tag:blogger.com,1999:blog-8205379320473268642011-11-24T22:00:18.144+11:00Compromise is our business: responses to theatre, art, and politicsREVIEWS, RESPONSES, REFLECTIONS, RESEARCH, RANTS AND RAVINGSDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.comBlogger831100tag:blogger.com,1999:blog-820537932047326864.post-5257351168904134412010-10-12T11:08:00.006+11:002010-10-12T11:40:53.201+11:00Labours of love: Whittaker and Caesar's StarfuckersFollowing in the tradition of famous artist couples such as Marina Abramovic and Ulay, performance maker Malcolm Whittaker and his partner Laura Caesar, billed as a “primary school teacher and arts and crafts enthusiast,” developed and performed the durational performance Starfuckers. Whittaker and Caesar’s suburban narrative landscapes offer a significantly more intimate if lower-key performanceDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-47684393823603990032010-10-06T22:47:00.004+11:002010-10-06T23:58:22.501+11:00I'm trawling through my old notebooks, looking for my descriptions of my first meeting with Paul Dwyer to talk about what became The Bougainville Photoplay Project. What I hope to find is something of the pre-history of the work to use in a note I'm writing for the published performance text that will shortly be released through Currency Press. Whilst I've found lots of rehearsal notes from the David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-53804679982918822902010-02-13T12:52:00.004+11:002010-02-13T13:04:41.509+11:00Beauty disturbed: Ruhe, Sydney FestivalUpon entering Sydney University’s Great Hall, I am faced with a multitude of tightly packed mismatched chairs filling the space. Watched by portraits of past Chancellors, I negotiate my way amongst other audience members to find a place to sit. As the last stragglers are seated, an ordinary-looking man in front of me stands on his chair, joined by another eight men. These men of the renowned David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com1tag:blogger.com,1999:blog-820537932047326864.post-79965306681067527112010-01-21T13:53:00.005+11:002010-01-21T14:35:28.668+11:00Urban navigationIn the midst of an interesting, but yet-to-become-exciting Sydney Festival, I've happened in the last week to read two gorgeous blog postings about civic navigation. In a post entitled 'The things nobody tells you about Berlin', intrepid guerrilla semiotician and international-woman-of-mystery Jana Perkovic reflects elegantly about the "combination of relaxed slowness and elephantine change, of David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com1tag:blogger.com,1999:blog-820537932047326864.post-3843301332339221792010-01-13T21:16:00.003+11:002010-01-13T21:28:40.148+11:00New year, new blogDear fellow cyberspace dwellers,Welcome to a brand new year. And unlike that troublesome 2009, I'm confident that this will be a great one.For those of you who follow this blog for version 1.0 news, I've decided to set up another blog dedicated solely to version 1.0 projects, and that can be found here: http://versiononepointzero.wordpress.com/ Over the next few months, I'll be archiving a range David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-43263332172716931872009-12-15T11:37:00.004+11:002009-12-15T11:45:12.157+11:00Innocents retrieved: UTP's The Fence for Sydney Festival <!--[if gte mso 9]> Normal 0 0 1 61 348 2 1 427 11.1282 <![endif]--><!--[if gte mso 9]> 0 0 0 <![endif]--> <!-- /* Font Definitions */ @font-face {font-family:"Times New Roman"; panose-1:0 2 2 6 3 5 4 5 2 3; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:50331648 0 0 0 1 0;} /* Style David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-15252938830448564612009-11-27T12:30:00.005+11:002009-11-27T12:45:04.757+11:00The pleasures of patriarchy: version 1.0’s THIS KIND OF RUCKUSThis is a piece that I started a couple of months ago in response to some thoughts expressed in our artist talk for THIS KIND OF RUCKUS. Like much of my current writing, it's been languishing as I grapple with the endless paperwork that running a so-called 'Key Organisation' entails. Given the current swirling discontent around gender equity in writing and directing theatre in Sydney (not formal David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com1tag:blogger.com,1999:blog-820537932047326864.post-17722765810782387432009-09-20T11:20:00.007+10:002009-09-20T11:41:20.331+10:00A note on the video in version 1.0's THIS KIND OF RUCKUSThere’s a moment in many sporting matches (especially cricket and rugby league) where on-field arbiters are faced with moment in which they feel that their perspective is imperfect in order to make a definitive decision – in or out, try or no try. At these moments, they turn to the video, and ask for the camera to closely analyse and review what just occurred, often moments so fleeting that they David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com1tag:blogger.com,1999:blog-820537932047326864.post-61747581732618477052009-08-01T20:14:00.007+10:002009-08-10T23:09:20.507+10:00Video notes 2: Le Dernier Spectacle (The Last Performance) (1998) by Jerome BelI posted the first of these over a year ago, but its taken me a while to get back through my notebooks. To recap the nature of this side project: Taking a lead from Christine Evans, I'm going to post in installments my notes on a series of performance documentations I watched in the Live Art Development Agency's study room whilst in London in November 2007. Not quite reviews, these notes are David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-36245407089456333232009-07-31T20:44:00.005+10:002009-07-31T21:02:35.045+10:00Making sense; or what on earth is it that we are doing, and how might this possibly be achieved?We're deep into rehearsals for the new version 1.0 project, This kind of ruckus, which will open at Performance Space @ CarriageWorks on September 4. It's a project in which we have got lost many times, and have traveled down many blind alleys following red herrings, if, dear reader, you might excuse such a mangling of metaphors. Like every one of our performance works, this one has felt utterly David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-5427215796362601882009-06-17T12:33:00.003+10:002009-06-17T12:57:27.983+10:00Interview with Andrew Morrish 10/3/2003Old interview, but some beautiful wandering thoughts on performance and politics, conducted in the comfortable environs of the Rose of Australia Hotel in Erskineville as the rain poured down outside. This was supposed to be research for my thesis, but never made it in anywhere in the end. I love this conversation, and miss Andrew working in Australia - he was a continuing inspiration.AM: what canDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-39113911828049244082009-06-17T11:57:00.003+10:002009-06-17T12:23:07.535+10:00Interview with Natalia Koliada, producer, Belarus Free Theatre, 17/1/09I conducted this interview with Natalia Koliada during her company's visit to Sydney in January 2009, and it was used as the basis for a feature article in RealTime. I thought that the interview was quite fascinating (not least for the company's apparent focus on celebrity validation, and for the ineptitude of my interviewing technique), and so transcribed the whole thing. For more about Belarus David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-78402218149289389532009-04-11T13:23:00.003+10:002009-06-17T11:23:14.060+10:00At the bottom of the gardenA dark and mysterious backyard dominates the space of Night Garden. Viewed from either end of CarriageWorks’ cavernous Bay 20, the centrepiece of this stunningly realised stage environment is a small shed in which all of the walls are transparent—a glasshouse, seemingly itching for stones. Surrounding the house is a shadowy lawn incongruously populated with sun lounges, a clothesline and a David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-43633601225603522552009-04-09T19:11:00.003+10:002009-04-09T19:18:23.490+10:00Blast Theory: Small secrets in public spacesNavigating my way through crowds of tourists at Circular Quay, I arrive at a special check-in counter inside Sydney’s Museum of Contemporary Art ready to experience Brighton UK-based new media group Blast Theory’s Rider Spoke. The artist team who welcome me—core Blast Theory artists Matt Adams, Ju Row Farr and Nick Tandavanitj with the able assistance of a group of local guest artists—are polite,David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-10789880419566975132009-03-05T14:28:00.006+11:002009-03-18T19:05:06.000+11:00Funding advice video online nowFor those of you who might be interested, my helpful advice to writing successful funding applications to the Australia Council's Theatre Board has been included in a range of short video interviews posted on the Australia Council's website. I must confess to traveling directly to this interview from a long boozy lunch at another blogger's place, so I was definitely half tanked at the time. For David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-79889307184619814092009-02-22T01:05:00.003+11:002009-02-22T01:13:55.669+11:00Belarus Free Theatre: an aesthetic opposition first of allThe Minsk-based performance group Belarus Free Theatre made their much-anticipated Australian debut with Being Harold Pinter at the Sydney Festival, and this work took on a great poignancy following Harold Pinter's recent death on Christmas Eve. Much of the excitement around this company’s work derives from its political context. Described by producer Natalia Koliada as “Europe’s last David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-54366369430138150172009-02-04T16:35:00.005+11:002009-02-05T10:31:12.611+11:002009 performance hots up!Now I've finally got 2008 out of the way, it's time to plug some fantastic works opening over the next month or so. Despite the grimness of the Arts NSW funding results that effectively decimated the Sydney performance community, there's some exciting work on the way. (Actually, 'decimate', meaning as it does the killing of 1 in every 10, is probably not harsh enough. Given Arts NSW effectively David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com4tag:blogger.com,1999:blog-820537932047326864.post-6809453869045186072009-02-03T15:29:00.004+11:002009-02-04T10:50:12.425+11:00Most interesting performance works of 2008OK, I'm well aware that it's pretty ridiculous to post a 'best of' list for 2008 on the 3rd of February 2009, but... well, that's what I'm going to do. So there. I've been having some great conversations over the last few weeks at the Sydney Festival with local artist colleagues and visiting types, and while we've swapped endless opinions about the shows we'd just seen over many many drinks, a David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com4tag:blogger.com,1999:blog-820537932047326864.post-83748285816616880272009-01-10T14:33:00.004+11:002009-01-10T14:47:22.652+11:00Night of The HooferAlong with 70 or so other keen followers of the Sydney dance trio The Fondue Set, I'll be dancing their delightful (and exhausting) choreography known only as 'The Hoofer' tonight for the opening of the Sydney Festival. For those after a sneak peak at the routine, enjoy the wonders of YouTube here! Here's the blurb from the Sydney Festival site:"The Hoofer is a relentless unison routine, a large David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-61560618911840430872008-12-17T23:39:00.005+11:002008-12-17T23:51:29.897+11:00'Love your work' report releasedFor those who are interested in staying abreast of federal arts policy, there's an interesting report just released from the Major Performing Arts Board of the Australia Council called 'Love your work'. Researched by Jackie Bailey, the report analyses the theatre sector nationwide, focusing especially on the linkages between the fringe, the small-to-medium sector, and the Major Performing Arts David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-91975817431611645362008-12-07T12:26:00.006+11:002008-12-16T17:16:14.295+11:00"OK, you should stand by after I enter in a tank. No, even better - when the dog drives off in the taxi"Long time, no posts. I know that I've said it before, but I can be a very bad blogger. I can safely say however, that there have been many many things to do, and very little time to reflect upon it all. Hopefully there will be some such reflective moments in the alleged holiday that surrounds Christmas time. Perhaps I'll be able to string two days off in a row! Stranger things have happened.But David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com1tag:blogger.com,1999:blog-820537932047326864.post-74886373114539622572008-11-05T00:28:00.006+11:002008-11-26T22:14:24.261+11:00A decade of critical upgradesA lecture performance by David Williams. First performed at This is the time..., curated by pvi collective. Artrage Festival, Perth, 1st November 2008. “Righto! Thank you. Righto. Ladies and Gentlemen: Please! Please! Please! Ladies and Gentlemen. My fellow Australians. Heh. Heh. Heh. Can I just say, please please, first of all that I am truly humbled by this extraordinary expression of David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com3tag:blogger.com,1999:blog-820537932047326864.post-26876567382241443472008-11-04T23:54:00.004+11:002008-11-05T00:16:17.131+11:00Life on the insideBubble presents three unnamed characters (Anton, Alexandra Harrison, and Ingrid Kleinig) trapped in a mildly claustrophobic domestic space, each just hanging out. The space is cluttered with an armchair, a bed, table and chair, an old suitcase under the table, rugs on the floor and a crinkly paper-covered wall upstage. It is unclear what the relationship between the characters is, other than David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-81423401404759139172008-10-08T11:03:00.003+11:002008-10-08T11:07:28.399+11:00At war with warNigel Jamieson’s Gallipoli begins, appropriately enough, with a drill. The massed company, 35 actors strong, enter in khaki and stand crisply before us. A sergeant shouts them through their formal paces—standing at attention, bringing rifles to bear, presenting arms. Like all of the physical sequences throughout Gallipoli (movement director Gavin Robbins), this is a well-executed performance, a David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-69733292905308797332008-09-24T22:55:00.007+10:002008-10-08T11:10:33.384+11:00Collaborative communication and action: working languagesAnother excerpt from the old Honours thesis, this time some musing on collaborative practice and its uses of, and relationships to, language. I'm interested in this one because there's some good, if simplistic, propositions about how groups develop working languages and performative shorthand. Another trip down memory lane, indulged in to (partly) fill the six hour return train journey to David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-36080410953584818052008-09-24T22:22:00.004+10:002008-11-26T22:08:40.560+11:00This is what you missed…“If theatre’s privileged document has largely been the precedent texted play, Live Art’s legacy for the archive has generally been the documentary photographs and narrative accounts that appear to follow in the wake of an act. Still, in most instances of Live Art, the photograph is a supplement, a stand-in for the event itself, or an instance of its traces or detritus. In such cases the David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-42691527898885916802008-08-31T22:40:00.007+10:002008-08-31T23:14:41.200+10:00Arts NSW new funding program now releasedNSW artists and arts organisations will be greatly relieved to know that Arts NSW's long-awaited new arts funding program guidelines for 2009 have finally been released, details here.For those who haven't been following the extended saga of the Arts NSW funding policy changes, there was a grants review initiated by Arts NSW themselves in late 2007, with some 49 arts organisations contributing David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-77071011737803293452008-08-26T16:23:00.005+10:002008-08-28T16:43:35.042+10:00Some thoughts on collaboration and group-devised performanceDue to my new sessional lecturing gig at the University of Western Sydney, I've had to dig through a lot of my writing archives to find material for lectures, and much to my surprise, some of my older writings are actually quite interesting. At least to me. This passage is an excerpt from my Honours thesis, submitted in 2000, and while I probably wouldn't write in this way today, I'm quite taken David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com6tag:blogger.com,1999:blog-820537932047326864.post-73254494860521194322008-08-06T20:59:00.003+10:002008-08-06T21:18:42.973+10:00the job-ready graduate: on the right pathOver the last decade there have been a range of policy initiatives to support young and emerging artists to develop innovative practice, for example the dedicated funding categories at the Australia Council and mentoring schemes such as Youth Arts Queensland’s Spark program. What appears unexamined in this focus on artist emergence is the university sector, from which many of these young artists David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-70022356623897121122008-06-05T10:14:00.006+10:002008-06-05T15:45:28.098+10:00From the archive to serve as a preview: Taking it far too far – the awkward artless art of The Fondue SetOne of my favourite performance groups in the country, the sublime dance trio The Fondue Set, opens their new show No Success Like Failure at the Studio at the Sydney Opera House tonight. I can't hardly wait! After a couple of months of desperately mediocre performance work in Sydney, this week we're blessed by not one but two amazing works, the other being the exhilarating spectacle of Branch David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-83079541044327773382008-06-05T10:06:00.003+10:002008-06-05T10:13:48.422+10:00Intercultural harmonising: a conversation with Citymoon's Ta Duy BinhIn December 2007, performer and director Binh Duy Ta and video artist Peter Oldham travelled to Vietnam to undertake research and development for Citymoon’s latest work, Yellow is not yellow, a work-in-progress showing of which was presented at the company’s Bankstown home in late March. Ta describes the early days of the trip, driving the streets of Hanoi, with Oldham filming and hanging on for David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-56618783746003667302008-04-11T15:17:00.003+10:002008-04-11T15:39:20.535+10:00Fierce! Festival voting closes todayThe Fierce! Festival, in the West Midlands of the UK, has set an idiosyncratic curatorial task for this year's festival, to be held from 23-26 May, 2008. Taking a leaf out of reality television's pseudo-democratic book, they've asked the audience to vote for their most desired acts to fill the program, with the act which receives the least votes being eliminated each day. Its been fun logging on David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-85157557466336033502008-04-11T13:35:00.002+10:002008-04-11T13:41:10.163+10:00The quick and the dirtyOur host Candy (Victoria Spence) descends the steep aisle and is greeted by great applause. She’s “emerging from 12 long years” that has involved some “deep undercover work called Motherhood”. But now she’s back. It’s been nine years since Taboo Parlour, itself a successor to the legendary Club Bent, appeared during Mardi Gras at Performance Space, and finally Quick and Dirty has arrived to fill David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-21903125023215689692008-04-11T13:06:00.004+10:002008-04-11T13:33:06.710+10:00The rise of the westWhile the resources boom appears to be feeding an arts resurgence in Western Australia, an equally significant artistic boom seems to be reaching critical mass across Western Sydney. With the emergence of a diverse range of new and revitalised spaces, new collaborations, and exciting new visions, could we be witnessing the rise of Western Sydney as a major player in the national arts scene?Read David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-35800486045637605242008-03-06T17:32:00.006+11:002008-03-16T15:07:37.872+11:00RealTime #83 is on the streets and online...... and of course was so almost a fortnight ago. But its been a big fortnight, at least for me. If anyone was wondering what the hell I was writing during January, here's the links to my published responses in RT#83 to the National Theatre of Scotland's Blackwatch, Meow Meow's Insert the name of the person you love, as well as Powerhouse Youth Theatre's City Quest and PACT Youth Theatre's The David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-79290586164266522782008-02-18T11:03:00.003+11:002008-02-18T12:05:56.044+11:00Chronicles of an Imperial Panda Part 2: The Ghost in the SuitcaseThe second show on the bill at Chalkhorse was the premiere of Suitcase Royale's The Ghost of Rickett's Hill. For one reason or another I've always managed to miss the Suitcase Royale when they've come to Sydney, but there has always been a good buzz about their work out there on the local contemporary arts grapevine. Apparently Ghost... represents a change of direction for the company, and David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-35682111099286685282008-02-17T22:35:00.007+11:002008-02-18T10:49:01.595+11:00Chronicles of an Imperial Panda Part 1: Gifted and TalentedLogging on to my Facebook account, I found it filling up with invitations to events that claimed to a part of something called The Imperial Panda Festival. Intrigued, I head along to the launch at Black and Blue Gallery, and find myself part of the humid swirl of the festival - two weeks of art, alcohol, and conversation in an intoxicating and highly satisfying blend. Due to my own commitments toDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com3tag:blogger.com,1999:blog-820537932047326864.post-27479943757730451572008-02-01T02:02:00.000+11:002008-02-01T18:46:48.966+11:00version 1.0's The Bougainville Photoplay in Canberra next weekThe Bougainville Photoplay ProjectA slide show with fireside chatDevised and performed by Paul DwyerDirected by David WilliamsVideo artist Sean BaconTechnical production Russell Emerson1. An eminent Australian orthopedic surgeon makes a series of trips to Bougainville (Papua New Guinea) during the 1960s, just as the era of Australia ’s colonial mandate is drawing to a close. The doctor is David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-23348717491170704982008-01-23T15:22:00.000+11:002008-01-23T15:58:34.742+11:00A propaganda of the truthFrom Dream: Re-Imagining Progressive Politics in an Age of Fantasy by Stephen Duncombe (The New Press, London and New York, 2007, p 20):For years progressives have comforted themselves with age-old biblical adages that the "truth will out" or "the truth will set you free," but waiting around for the truth to set you free is lazy politics. The truth does not reveal itself by virtue of being the David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com3tag:blogger.com,1999:blog-820537932047326864.post-73804911980204929952008-01-11T14:26:00.000+11:002008-01-13T16:24:20.919+11:00Thinking through festival timeIt's always difficult, at least for me, to think too hard for too long through a Sydney summer. Too much heat and humidity seems to turn my brain to mush. So its somewhat of a relief that there are others out there doing some thinking on my behalf. Perhaps they have ongoing access to air-conditioning.First up, Nick Pickard is, somewhat insanely, blogging his way through the entire Sydney FestivalDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-90574623703792022362008-01-08T15:54:00.000+11:002008-01-11T16:47:02.029+11:00Hypothetical manifestoI was fortunate enough to be able to do a workshop on the weekend at Critical Path with the always inspirational British dancer and choreographer Wendy Houstoun. Highly discursive and imaginative, the workshop focused on talk, reflection, and critical appraisal of performance making, niggling at the edges of the what constitutes the "urge to do something, and the forms that this takes." Curly, David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-60298075413924361142007-12-11T21:01:00.000+11:002007-12-14T21:19:04.517+11:00Review: Gilgamesh by Uncle Semolina (& friends)The Studio, Sydney Opera House, 22nd November 2007The work begins, appropriately enough, with an introduction: "A long time ago, when the world was boring..." As if to counteract this perceived boredom, Uncle Semolina (& friends) apply mountains of energy, enthusiasm, and oodles of brightly coloured toys.Gilgamesh, or 'G' (Richard Pyros) is, we are told by narrator Katherine Tonkin, "one part manDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-68220196899250150722007-12-08T18:40:00.000+11:002007-12-11T18:43:07.277+11:00Video Notes 1: Shirtology by Jerome BelTaking a lead from Christine Evans, I'm going to post in installments my notes on a series of performance documentations I watched in the Live Art Development Agency's study room whilst in London recently. Not quite reviews, these notes are largely my own labour of thinking through these works, an interest triggered by the recent performance The Show Must Go On for MIAF.ShirtologieRecorded July David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-79934235418293586572007-12-08T13:17:00.000+11:002007-12-11T18:38:52.969+11:00Borrowing timeLike Matthew over at Esoteric Rabbit, October was a rich month of performance spectating for me, but poor in time to respond to it. I've managed to go some way to addressing this during my brief sojourn in Bristol last month, posting some thoughts about my MIAF trip, but there are a great many works that I haven't had the mental space to address yet, largely a strong set of new works from Sydney David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-84906078416719510872007-11-26T12:31:00.000+11:002007-11-26T12:54:46.500+11:00A certain sadnessAfter many years of trawling through the very many excellent parliamentary reporting and archival websites for performance and research materials for my work with version 1.0, it produced a certain sadness to see the following message appear this morning on www.pm.gov.au: "An election for the House of Representatives was held on 24 November 2007 at which the Coalition Government led by the David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com3tag:blogger.com,1999:blog-820537932047326864.post-64179406062602750462007-11-21T13:33:00.000+11:002007-11-21T13:42:52.421+11:00David is... (ten days of Facebook)David is gainfully employed in a position of responsibility, but undoubtedly he will soon go mad with power. 12:36pm David is contemplating the narrow range of emotional expression that Facebook status updates allow. He is also contemplating his poor command of grammar and syntax. 3:17pm David is contemplating the narrow emotional range of expression that Facebook status updates allow. 12:56pm David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-45940194051686501322007-11-16T10:44:00.000+11:002007-12-03T19:32:34.910+11:00Response: Shibboleth by Doris SalcedoTate Modern, London, November 9, 2007shib·bo·leth n1. a word or phrase frequently used, or a belief strongly held, by members of a group that is usually regarded by outsiders as meaningless, unimportant, or misguided2. a saying that is widely used or a belief that is widely held, especially one that interferes with somebody’s ability to speak or think about things without preconception(courtesy David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com1tag:blogger.com,1999:blog-820537932047326864.post-74176340876522341142007-11-13T03:58:00.000+11:002007-11-14T02:22:06.171+11:00Review: The Show Must Go On by Jerome BelThe Playhouse, Victorian Arts Centre, Melbourne International Arts Festival, 17 October 2007.The DJ (Gilles Gentner) unobtrusively steps out in front of the stage, a large pile of CDs in his hands. Watching him quietly settle in, I become keenly aware of the material weight of the digitised music he carries. Despite 'the show' not yet being 'on', this intensely ordinary pile of CDs carried out inDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-91854708369439901462007-11-11T03:44:00.000+11:002007-11-14T02:18:57.669+11:00Review: Medeia by Dood PaardBeckett Theatre, Malthouse, Melbourne International Arts Festival, 16 October 2007“They’re looking at us,” states an elderly theatre goer to his companion. “Who?” she replies. “The players.” This established, they both return to watching the watching players, waiting for action.This audience conversation neatly framed the performers in Dood Paard’s quietly compelling re-visioning of Greek tragedyDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-39761406617840278532007-10-29T11:40:00.000+11:002007-11-14T02:15:30.686+11:00Review: Death is certainEva Meyer-Keller, Death is certain, as part of Retroflex, Performance Space @ CarriageWorks, 13 October"What I am doing is very small" declares Eva Meyer-Keller quietly as we gather in the intimate but un-theatrical surrounds of CarriageWorks' exhibition space, Bay 19, "so it's best if you stand." Duty done, she turns immediately to her work, approaching the first of two large tables in the David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-6934054649372800832007-10-11T19:42:00.000+10:002007-10-29T13:27:43.877+11:00Retroflex - blink and you'll miss it!Just a quick note to encourage Sydney readers to go and see Retroflex, a dance triple bill opening tonight at Performance Space @ Carriage Works, details here. It features Death is certain, an acclaimed piece from German dancer Eva Meyer-Keller, in Australia as part of Jerome Bel's The Show Must Go On in the Melbourne Festival next week (and I for one will be there with bells on, if you pardon David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-13897535131798457362007-10-10T12:29:00.000+10:002007-10-11T19:41:27.388+10:00Review: Bone and HildaBriefly, I managed to catch the final performance of Hilda at the TAP Gallery on September 20th. It's a dark, deeply cruel, and fascinating text, featuring a fantastic bravura performance from Susie Lindeman unfortunately not matched by the disappointingly one-dimensional performance of Jake Blundell as her rival for the attentions of the ever-unseen Hilda. The production, directed by Jonathan David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-543556650512891342007-10-10T11:08:00.000+10:002007-10-25T19:01:44.963+10:00The Sydney swirl! Bad blogger!Well, what a rich month or two of postings from your compromised host! September came and September went, and only the one token post. Mea culpa. Did I mention in the sidebar that keeping this up-to-date was a non-core promise? I am indeed a bad blogger, and today's post won't do nearly enough to make amends. But one must start somewhere, and today, it will be here.Despite my silence in the David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-58142594271333335642007-09-19T13:03:00.000+10:002007-10-25T19:03:29.238+10:00Happenings, theatrical and otherwiseDespite the words of my Sydney comrade-blogger Nick, bemoaning from beautiful Bundeena the current state of Sydney's theatre scene, it's certainly an interesting time for the arts in post-APEC town. Too much to see! Especially for my completely compromised self, freshly shattered with the triple threat of spring sinus-y flu, post-production slump, and an immediate leap into action on the fly David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-78762615015761952492007-08-25T15:18:00.000+10:002007-08-25T15:33:42.785+10:00Piecing together a scandalous jigsawArticle published on Arts Hub, Friday 24 August.“Your editorial suggesting the Australian Government went to war in Iraq to protect its wheat market is deeply offensive and utterly untrue” Alexander Downer, July 6, 2006In January, the version 1.0 team began work on a performance inquiry into the so-called ‘wheat for weapons’ scandal in which monopoly wheat exporter AWB Ltd paid bribes or ‘David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com6tag:blogger.com,1999:blog-820537932047326864.post-50418871477839752092007-08-17T19:54:00.000+10:002007-08-19T22:04:26.329+10:00Vale Tanja LiedtkeIt is with great sadness that I note the passing of choreographer Tanja Liedtke, who died in an accident this morning in Sydney. Further details can be found here.More extended published pieces on Tanja's life and work can be found here, here, here, and here.I've heard no word about the funeral as yet, but understand that the Sydney Opera House has offered to host some form of artistic memorial David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-74358845868875079192007-08-13T17:08:00.000+10:002007-10-25T19:04:13.457+10:00Contemporary performance: signs of lifeFor those interested, there's a new article by yours truly published in RealTime #80 (August/September 2007), addressing the state of play for contemporary performance in tertiary education.It's an interesting time for the performing arts in Australia. On the one hand, grants have been continually shrinking in real terms, and the political climate has been noticeably anti-arts for the last decadeDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-55315623407581353392007-08-06T19:36:00.000+10:002007-08-06T19:44:18.531+10:00version 1.0's 'Deeply offensive and utterly untrue' details releasedDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com4tag:blogger.com,1999:blog-820537932047326864.post-5552932005115296262007-07-29T21:37:00.000+10:002007-08-06T19:47:24.388+10:00Taking sail: beginning to obsess about and dream the show.Kym Vercoe and David Williams in the workshop stage of version 1.0's 'Deeply Offensive and Utterly Untrue' at Wharf 2 Loud, February 2007. Photo by Heidrun LohrWell its all go go go now... Week 3 of rehearsals is now complete, with 4 weeks to opening night. The media materials have begun to appear, and the show, well the show looks something like this:Make sense? Trust me, as the Prime Minister David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-5532805598693997812007-07-20T22:13:00.000+10:002007-07-21T10:48:50.288+10:00Strangely, I am a war-related book...I don't normally take these online quizzes, but this one looked interesting after following posts from Matthew and Alison. And lo and behold, I ended up as a war-themed book, in the middle of making a show about corporate misconduct and governmental negligence in the build up to a more contemporary war. Even stranger, this book identification was arrived at from asking only six seemingly David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-26066289554284645352007-07-19T22:02:00.000+10:002007-07-20T20:49:04.961+10:00Outside the harbour, the waters are somewhat choppier. Will the ramshackle ship sink without a trace?Devising theatre is always a risky practice. Especially when the materials remain stubbornly and defiantly non-theatrical. Of course, in your average talk-driven version 1.0 process, this quality of risk seems perhaps less of the physical kind, and more a risk that absolutely nothing of any consequence or interest will possibly arise. The aesthetic problems seem insurmountable, and the political David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com4tag:blogger.com,1999:blog-820537932047326864.post-59237917773172986522007-07-11T20:37:00.001+10:002007-07-20T20:57:37.381+10:00Clear skies and smooth sailing (so far)Part of the ideas and research wall, photo by David WilliamsThe great ramshackle version 1.0 ship has slipped its moorings for its latest and perhaps most perilous adventure... Staggering out of our other lives, the devising company has reconvened and its struggling to the best of our ability to make a new show. Or at the moment, trying to remember the detail of what the show is about, and to David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com3tag:blogger.com,1999:blog-820537932047326864.post-26721232731157062722007-07-07T20:29:00.000+10:002007-07-07T20:34:22.874+10:00Complete review: The Eisteddfod by Lally Katz/Stuck Pigs Squealing'The Eisteddfod' by Lally Katz/Stuck Pigs SquealingB Sharp, Downstairs Belvoir St Theatre, 7th and 23rd June 2007Violence abounds in Stuck Pigs Squealing's production of Lally Katz' The Eisteddfod as well, though in this instance the violence occurs (mostly) at a far more psychological level than that occurs to bodies in Post's Gifted and Talented. The effect however, while also hilarious in its David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-66178076658011092012007-06-26T19:14:00.000+10:002007-06-27T21:52:49.247+10:00Getting away with it – pvi collective’s adventures on the dark side of technology'David goes to work' from pvi collective's panopticon: Sydney (MCA, 2004)photo credit: tamera dean, from pvi collective's websiteIn order to celebrate the current production in Perth of pvi collective's latest work 'inform', here's some notes about their ongoing series of works titled 'panopticon'.Perth-based media arts group pvi collective describe themselves in the following terms: "David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-47323200293511499922007-06-24T23:23:00.000+10:002007-06-24T23:30:13.361+10:00Eisteddfod Season Part 2.2. Review: 'The Eisteddfod' by Lally Katz/Stuck Pigs Squealing'The Eisteddfod' by Lally Katz/Stuck Pigs SquealingB Sharp, Downstairs Belvoir St Theatre, 7th and 23rd June 2007 Warning: read Eisteddfod season Part 2.1 first, otherwise this won't make much sense, as it continues immediately on! Gerture (a beautiful halting and vulnerable performance from Katherine Tonkin), by contrast, lives a fantasy job in which she is a teacher. Unlike Abalone's David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-916173187234217772007-06-24T13:56:00.000+10:002007-06-24T15:52:18.346+10:00Notable happenings this weekJust a quick note to mention a couple of interesting projects being conducted around town this week for and by emerging artist types. Over in Carlton at Shopfront, a wild and stormy Tuesday night saw the first outing of the artists from their year-long "hothousing residency" ArtsLab 07, a program of workshops, training, mentorship, and lots of performance making from a very promising team of David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-52004653803367959582007-06-21T15:48:00.000+10:002007-06-21T19:32:35.931+10:00Eisteddfod season Part 2.1. Review: 'The Eisteddfod' by Lally Katz/Stuck Pigs SquealingOK, I promised Part 2, but due to time constraints it is going to have to be in two parts as well, because there is much more to say, and no time now. I wasn't joking when I said that compromise was our business! So in the interim, please enjoy Eisteddfod Season Part 2.1. Think of this as an episodic response to the singularity of the theatrical event. 'The Eisteddfod' by Lally Katz/Stuck Pigs David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-65339573253460468512007-06-17T15:12:00.000+10:002007-06-18T00:00:11.914+10:00Eisteddfod Season Part 1. Review: 'Gifted and Talented' by PostGifted and Talented, Post, PACT Theatre, 16th June 2007 There's something curious in the air, and it's not simply the wild weather that has finally heralded the onset of winter. The first sightings have been made of large groups of young people, mostly girls, in tights and leotards, sequins, lamé, hairnets, hair spray, and far too much make up. Yes, its Eisteddfod season! As the Rock David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-1869598488057056422007-06-07T13:15:00.000+10:002007-06-07T13:46:56.370+10:00Coincidences and new releasesIn another strange coincidence, of which there have been several lately, after reading Chris Boyd's plug (welcome back Chris!) for Sarah Noble's fascinating opera blog Soggiorno Amoroso I took a break from the writing (more re-writing at the moment really, fiddling and fine tuning), and in my (brief) wanders found myself at the UNSW secondhand bookshop. There on the shelf I found, much to my David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-54991287497446200702007-06-04T14:23:00.000+10:002007-06-04T14:37:59.791+10:00Archived Review: Dear All, Theatre PURin lieu of some thoughts on recent local performance work (including three trips to Carriage Works last week, which I will write about after finishing Chapter 6 of the thesis!), of which I do want to respond to but haven't yet had the time, here's a hitherto placeless review from the lost notebook of 2006 to maintain the appetite.<!--[if gte vml 1]>David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-87425457487762938222007-05-28T22:25:00.000+10:002007-05-28T23:09:05.371+10:00Anxiety and dream substitutionsA compromised confession: this post isn't really about theatre.I woke the other morning from my first thesis anxiety dream. Not that I haven't been anxious about it (as I've said to many of my colleagues in the corridors: I do a fine line in denial). But I've not yet had the visceral anxiety dream before, much like the ones I get the week before a performance season. You know the ones, you're David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com8tag:blogger.com,1999:blog-820537932047326864.post-86662364512775766862007-05-15T21:52:00.000+10:002007-05-15T22:05:54.962+10:00Theatre Board releases 'Make it New? Communique 2'For those of you who are interested in such things, the Theatre Board of the Australia Council for the Arts is inviting comments and responses to the latest installment in their consultative future planning exercise 'Make it New'. Their latest thoughts and provocations to the field can be found here. I promise I'll post my own responses to Theatre Board Director John Baylis' proto-policy paper David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com1tag:blogger.com,1999:blog-820537932047326864.post-55893419530246293872007-05-07T12:13:00.000+10:002007-05-08T00:48:34.779+10:00Sydney Dance Company appoints Tanja Liedtke as ADI know it's last week's news, but I too wanted to congratulate Tanja Liedtke on her wild card appointment as Artistic Director of the Sydney Dance Company. This is indeed a significant decision on the part of the selection committee, a generational and aesthetic reinvigoration of the company that gives the company's work a sense of excitement again. With the choreographer of the exquisite and David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com6tag:blogger.com,1999:blog-820537932047326864.post-67166823945335846892007-05-01T23:04:00.000+10:002007-05-18T17:17:47.394+10:00From the archives (a letter to the editor published in the Sydney Morning Herald July 6, 2006)In celebration of the launch tonight of Caroline Overington's book Kickback: Inside the Australian Wheat Board Scandal (Crows Nest: Allen & Unwin, 2007), I thought it might be fitting to revisit the letter that gave us the title for our current theatre project on the same topic, Deeply offensive and utterly untrue (to open Carriage Works, Sydney August 24, 2007). Enjoy!Trade and war Your David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-80157899820524420342007-05-01T22:15:00.000+10:002007-05-18T17:18:16.877+10:00Arts funding continued...Pursuing the funding discussion thread (for those who are interested), I got a link to official Australian Bureau of Statistics figures on arts funding from a friend (thanks Guy!). According to Guy's reading:"although the Fed Govt puts over $1.6 billion into arts, heritage and the environment the amount that is taken by "Heritage" is huge in comparison to what gets spent on arts. Performing David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-22740458964017260752007-04-23T17:16:00.000+10:002007-05-29T15:41:02.583+10:00Brandis vs Garrett: arts and politics on the international stage. A rant in five breaths.1. Along with several hundred other arts industry, university, and media types, I trotted over to the Seymour Centre at the University of Sydney last Tuesday to bear witness to some ritual rhetorical combat, parliamentary-style, with position statements and a very short 'debate' between Federal Arts Minister Senator George Brandis and the Labor Shadow Arts Minister MHR Peter Garrett. The occasionDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com2tag:blogger.com,1999:blog-820537932047326864.post-59397501848037829762007-04-18T23:43:00.000+10:002007-05-18T17:19:45.078+10:00A Fortnight across the border from the wine region, I mean in The CountryOK, back from Albury, oh land of the strange invisible biting insects and the great lack on network access that lies conveniently close to the Rutherglen wine region. It was too tempting, and on a particularly uncreative day (for any funding bodies who might read this, it was Easter Saturday - even artists who work for free most of the time are allowed to have public holiday weekends) we David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-90108282751808821402007-04-09T18:23:00.000+10:002007-05-27T17:46:41.943+10:00A couple of gratuitous plugs.Firstly, anyone who happens to be in the London area next weekend should check out the SPILL Festival, especially the world premiere of The Last to See Them Alive: Sex, Slaughter and the City by Australian performance group Unreasonable Adults at the SOHO Theatre. The piece is devised from texts by Fiona Sprott (and if I sound biased in this plug, I should make it clear that Fiona was my partner)David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-30956458529278324132007-04-02T15:04:00.000+10:002007-05-18T17:22:00.779+10:00a fortnight in the countryDear cyberspace dwellers,the rest of the version 1.0 crew and myself are making many necessary compromises in order to travel today to the lovely twin cities of Albury and Wodonga, ever in orbit of each other, and thus preventing the barbarian hordes from crossing the state borders of New South Wales and Victoria. We're heading down for a two week residency hosted by Hothouse Theatre's A Month inDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-6382776588536926582007-03-23T18:18:00.000+11:002007-06-04T17:37:21.956+10:00The dance of the screen savers...Chunky Move, Glow, The Studio, Sydney Opera House, 22 March 2007Just a short post for a short performance. Perhaps lesser than even the 26 minutes of Glow. We'll see. This afternoon I've actually been making progress on the chapter, so I don't want to procrastinate for too long...First up I'll admit that while I am interested in dance, I will always read it in theatrical terms. I can therefore inDavid Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com3tag:blogger.com,1999:blog-820537932047326864.post-48533206205007680612007-03-22T17:05:00.000+11:002007-06-04T17:37:57.402+10:00New works by old favourites...Martin del Amo Never been this far away from home Performance Space @ Carriage Works, 8 March 2007William Yang China Performance Space @ Carriage Works, 20 March 2007I must preface this piece of writing by stating that this is in no way a 'review' of either of these two performances. I'm on the clock today, and whatever I write in the next 20 minutes will go up, to be amended later. I want to be David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-67754432667646730962007-03-22T13:36:00.000+11:002007-05-18T17:23:33.037+10:00Performing citizenship: version 1.0's recent explorations into the sweaty armpits of the Australian body politicAs an introduction to the type of work I make, write about, and am interested in, I submit the following performed paper, versions of which were presented at PSi #12: Performing Rights, Queen Mary University of London, in June 2006, and at Macquarie University, Sydney, in October 2005. I am doing another version this Saturday for the Association of Independent Schools Drama Conference. I promise David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0tag:blogger.com,1999:blog-820537932047326864.post-24948248863470576632007-03-22T12:53:00.000+11:002007-03-22T13:45:50.495+11:00A compromised beginning...Dear unsuspecting cyberspace dwellers,Welcome to my blog. This is the first time I have contemplated such a thing as this, despite being mildly obsessed with other people's blogs for some months now. So bear with me as I make the necessary compromises to make this appear to work.Please feel free to disagree with any of the opinions, perspectives, reviews or ramblings that appear in this blog. David Williamshttp://www.blogger.com/profile/00206474261372528319noreply@blogger.com0