre performance) and in ethics. This is a view that is supported by philosopher David Hume’s views on arts, morality and perception. It also fits with Stanislavsky’s (later) theories on performance, and with some views from philosophy of art and aesthetics (for example Marcia Muelder Eaton’s). However, it runs against the tide of more cognitive approaches to emotion, the aesthetic, and to ethics, that are currently predominant.

The question I would like to explore in this session: ‘Is it helpful to consider the arts (and ethics) as including both a rational and analytic component and a non-cognitive aesthetic component?’

I encourage you to read the article in advance of this Seminar. However, for the time-poor among you, you might skim quickly over the first 21Ž2 pages (on bioethics) and engage more from ‘The aesthetic’ (from p.633)—as this contains the substance of what I wish to discuss in the Seminar. And—if you haven’t had time to read any of the paper—don’t be put off as I will give a précis of my views from the article (and particularly relating to aesthetics) before opening to discussion.

Brief bio for Paul Macneill
Honorary Associate Professor in Sydney Health Ethics, a centre within the University of Sydney Medical School. I have a long-standing interest in ethics and the arts and have published an edited book entitled ‘Ethics and the Arts’ (Springer 2014), and a number of papers on this topic. I have been working with an inter-disciplinary group (Sydney Arts and Health Collective) on teaching acting skills to clinicians and trainees. Although I work in a medical ethics/bioethics centre, I am keen to discuss these ideas with those of you with an arts and performative studies focus (as well as with all comers).


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Photograph Michael Myers

22 September - 1st October, Julie Vulcan is artist-in-residence. Please note that
4pm (for a 4:30 start), Friday 24th September: showing, work in progress and you are invited. If you want to go please let Kirstin Bokor know and she'll put your names on the door.

DARKlight_I: Utterings

During the performance installation DARKlight_I:utterings, ‘the dark’ has been invited as a collaborator with a palpable presence and a primary role. Disrupting perceptions of architectural space, occupation, distance and proximity are this player’s charge. Encouraging a re-acquaintance with an inky world via various constructed codes and portals ‘the dark’ endeavors to reclaim the place from which possibility is seeded. Ultimately this shadow world offers a dark return to the essential spirit of creative invention and provokes a position for quiet resistance.

“ One needs special times and places, exclusive meetings; the words alone are not enough, and we need a whole series of signs with many meanings, which is to say a rite. Myth is nourished by silence as well as by words”
Italo Calvino Cybernetics and Ghosts 1967

Performer, Devisor, Object maker Julie Vulcan
Sound Designer and Composer Ashley Scott


For the seminar this week, we welcome Sudiipta Dowsett who will be sharing work from the PhD she recently completed in Anthropology at UNSW. Her work examines what sounds like a pretty extraordinary underground hip-hop scene in a South African township. As the abstract below suggests, her concern with the relationship between embodiment, performance and place will have strong resonances with many other research projects we’ve been hearing about in the seminar over recent months. Ian Maxwell, who was an examiner of Sudiipta’s thesis, will be a respondent to her presentation.

Please join us:

Friday 15th September, 3pm-5pm
AV Room (S113), Woolley Building, Manning Road
Department of Theatre and Performance Studies, University of Sydney

Abstract for Sudiipta Dowsett, UNSW

Emceeing as an embodied mode of being the world: the hip-hop corporeal schema in Khayelitsha

In this paper, I theorise a hip-hop corporeal schema through concrete examples from ethnographic fieldwork conducted in an underground hip-hop scene in the township of Khayelitsha, South Africa. Too often the body is neglected in writing about hip-hop. In the vast scholarship on hip-hop (most often confined to rap), lyrics are overwhelmingly the focus and are frequently detached from the body that utters. I argue that to gain a greater insight into what emcee-centred hip-hop “does” – what it allows – a phenomenological consideration of the body is crucial. I offer an alternative analysis of emceeing as a sonic, rhythmic, embodied form of vocality, a deeply somatic and contextualised performative mode of collectivity-making in specific spaces and at specific times. Merleau-Ponty’s (1964) notion of the corporeal schema is crucial for understanding hip-hop as a set of bodily habits that one can take up and “as a way of grasping the natural and cultural world surrounding us”. In relation to emceeing hip-hop is a way of grasping language, story, rhythm – it is a specific mode of doing words with the body. Hip-hop provides youth with a particular affective bodily ‘stance’ and a key set of bodily practices. The hip-hop corporeal schema offers youth in Khayelitsha an alternative way of inhabiting their own bodies, of embodying language, of interacting with other bodies, of inhabiting the township and inhabiting culture. This is manifested in live performances in public spaces such as street sessions and park jams. Through creating their own live hip-hop events youth actively produce a specific kind of embodied and emplaced collectivity.


Rosie Findlay graduated with Honours from Dept of Performance Studies in 2007, then in 2014 she completed her phd with us too. Her phd ‘O Hai Guyz:Between Personal Style Bloggers, Their Readers, and Modern Fashion’ paved the way for Rosie to be offered a role as Dissertation Coordinator and Lecturer in Cultural & Historical Studies at the London College of Fashion, University of the Arts London.

Rosie has since written a book, and the release date is October 15 but it is available for pre-order now.
Personal Style Blogs: Appearances that Fascinate, from Style Rookie to Style Bubble, personal style blogs exploded onto the scene in the mid-2000s giving voice to young and stylish writers who had their own unique take on the seasonal fashion cycle and how to curate an individual style within the shifting swirl of trends. Personal Style Blogs examines the history and rise of style blogging and looks closely at the relationship between bloggers and their (often anonymous) readers as well as the response of the fashion industry to style bloggers’ amateur and often-unauthorized fashion reportage. The book charts the development of the style blogosphere and its transformation from an alternative, experimental space to one dominated by the fashion industry. Complete with examples of several famous fashion bloggers, such as Susie Lau, Rumi Neely and Tavi Gevinson, the author explores notions of individuality, aesthetics,and performance on both sides of the digital platform. Findlay asks: what can style blogging teach us about women’s writing and the performance of a private self online? And what drives style bloggers to carve a space for themselves online?
For more information, as well as how to purchase
Intellect publishers
University of Chicago Press

The launch is going to be at the London Review Bookshop on Thursday 28 September, it’s strictly invitation only but if anyone reading this would like to go please contact Rosie (or myself and I will let Rosie know) and she will add your name to the invite list.


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Every year the children’s theatre company MONKEY BAA are part of the department’s artists-in-residence program in the Rex Cramphorn studio, and recently two of their productions (both were developed while in residence here), have been recognized for awards. The Peasant Prince won Tour of the Year at the Drover Awards.  And, Diary of a Wombat has been selected for the official Showcase Selection of artists for IPAY 2018 in Philadelphia! Monkey Baa are the only Australian company that have been selected for the 2018 showcase. 


(words by Dr Glen McGillivray) 
Doctor of Arts student, Julie Lynch, is in the final throes of completing her thesis. As if she doesn’t have enough to do, she is currently the Costume Designer for the upcoming production of Henrik Ibsen’s Ghosts at Belvoir St Theatre. Julie’s research focuses on the role of costume design in scenography. Her research, she says, has ‘given her confidence’ to approach her work in a way that allows her to be ‘more agile’ to discoveries in the rehearsal room. Julie is practising a ‘liberated’ design role within what she calls the ‘creative collective’, a significant re-visioning of her role that she has discovered through her research. image attached titled Julie Lynch. 


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D.Arts candidate Gabriel Lee directed the premier of Ivan Kwok’s new play Principle for the Hong Kong Repertory Theatre, as part of the company’ 2017-18 season, celebrating the 40th anniversary of the company’s founding. The Hong Kong Rep is the city’s flagship theatre company, the oldest and largest in Hong Kong, operating two theatres, and presents new writing, in addition to Chinese, international, classic, and contemporary theatre.
Principle, an interrogation of issue familiar to many of us: what happens when education systems become overly results-oriented? Gabriel’s production opened on July 1st for a two-week season, to which were added additional performances due to popular demand. Photo credit to Ifan Yu.
Gabriel, a graduate of the Hong Kong Performing Arts Academy, has been conducting participant-observation research, with a focus on directors’ processes, at the Hong Kong Rep over the past two seasons as he works towards his doctorate. His overall project is taking up the potential of Action Research methodologies for the training of theatre directors. His production of Principle was an opportunity to test some of his findings in a real-world, industry context. Gabriel is currently negotiating a possible return season in 2018.


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image credit: A/Prof Ian Maxwell

Prince Bettliegend 

In 1944 a group of theatre-makers living in Terezín/Theresienstadt, Czechoslovakia, devised a satirical revue, setting to popular 1930s jazz compositions lyrics about their lives and experiences, their anxieties and fears, in the ghetto. The revue was called Prinz Bettliegend—the bedridden Prince. To be bettliegend in Terezín meant not only being excused from labour, but also from the possibility of being sent on a transport somewhere else. At the time, the inhabitants of Terezín suspected, but did not know for sure, that the transports were bound, in the main, for the death camps in Poland. 
Of that revue only shards remain: the original compositions, by Jaroslav Ježek, are well-known, and the lyrics, written by František Kovanic, were preserved. Additionally, survivor testimony recalled a handful of scenes and three specific moments of dialogue, documented by Dr Lisa Peschel, of York University, Leeds.
In July, the Department of Theatre and Performance Studies reconstructed, as a world premiere, Prinz Bettliegend for the Out of the Shadows Festival, part of a British Arts and Humanities Research Council project titled Performing the Jewish Archive. The project was the very paradigm of interdisciplinary, industry- and community-engagement, cross-institutional and international collaboration. Directed by Ian Maxwell, in collaboration with Dr Peschel as dramaturg (along with her research team, also in residence through the process), a professional cast (Robert Jarman, Nigel Kellaway, Katia Molino, Gideon Payten-Griffiths and Yana Taylor), designer (Dylan Tonkin) and a ten-piece band consisting of students from the Conservatorium of Music’s jazz program, under the direction of Senior Lecturer in Jazz, Kevin Hunt. The devising/rehearsal process was observed and documented by Theatre and Performance Studies undergraduates as part of their major, and the production was presented to sold-out audiences (and critical acclaim) in the Sound Lounge at the Seymour Centre.
Part pantomime, part Dada cabaret, Prince Bettliegend swung wildly between frantic, grotesque commedia dell-arte excess and soul-shattering, silent intensity. The plot turns on the arrival in the ghetto of a young man, and the measures taken by older inhabitants of the ghetto to protect him by making sure that he remained bettliegend. The world of the ghetto is catapulted into a lucid surreality: a Wizard appears, casting a spell on the young man; a King offers the hand of his daughter in marriage to the suitor who can cure him (these details of plot came from survivor testimony). The young man is able to avoid transportation when his name appears on the list, but a hapless hospital orderly is sent in his place, departing to an uncertain—but all too certain—future, singing a haunting torch song to his battered suitcase: a laid-back, Ellingtonesque arrangement of Ježek’s original score.
In the end, a subterfuge is revealed. The Wizard is not a wizard, but just another citizen of the ghetto paid by the King, who is not a king, but perhaps a Judenaltester—one of the leaders of the ghetto community—to procure milk on the black market, milk then injected intramuscularly in order to induce a fever, and hence to keep the young man bettliegend. The young man then faces a choice: to play along and to save himself, knowing that someone else will always have to go in his place, or to refuse to do so. It is a moral dilemma that has no easy resolution, and our version offered no solution.
During the rehearsal we were honoured by a visit from Edith Sheldon. Edith lives in Roseville, two blocks from my childrens’ primary school. She was 15 years old when sent to Terezín in 1941; 19 years old when Soviet tanks entered the city, too young to have been allowed to attend the cabarets staged in the city. She did, however, remember the songs, and danced in her chair as we performed for her.



The Med Review is on soon



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Jeremy Waters (a graduate form the Department of theatre & Performance Studies) would like to offer two free tickets to Outback Theatre's latest production.

Win 2 X double passes to see Dry Land by Ruby Rae Spiegel, the sensational new play causing a huge stir amongst critics & audiences in the US and UK.
Ester is a swimmer trying to stay afloat. Amy is curled up on the locker-room floor. Dry Land is about young female friendship, resiliency & what happens in one high school locker room after everyone’s left.
Directed by Claudia Barrie (A Bengal Tiger At The Baghdad Zoo) this is the Australian premiere of a work The New York Times called, “tender, caustic, funny & harrowing”. 

EMAIL: with SYD UNI in the subject line.




James Dalton is taking a brief break from writing his phd to direct the following work. James warmly invites any of you to come along to see this new work.

Featuring in the Gallery of the Bondi Pavilion this July is the solo show of queer visual artist and performer, Tom Christophersen. In his latest work, Business Unfinished, Tom has created a spooky, evocative space where audiences bear witness to the appearance of supernatural forces and disco - the perfect combination for a winters' evening.
When Tom was a small child, he remembers his father talking about strange encounters with ghosts. At the time this seemed completely normal to Tom, and his early years growing up in Adelaide became infused with a queer, gothic sensibility of spirit house inspections, vanishing figures and tense, empty rooms -- all accompanied by a soundtrack of his father's virtuosic piano playing.
It came as a shock then for Tom, two decades older and cutting a career for himself as a talented visual artist and performer in Sydney, to have his mother deny any knowledge when he reminded her about his eerie childhood. What was his mum hiding? And how could Tom resolve this hidden past?
“As I grew older I began to become fascinated with horror movies, ghosts stories and urban legends. The images and sounds in these tales frightened me, but they also felt familiar. The notion of a family  house becoming a portal for both domestic banalities and unspoken horrors became lodged in my psyche.” - Tom Christophersen
The result is a journey around Australia, interviewing people who have had their own unexplained experiences that may or may not feature energies from beyond the veil. Using his particular aesthetic, blending drag mechanics with flamboyant horror tropes, Tom has woven these interviews through his own murky past to create a haunted, cabaret-cum-exorcism that will feature at this July's Bondi Feast. 
"There's a particular kind of queer theatre missing from our stages here, and I want to make sure that this work is given the room to flourish - an aesthetic wholly from outside the mainstream, unapologetic and lush. It would mean a lot to have Sydney audiences join me in celebrating such ideas," says Tom.
Originally developed through a residency with PACT Theatre for Emerging Artists, and premiering at TiNA's Crack Theatre Festival in Newcastle, Business Unfinished headlined the Sydney Gay and Lesbian Mardi Gras Mini Gras's 2016 season at the Q Theatre. This season however will be the first run with Tom's long-term collaborator, theatre-maker James Dalton (Animal / People, Mr Kolpert, A Butcher of Distinction) on board as director.
"Tom captured me when I saw his first residency at PACT - he's a siren, he treats dark material with such a child-like lightness, it's too easy to want to give yourself to his tightly-choreographed, delicate and strange world," says James, "I had to work with him on this."

Season Information:
Business Unfinished
July 27, 28, 29
7pm @ Gallery, Bondi Pavilion
All tickets: $20
Artist page:
Instagram: @_tomopoly
Publicity contact: James Dalton / 0481 852 387
Created and Performed by Tom Christophersen
Directed by James Dalton
Lighting Design by Amber Silk
Set Design by Dylan Tonkin
Sound Design by Tom Christophersen
Production and Stage Management by Patrick Howard


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Michelle St Anne, a former resident of the Rex Cramphorn Studio artist-in-residence program, has commented on the recent milestone of The Living Room Theatre turning 18.
Michelle is The Living Room Theatre’s Artistic Director & CEO, and in the past 18 years, Michelle has created 19 original productions for the theatre company. Michelle explained that the Living Room Theatre had given her ‘the opportunity to be a working artist, preforming and creating my works and giving me the platform for storytelling.’
‘A special thanks to Rex Cramphorn residency program which has supported the creative development of three of my large scale works’ said Michelle.
Since 2007 Michelle has been resident artist with the Department of Theatre & Performance Studies. During her residencies, Michelle has developed three large scale works:
She only Barks at Night (2015) – A contemporary performance theatrical work explores the dark misperceptions of the mind, and misconceptions of femininity, from the past to the present by weaving together accounts of female hysteria of the 19th century.
I Love Todd Sampson (2013) - A theatrical experience which integrates space, sound, film, equine science and performance to expose the vulnerability of human nature.
A little Room (2007) – A performance artwork which light, projection and sound, and reveals and celebrates the strength that comes with facing love lost, both real and imagined.
Later this year Michelle, in collaboration with The Living Room Theatre, The Sydney Environment Institute and the Department of Theatre & Performance Studies will bring us her latest performance artwork called ‘Anastasia’ – a series of short studio works which examine the physical, ethical and emotional responses to death.
Michelle explained that ‘Anastasia, [is currently in development], will explore three themes relating to death. The first in the series: ‘Anastasia – Heat’ follows the life of an elderly woman, living on her own, who dies from heat exhaustion, a condition which is predicted to become more common with temperature rises caused by global warming.
‘There is no linear narrative, and we come to understand the story as it unravels slowly. The work is constructed from physical and visual images, and snatches of recordings of my mother. I am exploring the fusion of image, voice and sound and what it is to die alone’ said Michelle.



The Department of Theatre & Performance Studies are delighted to invite the following project into the Rex Cramphorn Studio this July. Directed by the department's Dr Ian Maxwell and in collaboration with the Conservatorium of Music, 'Prince Bettliegend' will premiere at the Seymour Centre as part of the Jewish Out of the Shadows Festival, in August 7-10. For the next four weeks students from the department will observe what goes on in the rehearsal room.

Prince Bettliegend is a musical revue written by Jewish prisoners in the Terezín Ghetto (Theresienstadt). Terezín was a transit camp, serving as a place to gather Central European Jews before sending them on to the death and labour camps in the east. In spite of harsh living conditions, the prisoners initiated a stunningly diverse and active cultural life, including theatrical comedy. As one survivor wrote, “I don’t know if anyone today, especially youth, can imagine what laughter meant in a Nazi concentration camp. In spite of all the harassment, dirt, ugliness and horror, or rather exactly because of them, we all sought stimulus through which it would be possible to live and draw hope…”

Prince Bettliegend is a satirical fairy tale. Written as a humorous critique of favouritism and corruption in the ghetto, new song lyrics were set to popular jazz melodies by Jaroslav Ježek, a brilliant composer of the legendary interwar Liberated Theatre in Prague. Bettliegend, meaning literally “bedridden,” indicated a person who had been prescribed bed rest due to illness and did not have to work. This designation could also exempt prisoners from outgoing transports. Even healthy prisoners could be declared bettliegend in order to protect a friend or family member or in return for a bribe. In the plot, a comic duo tries to free the Prince from a spell that kept him in bed, until finally realising that this was the last thing he wanted. This world premiere reconstruction of this work is being performed as part of the Out of The Shadows Festival.


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image by: Heidrun Lohr
Nikki Heywood is an independent artist who has frequently been a resident in the Rex Cramphorn Studio working on her own work, or with the Opera Project, or Version 1.0.

This new work will see Nikki drawing on a previous work Recapturing the Vertical, 2009, this time constructing a sequence/s to be photographed that would later be composed as digital animation. Nikki’s work is not the first time artists-in-residence have been interested in haptic perception, but might be the first who also wrote a doctoral thesis on the topic – and Nikki created this work in response to her questions around how haptic sound is perceived, how does perception of the weight and texture, translate at a sonic level? And then, How can this be recorded?

Nikki will be collaborating with a number of artists including Mark Cauvin (double Bass player), and Heidrun Lohr (photographer).

Nikki recently completed her doctoral thesis, which considered somatic performance practices.
This is an early stage of creative research so I do not think there will be a showing – but if there is I will be sure to let you all know.


Opera Project Inc (Nikki Heywood, Amanda Stewart and Nigel Kellaway) are presently in residence at the Rex Cramphorn Studio (Sydney University) further developing a new work, SHOT IN THE DARK.

Opera Project are presenting two informal (60 minute) showings this coming week:
Friday June 16th at 4.00pm
Saturday June 17th at 4.30pm

They would love to share their work with you, should you be interested and free on either of these days.
As capacity is somewhat restricted would you please email Nigel by Wednesday if you would like to attend, with your preferred day. EMAIL:

Finding the Rex Cramphorn Studio:
Department of Performance Studies
Ground floor Woolley Building, Manning Road, University of Sydney

See post below for more detail about these amazing artists.


The end of Semester One is nigh (in fact, already over at some institutions) but the Friday research seminar kicks on. This week, we welcome back Robin Dixon and Chris Hay who will be reporting on a practice-led research project looking into the spatial dramaturgy of Shakespeare’s plays and its relation to Classical/Elizabethan theatre architecture, rehearsal techniques and performance conventions. An abstract appears below. Sparkling wit, ready repartee and a tasty assortment of treats await you in the AV Studio. Enter via one of two doors—from outside, through S113, or from inside, through our kitchen (nudge, nudge, wink, wink…):

Friday 9th June, 3pm-5pm
Department of Theatre and Performance Studies
AV Room (S113), Level 1, John Woolley Building
Manning Road, University of Sydney

Spatial Dramaturgy and Theatrical Conventions in the The Comedy of Errors
Robin Dixon and Chris Hay

The Comedy of Errors is not one of Shakespeare's most frequently staged comedies, but performing it might reveal all sorts of useful information about Elizabethan theatrical conventions and spatial dramaturgy, as well as the adaptation of Classical drama and the ways in which audiences use character exits, entrances and stage positioning to make sense of plots. In a workshop earlier this semester, in a single day, ten actors presented two staged readings of the play, rehearsed according to the Elizabethan "parts” technique. The space for one reading was modelled on a five-entrance “mansions” or “Classical stage” (acknowledging the Plautine source material from which Shakespeare had borrowed); the other reading used a two-door stage configuration (more in line with Elizabethan practice). In this seminar, we will report on our in-progress findings.
Robin Dixon and Chris Hay are Honorary Associates of the Department of Theatre and Performance Studies at the University of Sydney, from which both graduated with PhDs. After distinguished teaching at NIDA, Robin is currently writing up his doctoral research on Plautine Comedy and the dramaturgy of the Roman stage. Chris is currently Lecturer in Theatre Studies at the University of New England, Armidale.


Nigel Kellaway and Nikki Heywood. Image taken by: Heidren Lohr

We are very pleased to have the oPera Project back in the studio.

Shot in the Dark :
a requiem for content

Hey, you wanna a drink? Come on over ... the bar’s open.

Two vaudeville actors hovering in their separate dressing rooms, waiting for their “call”, their “moment”, phoning each other, whilst protecting their personal space.

... reflection and vivid invention, appropriate for an ensemble of “senior” artists.

Touching upon a recollected output of creative work covering several decades, Nigel Kellaway (director, performer, composer), Nikki Heywood (performer, co-creator) and Amanda Stewart (consulting writer/dramaturg) contemplate the richness that accrues in the minds, bodies, experiences, skills and memories of mature artists with a shared, embodied theatre and dance training, extensive experience of contemporary performance culture and practices, and individual and complementary concerns. This is a truly hybrid performance work exploring alternative means of staging and delivery.

It’s initial inspiration was two-fold: remembering a 240 hour (10 day) durational work Nigel Kellaway performed in 1994, THIS MOST WICKED BODY, and his more recent reimagining for two pianists of Mozart’s monumental REQUIEM (a work he first performed in 1968).
But this is NOT a “remounting”. It is a distanced and discrete theatrical exploration, rigorously reimagining seminal works in relationship to subsequent experience, a trove of new material, and continuing to challenge contemporary theatrical structures and presentational habits.

SHOT IN THE DARK: A REQUIEM FOR CONTENT sees two performers “of a certain age” (Kellaway and Heywood) waiting, wandering in a Beckett-like landscape, recalling snippets of content, searching for context – that “landscape” that comes into view to reveal ...

A collision of short grabs from an extraordinary array of writers concerning maturity and its attendant neuroses. A wild jangle of bluntness and arch poetics: Samuel Beckett, John Cassavetes, Heiner Muller, Oscar Wilde, Rainer Maria Rilke, Neil Bartlett, Paul Auster, Mickey Furuya. Nikki Heywood, Amanda Stewart and Nigel Kellaway.

The multiform theatre pieces Kellaway realizes as a composer, director, performer and collagist of texts are “scenic concerts” considering the interaction of complex spatial arrangements with musical and linguistic practices, bringing together languages (acting, music making, installation, light, poetry, song, dance, etc.) that can otherwise become disintegrated. For him composition (musical, choreographic and theatrical) is, first and foremost, the shaping of time and the processes of perception. A particular musicality imprints itself on the aesthetics, meaning and reading of this work, providing dramaturgical, emotional and rhythmic drive. This is theatre exploring the abstract qualities of dynamics, tempi, light and staging, alongside textual coherence and intention.

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Volunteer internship opportunities available to work on Australian feature film Ladies in Black with Academy Award® nominated director Bruce Beresford.

Sydney Uni students are invited to submit an EOI by 23 June to work directly with the top screen practitioners in the country in the following departments: production design (2 positions) and costume design (2 positions).

- Hands-on experience working with an Australian feature film art/costume department

- The opportunity to have direct contact and mentorship with key members of the art/costume department, including the production designer and art director

- You will be able to directly observe the design process during the period of the internship

- To spend time with art/costume department crew both on and off set

- Gain relevant skills and experience that will assist you in a career in the film industry

Essential skills and experience:

- Strong organisational skills

- Ability to multitask under pressure and to deadlines

- Excellent written and verbal communication skills

- The ability to work well within a team and take instruction

Useful skills and experience:

- Photoshop, illustrator, CAD, SketchUp or related expertise

- Drivers licence

- Interest in a career in production design, art direction or set decoration

- Knowledge of current screen design practice

- Knowledge of period furniture, props and decoration

- Previous study in fine arts, film, architecture or design is desirable

- 2-3 days full-time per week commitment is preferred for 6 - 8 weeks (28 August - 17 November 2017)

- You will be required to be punctual and arrange your own transport to and from filming
Students should send an EOI outlining their experience, reason for wanting this opportunity and confirming availability. EOI are to be directed to Jessica Giacco (Producer's Attachment, Ladies in Black), by Friday 23rd June.


Dear arts colleagues and friends of pvi collective,

PVI COLLECTIVE are super happy to be launching our newest residency – ‘the sweet seat’! it’s a gift residency of mentorship and three months at a desk in their studio. They want you to stop working at your kitchen table, and to come and sit with them!
The sweet seat is a new residency pvi collective has developed to support artists at a liminal point in their career; people who are emerging, mid-career or established, looking for time and space for inspiration. There are no fees – this residency is a gift of time and space.

Applications are open year-round, but artists are encouraged to get their ideas in as soon as possible, to maximise the chance of your preferred dates being available. Residencies are for three months, and residents will have 24/7 access to the studio.
Residents will receive desk space in the pvi collective office, free wi-fi and uninterrupted time for residents to research and develop work in a supportive environment. They will also get one hour of mentorship each week with a pvi team member of their choice.

pvi collective is hoping to support and nurture creatively fearless makers or producers who are working in the following areas of practice:
the audience experience: participatory performance and immersive theatre
creative geekery: coding, games design and theory
genre-busting artforms: interdisciplinary and live art practice
pervasive gaming: the use of mobile media
social engagement: creative intervention / space activation / site specific work

PVI COLLECTIVE are keen to support artists who are actively exploring similar fields of research and practice to enable opportunities to skill-share between the resident and the company.

They’re happy to provide letters of support for funding to help our national and international friends to come and play!

More information can be found online at: pivcollective or if applicants have questions, they can contact

Applications are open here: applications

We’d be so grateful if you would share this information with your contacts – we want this sweet opportunity to be available to as many people as possible.

studio: 24 brisbane st, perth, wa, 6000


PWA workshop image
image taken by Leila Enright
In May, the Department of Theatre and Performance Studies (TaPS) hosted a script development workshop of a new play by Sydney University graduate, Nick Coyle. Nick’s new play, The Feather in the Web, was shortlisted, and then runner up, for the Griffin Theatre Company’s Lysicrates Prize earlier this year. The Lysicrates Prize is unusual in that it is intended “to support established artists; recognising the significant challenges facing any writer, regardless of experience” (Griffin) and only writers who have had three or more mainstage plays produced are eligible to apply. Griffin Theatre Company was then keen to develop the work further, and in partnership with PlayWriting Australia, the national script development organization and TaPS, Nick was able to work with dramaturg Erin Taylor, director Ben Winspear and actors Camilla Ah Kin, Tina Bursill, Nikki Shiels and Gareth Davies over three days. It was a highly productive process for Nick, who brought a new draft of the script to each day of the workshop, and a fascinating opportunity for students in Laura Ginters’ PRFM3611 Dramaturgy class, to observe first hand how a new play is developed in a collaboration between writer, dramaturg, director and actors. One of the students’ pieces of assessment for this course will include an analysis of the drafts of Nick’s script and the ways in which dramaturgical input led to changes and improvements in the script.


Matt Tyne and Tom Isaacs are both hunkered down over PhD manuscripts that are nearing completion but will come up for air this Friday and share some key findings: Matt’s research uses a performance ethnography approach to explore how gay Sri Lankan men make sense of their experiences and represent these to themselves and to others; Tom’s work considers the relationship of body-based performance art to ritual or ritual-like practices. Please find the abstracts below and please join us for convivial, scholarly conversation and (as the Irish would say) good craic.

Friday 26 May, 3pm-5pm
Department of Theatre and Performance Studies
AV Room (S113) Woolley Building, Manning Road
University of Sydney

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At Sunset Strip the only people left are those who couldn’t leave. Arriving home after a bout of chemotherapy to this once thriving summer hot-spot, Caroline finds the lake completely dried up, the holiday-makers long gone.

Yet her younger sister, the ever-optimistic Phoebe, remains doggedly hopeful. Between a stint in rehab, caring for her ageing father (who has a penchant for training goldfish) and losing her kids temporarily to DOCS, Phoebe has managed to find love in Teddy, a local fallen fella with a big heart. And now that Caroline is back, Phoebe is determined to make life fabulous.

Suzie Miller (Caress/Ache) returns to the Stables to examine all manners of love, family dysfunction, prosthetic breasts and making the best of shitty situations. Directed by Anthony Skuse, Sunset Strip finds the humour in tragedy and creates an unlikely path for humanity to triumph.

"Miller writes with verve and delicacy" - TimeOut London

Presented by The Uncertainty Principle and Griffin Independent

14 June - 1 July
SBW Stables Theatre
10 Nimrod St Kings Cross
Also groups of 8+ get tickets for just $30.


This week’s seminar features presentations from our Fourth Year Honours students, as Pat Holmes, Bella Nantsou and Lucy Petchell offer an introduction to their thesis proposals. This session is always a highlight of the academic calendar and—as you’ll see from the abstracts below—it’s clear that, yet again, everyone in the room will be experiencing research topic envy! So, the best you can do is join us and get in on the discussion of these nascent research projects. Please note the change of venue for this week (but the quality of refreshments will remain as ever—something sweet, something savoury, and something to send you pleasantly into the weekend).

Theatre and Performance Studies Research Seminar
Friday 19th May, 3pm—5pm
Woolley Common Room (Level 4 of the Woolley Building)
University of Sydney

Entry to the Woolley Common Room is from Science Road (i.e. up and around the corner, via the main entrance to Woolley which is on the opposite side of the building to where the Theatre and Performance Studies Department is located—this main entrance is actually Level 3 of the building, take the staircase in front of you to Level 4, chuck a left at the top of the stairs, go to the end of the corridor, voilà!).

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With apologies for the late notice, you are invited to join us for a special edition of the Friday Research Seminar this week. We are very fortunate to be hosting Mayu Kanamori and Vic McEwan at the moment as artists in residence at the Rex Cramphorn Studio. Mayu and Vic will share some of the early work-in-progress towards what will most likely become a performance installation, “I just can’t say that word”, a project they are developing in response to Mayu’s diagnosis of, and treatment for, breast cancer. There will be time for conversation after the showing in which responses to the work-in-progress can be shared and also the relation of this new work to previous “arts + health” projects can be discussed.

Time: 3:30pm-5:00pm (please note the later-than-usual start time but be on time!)
Venue: Rex Cramphorn Studio (Room S114), Woolley Building, Manning Rd, Sydney University (the Rex is right next door to our usual venue, the AV Room)

For those who are unfamiliar with Mayu and Vic’s work, please find some more details of the project in the previous blog post.


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Vic and Mayu are in collaboration at the Rex Cramphorn Studio working on
i just can’t say that word , and this work is made in response to Mayu’s diagnosis and treatment of breast cancer.

Both of these artists have collaborated with artists who have had residencies in the Studio before. In fact both artists frequently work with Tess de Quincey and Linda Luke and Victoria Hunt – artists some of you may have met through the Department.

In June 2016 Mayu was diagnosed with breast cancer. You can follow some of this journey by logging onto the blog I just can’t say that word. It explores creatively some issues to do with treatment and recovery. For example

• Toro-nagashi is a Japanese ceremony in which participants float paper lanterns down a river. It is traditionally performed during the O-bon Festival in the belief that it will help to guide the souls of the departed to the spirit world. 

The lanterns were made using hand-made paper and some of Mayu’s hair – hair lost in chemo, or from her danpatsu-shiki or the hair cutting ceremony. You can read more about both these events on the blog she and Vic have created.

The project articulates Mayu as an artist, and the project aims to explore illness, trauma and identity. Whilst Mayu and Vic are the nexus, this project weaves into itself a vast community of artists, academics, and oncologists, patients, art therapists, breast cancer specialists, together with artists who explore the field of arts/health. Some of the artists involved already include Michelle Mossop, Tess de Quincey, Amber Silk, Martin Fox, Rakini Devi, Miho Watanabe and Zela Bissett (there might be more).

It is anticipated that the project will develop into a performance installation.

For more information visit these sites

cad factory

Vic and Mayu are speaking to some of our classes, and will be sharing some of their work at the Friday Seminar on Friday 12th May.

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Please find below the abstracts for two wonderful presentations coming up at the Theatre and Performance Studies Seminar this Friday: Lillian Shaddick will be whisking us off to Rio (via Star City) for an “experience-near” account of samba performance styles and then visiting scholar, Peter Zazzali, will be flying in from the University of Kansas (en route to BrisVegas), to share his research on the state of actor training in the US. Dress snappily!

Friday, 5th May, 3pm-5pm
AV Room (S113) Woolley Building
Manning Road, University of Sydney

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Two presentations this Friday focusing on contemporary theatre and live art practices in South-East Asia: Nien Cheng will be rehearsing a paper on various re-enactments, re-actualisations and, arguably, ritualisation of a notorious performance art action from Singapore in the mid 1990s; Gabriel Lee will be sharing with us the fruits of his recent participant-observation fieldwork, documenting and analysing the rehearsal of “Three Brothers” at the Hong Kong Repertory Theatre Company.

Abstracts appear below. Beer, wine, soda water, juice, cheeses, fruits etc. are in the fridge. I’ll put a cake in the oven on Friday morning. See you t(h)ere:
AV Room (S113) Woolley Building
Manning Road, University of Sydney
3pm-5pm, Friday 28th April

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Photo credit: Heidrun Lohr

The Obscene Madame D  by Theatre Kantanka is back in the Rex Cramphorn Studio. Last year this work was the Major Project, and Inside Rehearsal students were fortunate to observe how this performance was created.
Returning in 2017, this project is a continuation of their last residency, with ‘Obscene Madame D ‘ being just one of four works comprising a new event called ‘Sonic Lumiere’. This residency will include efforts in writing, physical improvisations, work with multi-media and Soundscape creation.

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You’re invited to a special event this Friday with Honorary Associates Robin Dixon and Chris Hay leading a workshop on Elizabethan dramaturgy and performance conventions. Details below. Hope to see you there.

Chris Hay and Robin Dixon

The Comedy of Errors is not one of Shakespeare's most frequently staged comedies, but performing it might reveal all sorts of useful information about Elizabethan theatrical conventions and spatial dramaturgy, as well as the adaptation of Classical drama and the ways in which audiences use character exits, entrances and stage positioning to make sense of plots. At any rate, that's the hope of this research project.

This coming Friday, ten actors will present two staged readings of the play, rehearsed according to the Elizabethan "parts" technique, and we warmly invite anyone with an interest in these topics to attend one reading and a subsequent focus-group discussion session.

Timings will be as follows:

10am-12pm: The Comedy of Errors on a five-entrance "mansions" or "Classical" stage
12-1pm: Discussion

2-4pm: The Comedy of Errors on a two-door stage
4-5pm: Discussion

Both the stagings and the discussion will be held in the ​AV Room (S113) on Level One of the John Woolley Building (A20). We would love to see you at one of these sessions (there is no need to attend both). Please don't hesitate to contact Robin ( or Chris ( with any questions. This session will also function as a 'warm up' for our Seminar paper later in semester, where we'll be reporting on the outcome of this pilot project on 9 June.

Robin Dixon and Chris Hay are Honorary Associates of the Department of Theatre and Performance Studies at the University of Sydney, from which both graduated with PhDs. After distinguished teaching at NIDA, Robin is currently writing up his doctoral research on Plautine Comedy and the dramatury of the Roman stage. Chris is currently Lecturer in Theatre Studies at the University of New England, Armidale.

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artwork by Georgie, aged 4 years
Imagination my old friend

Is there a safe space into which to imagine? Where mystery and uncertainty will be embraced, caressed, nurtured. Sometimes it is hard to find a space where creativity can exist. Where an idea won’t be extinguished in an effort to name, identify and be classified. I am holding this space for you. A small invitation to what feels exhausted, tired of fighting and tired of being harnessed and attached to what is already named and known. Sometimes dangerous and sometimes a saviour. I am making this space for you. I don’t have a plan for you or a goal. Please just come in, you don’t need to bring anything or do anything. Be engaged, be disengaged, just ponder or become obsessed. I am not going to boss you around. I will make some structures into which you can manifest but that’s your choice. I promise to keep out of your way. Are you still alive in there? Please come out.
A multidisciplinary exploration using words, space, objects, the body and relationships to others. 


Image credit - Julie Samerski

On Saturday 24 &25 March The Living Room Theatre Company premiered BLACK CROWS INVADED OUR COUNTRY. Following this brief introduction to the performance is a reflection by Danielle Celermajer, professor in the Department of Sociology and Social Policy.

This performance is an artistic contextualisation of the public lecture in the merging of academic research with indigenous story, performance, and sound art.

The Living Room Theatre returns to the JD Stewart Building – home of the Sydney School of Veterinary Science at the University of Sydney for a collaboration with the academic community of the Sydney Environment Institute (SEI) for the performance of ‘Black Crows Invaded Our Country’, based on the Humboldt Foundation research of environmental philosopher and author, Associate Professor Thom van Dooren (UNSW), The Unwelcome Crows: Hospitality in the Anthropocene.

Animateur Michelle St Anne juxtaposes this lecture to the haunting and complex issue of human migration. She sees parallels in the inconsistencies of logic, scapegoating, justifications and fears of what promises to be a problem in a perceived future.

The project gathers a diverse range of artists, performers, researchers and activists who respond to these ideas through performance, dance, sound, field recordings, voice samples, climbing, and lecture, allowing the audience to reflect on the content in an emotional and intellectual way.

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Friday Seminar Series: Friday 31st March
Kick off is at 3pm in the AV Room (S113) Woolley Building, Manning Road, University of Sydney.

Speakers are Lisa Schouw and Aine De Paor (abstracts below)

Refreshments and—as the Irish would say—good “craic” assured.

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Friday afternoon seminars in the Department of Theatre and Performance Studies at the University of Sydney are back up and running for Semester One, 2017.

This week’s guest is Dr Lowell Lewis, Honorary Associate of the Department, who will be speaking “to” Chapter Five (“Embodiment, Emplacement and Cultural Process”) of his wonderful book, The Anthropology of Cultural Performance.

And the key details:
When—Friday 17 March, 3pm-5pm
Where—AV Room (S113), Level One at the back of the John Woolley Building (entry from Manning Rd)

About Lowell Lewis’ Anthropology of Cultural Performance
Michael D. Jackson (author of Lifeworlds: Essays in Existential Anthropology) describes the book’s scope as follows: "A masterful and nuanced expansion of Victor Turner's pioneering work on the ritual process and on culture as a procession of quotidian events and critical performances. Drawing on Peirce's semiotics and on phenomenology, J. Lowell Lewis simultaneously provides an interdisciplinary perspective on performance studies and opens up new theoretical horizons on role-playing, ritual and dramaturgy in social life."

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Internship Opportunity with Playwriting Australia:
PWA will be in the Rex Cramphorn Studio for the week of 27 March, hosting script development workshops. These workshops are a highly competitive opportunity for playwrights, providing them with resources (incl time, space, actors, directors or dramaturgs). The workshop is devoted to craft and exploration, without the pressure of an expected performance outcome. It is expected that the workshops will enable the writer to significantly progress the script.

 Generally PWA get one student on each project to make notes and observe the entire process. If you would like to be considered you must commit to being available every day of the week, for either the morning session (10am-1:30, OR the afternoon session 1:30pm – 5pm). Both sessions run Monday through to Friday – so you will have to commit to the five days, but either morning OR afternoon session. Generally each intern will be required to make notes and observe the entire process.

I understand that classes might prevent anyone from taking up this offer, but if you have the free time in your diary this is an excellent opportunity.

Please contact if you are interested, preferably by the end of this week (17 March 2017).



Harriet Gillies (director), Pierce Wilcox (writer), Mark Rogers (dramaturg)
and Hugh O'Connor (designer) will be the key creatives of the collaborative
project. They are in the Rex 14-26 March.

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We are very excited to have our favourite Theatre Company for Young People with us in the Studio again. Monkey Baa never fail to delight us with their innovative and creative take on the Australian classics. But it is also more than that, they have a firm commitment to relaxed showings, advocating access for all children to enjoy the delights of theatre and performance, as well as a dedicated history of working with teachers in ways to use drama as a tool in education.

Millions of young people around the world have adored the multi award-winning picture book, Diary of a Wombat. Now finally this iconic work by Australian Children’s Laureate (2014/15), Jackie French and Bruce Whatley comes to the stage.

Meet Mothball, the naughtiest wombat in Australia. Bored with her daily routine, Mothball goes in search of shelter and food, creating chaos in the lives of the humans around her.

Doormats, bins and washing lines are no match for this mischievous marsupial. Between a packed schedule of scratching, sleeping and eating Mothball discovers that with a bit of persistence, humans are quite easily trained!

Monkey Baa Director, Eva Di Cesare and a team of revered artists including Puppetry and Movement Director, Alice Osborne (War Horse 2012/13), Designer Imogen Ross (Hitler’s Daughter) and accomplished composer/cellist, Oonagh Sherrard use the magic of puppetry and live music to bring this delightful story for ages 3+ to the stage.

Diary of a Wombat runs at the Lendlease Darling Quarter Theatre from 18 – 24 April & 27 May.

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FORM Dance Projects and Riverside Theatres will present Metadata, an immersive work from the acclaimed dance performance company, De Quincey Co. Metadata includes two works, Pure Light and Moths & Mathematicians, created by leading Australian dance, video, sound and animation artists.

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Martin del Amo and Sue Healy photographed by Gavin Clarke.

Coming to the Rex Cramphorn studio for a three week residency in September/October are independent dance artists Martin del Amo and Sue Healy. They will be conducting choreographic research for their upcoming project The Seeing Space, focusing on issues around presence, presentational aesthetics and the observer/observed relationship.

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Elisabeth Burke is seen here examining the collection of 35mm slides that includes documentation as well as visual material from the archives of Entr’Acte Theatre. Other boxes hold video cassettes in every format from 1 inch Beta to Sony HD, reels of magnetic audio tape, b&w publicity stills, printed programmes and posters, company reports and teaching materials. Photo by Barbara Campbell.

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The four week development of Theatre Kantanka’s Obscene Madame D.—the Department’s major project for 2016—has sadly come to end. Mountains of white fabric, lacey lightfittings, fish bowl, cardboard fish and arte povera-style masks have all left the building.


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Theatre Kantanka was in the University's Radio Studio last week recording the script for Obscene Madame D, the department's major project for 2016. Seen above are Carlos Gomes directing Arky Michaels and Katia Molino with the large-eared model Hillé wearing binaural microphones. Photo by Gail Priest.

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Griffin Theatre’s production of The Bleeding Tree by Angus Cerini has been nominated for three Helpmann Awards in 2016 including for Best Play; Best Direction of a Play (Lee Lewis); and for Best Female Actor in a Play (Paula Arundell).

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The Department of Theatre and Performance Studies welcomes Theatre Kantanka as company-in-residence in the Rex for the creative development of their new work Obscene Madame D. This four week development represents the Department’s major project for 2016 during which undergraduate students have the opportunity of observing and documenting the skills and intuition that go into crafting those magic moments an audience will later encounter in performance. The collaborators on this project are Katia Molino, Carlos Gomes and Gail Priest, all established artists with extensive experience as devisors and performance makers.

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Mens rea explores the concept of shape-shifting, set against the background of the Indian epic Ramayana. Shifting between three of its principal characters Jatayu, Sita and Ravana, Handa explores how their changing intentions trigger physical and emotional transformations. Jatayu (a demi-god vulture) attempts to rescue Sita (the wife of the god Rama) but is captured and mutilated by Ravana (a shape-shifting demon).

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From the 26th of April to the 7th of May, the Rex Cramphorn Studio will host a unique collaboration with the Faculty of Architecture, Design and Planning.
A 3.2 m cube will represent a blank canvas for lighting designers and researchers to discover techniques to enhance the perception of scenic and architectural structures. During this residency Joelene Elliot will explore the visual effects of lighting design methods that manipulate the apparent size of space. Joelene notes, 'I am fascinated by the tangibility of our intuitive response to light. This research has the capacity to enhance designer’s ability to adapt stage lighting strategies to architectural environments'.
As part of the research, Joelene will conduct a series of interactive workshops based on perception, where the viewer will roam through an exhibition-type construct.

Date Saturday 30/4/2016
Time 6:00 - 10:00pm Activity Open for general viewing

Tuesday 3/4/2016
Time 5:00 - 8:00pm Open for general viewing

Wednesday 4/5/2016
Time 5:00 - 8:00pm Open for general viewing

Thursday 5/5/16 6:00
Time 7:30pm Sydney Ideas discussion panel
7:30pm - 11:00pm Open for Sydney Ideas attendees and invited guests

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playwright Julian Larnach and director Luke Rogers

In Real Life is a new play written by playwright Julian Larnach, developed with director Luke Rogers.

This new work currently in development, In Real Life, will bring to life a chilling portrait of our digital lives; a psychological science fiction thriller that seeks to find a human and theatrical response to the technological world around us. The play explores issues of grief and loss, our human need to connect, the essence of identity and personality, and the dilemmas that arise when scientific development goes beyond our moral templates for the world.

This project was conceived whilst Luke Rogers was a Resident Studio Artist at Griffin Theatre Company in 2014. He teamed up with former Griffin Affiliate Playwright and ATYP Resident Playwright, Julian Larnach, and together they researched and interviewed broadly around the subject area of how social media and technology is changing the way we interact and the long-term consequences about how we engage and communicate with one another, consulting with specialists in psychology and media technology to offer further provocations and perspectives.

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We would like to invite you to our new dance short works event HAPPY HOUR. This
is the first of 3 HAPPY HOURS we will hold in 2016, supported by the wonderful
City of Sydney. The program has been created to support the independent dance
ecology in Sydney by providing a platform for developing new work whether they
be slices of a larger work or completed pieces.

HAPPY HOUR (no 1) is curated by dancer, choreographer and film maker Dianne
Busutill and will feature works by Omer and Sharon Backley-Astrachan performing
TOHU and Anna Kuroda performing KANJI.

There are two performances that we can invite you to.
1. Friday April 1st at 5:30pm (this is an extra performance especially for the
ACPE school students)
2. Sunday April 3rd at 5pm (performance for the general public)
We would like to invite you to our new dance short works event HAPPY HOUR. This
is the first of 3 HAPPY HOURS we will hold in 2016, supported by the wonderful
City of Sydney. The program has been created to support the independent dance
ecology in Sydney by providing a platform for developing new work whether they
be slices of a larger work or completed pieces.

HAPPY HOUR (no 1) is curated by dancer, choreographer and film maker Dianne
Busutill and will feature works by Omer and Sharon Backley-Astrachan performing
TOHU and Anna Kuroda performing KANJI.

There are two performances that we can invite you to.
1. Friday April 1st at 5:30pm (this is an extra performance especially for the
ACPE school students)
2. Sunday April 3rd at 5pm (performance for the general public)

At: Readymade Rehearsal Space (above the KU Childcare Centre), Level 1, 247–257
Bulwara Rd, Ultimo NSW 2007
PLEASE NOTE: Entry is OFF HENRY AVE close to the corner of Quarry Lane
, up the
staircase to level 1

RSVP to [] with the date of the performance you would like to attend - let her know that you are from Sydney Uni, Performance Studies.


Take Three is an initiative from the National Film and Sound Archive of Australia (NFSA) to support Australian tertiary students and emerging filmmakers/artists by providing up to three minutes of footage/audio, and ten stills, free of licence fees for use in their projects.

NFSA CEO Michael Loebenstein said: ‘We can’t wait to see what Australia’s creative minds will be able to do with Take Three! We hope that tertiary students, emerging filmmakers and artists will be inspired by the NFSA collection; that they’ll use all their creativity to give a new life to our archival content through their own work.’

‘One of the key principles in our Strategic Plan 2015-2018 is that the NFSA is ‘the creators’ archive’, encouraging the public to re-use the materials we collect, preserve and share. Here are 180 seconds, 180 opportunities to be creative,’ added Loebenstein.

Applicants must be Australian citizens: a) enrolled at an Australian tertiary education institution; or b) emerging filmmakers/artists with no more than two short film or webisode credits, and no other government/private funding sources.

Eligible creatives will be able to use the footage/audio and stills in any artistic work, including film and documentaries; live productions such as dance, cabaret, theatre and opera; visual arts and public art works; music and sound productions; research; and lectures and presentations.

Get inspired watching this mash-up Cameras Roll. Watch this

Take Three is an ongoing initiative.

For more details about the eligibility criteria, and an application form visit the NFSA website


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Monkey Baa Theatre Company, rehearsing towards production, THE PEASANT PRINCE
Based on the book by Li Cunxin (illustrated by Anne Spudvilas)
Directed byTim McGarry
Written by Eva Di Cesare, Sandra Eldridge and Tim McGarry

The Peasant Prince will be an hour long theatrical journey, combining text, dance, movement, musical-motif and AV in its storytelling. The actors will play numerous roles, and the staging will encompass the worlds of an impoverished village in rural China during Mao’s reign, the dance studios of the Beijing Dance Academy and the stages hosting the Houston Ballet in the USA. Monkey Baa have developed this work, closely with dancer and author Li Cunxin.

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By Jennifer Peterson-Ward

Wenceslaus Hollar's sketch of the Globe. Image: Yale Center for British Art, courtesy Tim Fitzpatrick.

A University of Sydney academic’s research into the second Globe theatre has led to the world’s first faithful reconstruction in New Zealand.

Tim Fitzpatrick, Honorary Associate Professor from the Department of Theatre and Performance Studies, has spent years studying the second Globe theatre, which was built by William Shakespeare and his company on the ruins of the first Globe in 1614.

Unlike earlier research on the Globe theatres, Associate Professor Fitzpatrick’s reconstruction model was based on a reinterpretation of a sketch by renowned Czech panoramist Wenceslaus Hollar - the only known contemporary image of the Globe.

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Co-presented with the Centre for Values and Ethics in Medicine (VELiM) and the School of Public Health in the Sydney Medical School, and the Department of Theatre and Performance Studies at the University of Sydney

BALL & Other Funny Stories About Cancer is a collection of performances reflecting on a history of cancer and the patient experience. Drawing from ten years of monologues and spoken word performances, Brian Lobel presents an hour of humorous, provocative, interactive and thoughtful reflections, which have been presented throughout the world in a wide variety of medical, theatrical and artistic contexts.

On the day of his cancer diagnosis, Brian began writing notes about his experience with illness: the unfamiliar language, the awkward silences, the strange sensations. The writing eventually became BALL, his first full-length monologue which toured the world to thousands of audience members including medical students, doctors, patient groups, and people who just wanted to hear the (un)inspiring story.

But just like so many people with cancer, Brian noticed that he did not stop thinking about his body, and particularly how it was changed through illness. Instead of shutting up and getting 'back to normal', Brian continued to create shows from different distances from his illness. Each story captures a different moment in the journey, and asks different questions along the way.

Brian’s performance will be followed the opportunity to ask questions from the floor.

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Don't miss Nigel Kellaways GLORIAS – it will be performed at the Powerhouse Museum on Saturday 13 & Sunday 14 February @ 6pm.
Tickets are now on sale here - concession price is available to Performance Studies staff and students: $25.

This work was Department's major project for 2014.

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click here
One of greatest operas of the 20th century The Cunning Little Vixen is a philosophical reflection on the uneasiness of man's relationship with the natural world and his own nature. Told through the intertwining stories of a beautifully glorious vixen and the Forester who attempts to tame and contain her, the opera is at once playful and charming, sexy and deeply tragic.
Students, two-for-one ticket offer for you, too! Use the code word "VIXENCON" here and receive 2 tickets for $30.


From 25 September to 10 October, Sydney Dance Company will be joining legendary songstress Katie Noonan and ACO2 live on stage for Triptych - an evening of breathtaking dance set to the shimmering compositions of Benjamin Britten showcasing dramatic costumes by Toni Maticevski.

SDC are offering a reduced ticket deal to under 30s so for more information please click on the following link.
Sydney Dance Company Triptych Under 30s cheap ticket deal


My Darling Patricia developed The Piper in the Rex Cramphorn Studio as part of PRFM 3962 Inside Rehearsal in 2011. In 2014 it won the Sydney Theatre Award for Best Children’s Theatre. It is currently being performed as part of the Edinbough Festival.


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Pulitzer Prize winning playwright (2014, The Flick), Annie Baker's play, The Aliens, will have its Sydney premiere at The Old Fitz. A smash hit in New York and London, Outhouse Theatre is proud to present this award-winning work from the most acclaimed playwright of her generation.

Book online and quote code "Zhoop" at checkout

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Casting Associate, Cinzia Coassin (Hiding, The Code, Camp, Spartacus) is teaming up with Actor,
Mal Kennard (The Matrix, Catching Milat, My Mistress, Pawno) to offer a powerful learning opportunity for actors who want to take their career to the next level.

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One of our (favourite) past students is returning to rehearse The Dapto Chaser.

Dino Dimitriadis of The Apocalypse Theatre Company will present The Dapto Chaser as part of Griffin Theatre’s Independent Season from 1-27 July 2015.

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Win a double pass to Griffin Theatre Company’s THE HOUSE ON THE LAKE starring Jeanette Cronin (The Boys, Holding the Man) and Huw Higginson (The Bill, EastEnders). The House on the Lake is a psychological thriller so crafty it's criminal. Mired deep in layers of deception, it's a puzzle of a play certain to engage the intellect and assault the nervous system.

To go in the draw to win a double pass to The House on the Lake on Tuesday 19 May at 7pm email with the subject line LAKE USYD.



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Image: Lucy Parakhina

This piece was developed in part during a residency at the Rex Cramphorn Studio in 2014. Tukre’ explores how lineage and rites of passage transcend borders. Inspired by the contents of his luggage on arrival in Australia, Raghav creates a memory map of his heritage through music and dance. His movement, which combines delicate linear masculinity with speed and precision, is inspired in part by his grandfather, who as a jewel maker, spent his life “faceting” gems and diamonds – cutting, shaving and shining precious stones. By mapping memories, Raghav uncovers how history is passed down through bloodlines, frying pans and faceting techniques!

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Monkey Baa Theatre Company is once again about to take up camp at the Rex Cramphorn Studio to rehearse a new theatre work The Unknown Soldier. Led by creative director and writer Sandie Eldridge, the company is developing a new work which explores the themes around the Unknown Soldier; who is he and what he represents to young Australians today. Set on the battle fields of WW1 and in twenty first century Australia, the play follows the dual journeys of a 16 year old soldier Albert fighting for King and Country, and 13 year old Charlie, who is coming to terms with his Dad, a returned soldier from Afghanistan Directed by Matt Edgerton designed by Anna Gardiner, this two hander is being performed by Sandie Eldridge and Felix Johnson, and will premiere at Monkey Baa’s home base in Darling Quarter before embarking on a regional tour around NSW theatres.

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Tuesday and Wednesday $20 student concessions on April 21, 28, 29, May 5, May 6

World première April 22nd, King St Theatre Newtown

Melvyn Morrow’s play, Vice, looks at an accusation of sexual assault in an exclusive north shore Catholic boys’ school.

In the shameful and criminal tragedy of sexual assault in schools, Vice provides a disturbing footnote, looking through a dark lens at the maze of motivations swirling around the underworld of staff and students. Every school is a complex and unique human network: inspiring, dangerous, eccentric, funny, political, toxic and frequently like something out of a play or movie. Vice is the play which tackles a controversial subject head on. There are many twisted strands to the hangman’s rope.

Directed by Elaine Hudson and design by Markus Weber, Vice features Margi De Ferranti, Roger Gimblett, Jess Loudon, Christopher Hamilton, Jonathan Deves and Ben McCann.

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Jenny Leong. Image taken from :

In the NSW State elections held last weekend, candidate for the Greens party Jenny Leong won the newly establish seat of Newtown. It is quite well known that Jenny was a student at Sydney University, and that as a postgraduate student she was President of the Sydney University Postgraduate Association and a fellow on the University of Sydney Senate. What is less well known is that she is a graduate from the Department of Performance Studies. In 2000 Jenny completed her Honours degree, with a casebook called ‘Tales from the Rehearsal of O’Punksky’s Bailengangaire’. She later commenced a PhD with the department.


CASTING FOR 3 ACTORS to play troubled Med Students

Medical Humanities in association with Media Production ICT are producing a short video (trailer) to draw attention to bullying and harassment.
Under the project title of ‘Grace Under Pressure: Enacting professionalism’, the aim of this trailer is to interest Med Students to enroll in future workshops that will address these important issues.

We are casting for 3 actors to play med students, with all roles having dialogue and sub-text.
Although we can offer only a token payment of $200, you will be working with a professional crew, including an award-winning Director (who also wrote the script).
We will be filming with 2 HD cameras (Lumix) and catering will be provided.

Shoot Date: Thursday 9 April 2015 |

Times: You will be required from 10.30 am to 4.30 pm.
Shoot Location: Various locations around university, including New Law and the Quad.

Script Title: AMY
Casting briefs:
Amy - already cast – Lead role. Amy's distress is not revealed. It could be from bullying, sexual harassment, humiliation, burnout, or something else.

Beth - 20–30, any ethnicity, casual attire. Beth is a good friend and a strong support for Amy. She reveals a hidden fun side and makes the others laugh.

Craig - 20–30, any ethnicity, casual attire. Craig is a thinker and responsible, who is receptive to new challenges.

Dave - 20–30, any ethnicity, casual attire. Dave loves giving impromptu performances. He sees the fun in things but can also be serious when required.

RSVP: [Before Thursday 2 April 2015.]
If interested and available, please contact Julie Beesley (Production Manager) for further details and a copy of the script.
E: | T: 9351 7014


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To read more about the rehearsal process click read what Nick Hope has to say Here


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Five thematically interlinked explorations of male narcissism: Five Properties of Chainmale

Five Properties of Chainmale is a new Australian play to be rehearsed in the Rex Cramphorn Studio. It was written by, and will be directed by a PhD graduate of the Department of Performance Studies, Nicholas Hope. It premieres at the Griffin Theatre on the 15th April.

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Barbara Campbell, performance still, “Well, there you are”, 2015

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The seminar this Friday, 13th March, 3pm—5pm, in the AV Room (Woolley S113) is with Dr Lowell Lewis, Honorary Associate, Department of Performance Studies.

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Oppenheimer is a modern Noh play in English about the American scientist, J Robert Oppenheimer, and the development of the atomic bomb, which was dropped on Hiroshima on 6 August 1945. It explores issues of guilt, atonement and redemption, but within a Buddhist rather than a Judeo-Christian framework. Here tensions between insight and responsibility/karma are explored through the Zen story of Hyakujo and the fox and themes of liberation/redemption are framed by the actions of the fearsome Buddhist Wisdom King , Fudo Myô-ô and the wheel of samsara (endless birth and death).

Oppenheimer has the structure and form of a traditional mugen Noh , where the main character is the ghost of a person who, because of some karmic hindrance, is unable to leave their human form at death. In many cases, the action of a mugen Noh play will free the ghost from the wheel of samsara, so that they can attain liberation. In this play, the ghost is that of J. Robert Oppenheimer, who, tormented by the horrible consequences of his action in fathering the atomic bomb, is condemned to return each year to Hiroshima to himself suffer the agonies that his weapon caused. Through a contemplation of the traditional Zen story of Hyakujo and the fox (Mumonkan, Case 2), the ghost of Oppenheimer is finally released from his suffering when he encounters Fudo Myô-ô within the fires of Hiroshima. Fudo gives Oppenheimer his sword and snare, so that he can dance for the liberation of all beings from suffering, and in particular the wounds and scars that we all bear as a result of the atomic bombing of Hiroshima.

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Team MESS and the development of TROJANS

A colleague of the Team recently described their practice as being “allergic to content”, and with Trojans that might be truer than ever. Even a couple of hours before doors open, they don’t have a show. What happens between the projected idea and its realization is exciting to watch unfold.

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image taken by Michelle St Anne, Living Room Theatre Comapny rehearsals for She only barks at night.

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The City of Sydney seeks Expressions of Interest for Art & About Sydney 2015/16.

Do you or an artist you represent have a big idea that temporarily transforms public and unusual spaces in the City of Sydney? Ideas and proposals from all art disciplines are welcome.

We’d love to hear from visual artists, curators, performers, collectives, filmmakers , musicians, writers, composers, theatre companies, producers, choreographers and anyone with a big idea that meets our brief.

A range of projects and installations up to the value of $80,000 will be considered.

Art & About Sydney 2015 will run from 18 September – 11 October 2015. In addition to our 2015 Festival, we will produce a number of works outside the festival period on a project basis.

For a copy of the brief and submission form visit



CDP Theatre Producers is an award winning theatre production house specialising in boutique theatre of the highest quality.
CDP’s productions for children and families include adaptations of popular books including 
The 26-Storey Treehouse, The 52-Storey Treehouse, The Incredible Book Eating Boy and
The Gruffalo’s Child. 2015 will also bring a new adaptation of the iconic tales of Snugglepot and Cuddlepie.

CDP requires casual merchandise assistants for our productions throughout 2015 in Sydney, Melbourne and Brisbane. Duties include stocktaking, display set up, merchandising, customer service, cash handling and some daily reporting. There may also be some lifting required as part of the role.
Hours and days will vary from production to production making this role perfect for those seeking flexible hours. We are looking for people who are friendly, flexible, comfortable working with people of all ages and interested in the performing arts industry.

Please send through a cover letter and CV to Erin Fenech ( more information, feel free to visit our website CDP theatre producers.

Applications close Friday 28th November 2015
Email to:


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AnNua Productions, working in Ireland and Australia, have received funding through Arts Northern Ireland and the British council to gather audio and visual material toward the creation of their new production ‘Home’. ‘Home’ is a play which uses live performance, digital audio and visual composition and shadow play to tell the cheeky and dark story of child migrant from Irelands troubled North. In doing so, it investigates and includes input from migrants and refugees from numerous locals while commenting on people movement, borders and nationalism within Australia and elsewhere.

During November AnNua will be experimenting with samples of light and sound gathered from Ireland and Australia’s physical and social environments in the Rex Cramphorn Studio.
The Director, Paul Moore is a Phd graduate from Performance Studies, Sydney University.

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Photo credit: Heidrun Löhr

During his residency, choreographer and dancer Martin del Amo continues his collaboration with acclaimed dance artist Sue Healey. The focus of their studio investigation is to generate choreographic material for a new duet set to Morton Feldman's Piano and String Quartet.

Martin del Amo is an Honorary Associate of the department.


The Department of Performance Studies enjoys working closely with the Griffin Theatre Company. I recently went to the launch of their 2015 program and was delighted to see that two of our recent student graduates are involved in performances that make up the 2015 program.

Nicholas Hope graduated with a PhD in Performance Studies in 2010. He has written and will now direct ‘Five Properties of Chainmale’ which previews 15-16 April, and it’s season runs 18 April – 9 May. You will hear more about this soon, as the cast will rehearse in the Rex Cramphorn Studio from the end of March 2015.

Dino Dimitriadis, a recent Honours graduate is the Producer for ‘The Dapto Chaser’ which runs 1-25 July 2015. I will contact Dino soon and interview him about this play, let me know if you’d be interested in having him come in to chat to us about what he’s doing.



A workshop-symposium led by


24 – 29 NOVEMBER 2014

Monday-Saturday 10:00am – 5.00pm daily

Public Symposium 30 November 2014 3.00pm – 6.00pm

The University of Sydney

Following from the highly successful 2012 and 2013 events Frank and Tess will continue to share and explore the legacy of images that were an integral part of their BodyWeather training and performances within Min Tanaka’s MAI-JUKU performance group in Japan from 1984 until 1991. In addition, a new Image flow will be developed that reflects current cultural and scientific developments and interests.

Dancers, artists, artist-academics and academics are invited to participate in a six-day process that consists of a 6-day workshop followed by a public symposium. They will further explore a new format for an interdisciplinary exchange between practitioners and writers in order to enhance the amalgamation of theory and practice research of images within the moving body.

Besides a rigorous introduction to the images and methods of BodyWeather image-practice, participants are asked to reflect upon areas of interest for further shaping whilst engaging with writers and thinkers to tease out questions underlying the physical work.

Dr Amanda Card from The University of Sydney will facilitate the input from the artist/academics observing or integrated within the image practice and research during the workshop phase. Daily review and coordination by Frank, Tess and Amanda will ensure a balance of physical and discursive work throughout the process.

The final day opens out this process to audiences in a symposium with a focus on the nature and function of ‘images’ and their embodiment from a BodyWeather perspective. Besides exploring the use of imagery across different cultures, this public event will include the demonstration of workshop and image techniques as well as the construction and articulation of images from an ancestral and cross-cultural perspective with contributions from a number of independent BodyWeather dancers.

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image credit: Mayu Kanamori

Linda Luke is a recent artist-in-residence and the work she developed (STILL POINT TURNING) while in residence with the department will premier at the Melbourne Festival this weekend. We would like to congratulate Linda Luke on her work, and also Justine Shih Pearson (recent PhD graduate from the Department of Performance Studies) for her costume design on STILL POINT TURNING.

STILL POINT TURNING will tour to the following venues in 2014.
Oct 17 & 18 at Dancehouse for Melbourne Festival Melbourne Festival

Nov 27 – 29 at Parramatta Riverside Theatres for Dance Bites Program
BOOKINGS: Bookings

Dec 13 at Wagga Wagga Art Gallery

For more information about the development of this work visit our blog:
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In the Rex Linda Luke 1

Image: Mayu Kanamori


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author of 'Girl Shut Your Mouth' Gita Bezard.

An exciting collection of new plays for development in the Rex Cramphorn Studio this October.
The National Script Workshop is Playwriting Australia’s most popular and valuable opportunity for playwrights with a new play in development. From one-day play reading with immediate dramaturgical feedback, to an intensive week or fortnight workshop, we offer selected playwrights the time, space and expertise from outstanding creatives and actors to take their play closer to the stage. Workshopped plays are also in consideration for showcase at the National Play Festival each year.

For their October residency, Playwriting Australia is thrilled to support three new plays part of the seven selected works chosen from 99 script submissions, open to playwrights nationally as well nominations by theatre companies working with playwrights from diverse cultural backgrounds.

The three selected playwrights Gita Bezard, Joe Lui and Melissa Reeves will work on their new plays with PWA's Artistic Director Tim Roseman, Associate Artist Iain Sinclair and guests artists across two weeks from Monday 6 October - Friday 17 October.

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Image: Justine Shih-Pearson, Richard Manner and Clyte Smith

Linda Luke has been in the Rex Cramphorn Studio for the past couple of weeks. She had this to say about the final creative development for ‘Still Point Turning’ which premiers at Dancehouse for the Melbourne Festival.

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ARC Centre of Excellence for the History of Emotions, in association with the Department of Performance Studies and the Sydney Conservatorium of Music at The University of Sydney is to host a collaboratory entitled:

‘The Voice and Histories of Emotion: 1500-1800’

Dates: 29th September to 1st October
Venue: Department of Performance Studies (29 September - 1 October) The University of Sydney
9.00am to 5.00pm

· Prof Will West, Northwestern University

· Dr Richard Wistreich, Royal Northern College of Music

The Centre for the History of Emotions (CHE) Performance Programme explores how emotions were performed and experienced within their historical contexts. The voice is a principal instrument of human communication and expression and as such, a crucial site of our investigation. Spoken, thundered, squeaked, screamed, coughed, solo or in chorus, on stage or in the street, the voice invites critical consideration as the circumstances and circulations of its performance as captured in archival, textual, imagistic traces are varied and variable. This collaboratory affords the opportunity to interrogate research methodologies available; question what research evidence of the ‘voice’ in history comprises – its validation processes and the problems it presents – and explore new theoretical and methodological approaches to ‘voice’ and the histories of emotion in which it operates. Though voice is a broad category embracing physiological and phenomenological concerns, this collaboratory proposes four main rubrics:
Skill and the Natural Voice
Voice, Place and Body
Harmonies and disharmonies
Audiencing: the generative work of listening to and interpreting the voice

For more information History of Emotions.


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Ok, so you all know by now that we love artists - but now you know what we really love - we love their dogs. Meet (Honorary Associate) Tess de Quincey's gorgeous standard poodles, Flame, Trotsky, and Chagall, sitting in Dr Card's office discussing serious Bodyweather matters.