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Compromise is our business: responses to theatre, art, and politics

REVIEWS, RESPONSES, REFLECTIONS, RESEARCH, RANTS AND RAVINGS

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January 21, 2010

Urban navigation

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January 13, 2010

New year, new blog

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December 15, 2009

Innocents retrieved: UTP's The Fence for Sydney Festival

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November 27, 2009

The pleasures of patriarchy: version 1.0’s THIS KIND OF RUCKUS

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September 20, 2009

A note on the video in version 1.0's THIS KIND OF RUCKUS

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August 01, 2009

Video notes 2: Le Dernier Spectacle (The Last Performance) (1998) by Jerome Bel

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Making sense; or what on earth is it that we are doing, and how might this possibly be achieved?

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Interview with Andrew Morrish 10/3/2003

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Interview with Natalia Koliada, producer, Belarus Free Theatre, 17/1/09

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At the bottom of the garden

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Blast Theory: Small secrets in public spaces

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David Williams: Melbourne, Vic, Australia; I am the wearer of many hats, all of them related to theatre and performance. As a maker, I create documentary or verbatim theatre works around social and political themes, most recently QUIET FAITH, SMURF IN WANDERLAND, and GRACE UNDER PRESSURE. I founded the Sydney-based performance group version 1.0 in 1998, and devised and produced all of the company's work from 1998-2012. As a technician, I have worked as a mechanist and flyman at the Sydney Opera House 1997-2019. As an academic, I finally completed my PhD in 2007, a study of five works by the Sheffield-based group Forced Entertainment. As a writer, my work appeared on a semi-regular basis in Real Time until 2011, and I have scholarly articles in Australasian Drama Studies Journal, Performance Paradigm, Research in Drama Education and Law, Text & Culture. The contents of this blog should not be seen as being in any endorsed by any of my employers past or present, but represent my various (and occasional) musings on theatre, performance, art and contemporary politics.

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Alexander Downer2
Andrew Morrish1
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