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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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August 27, 2013

You’ll stop seeing me as your dancing monkey

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November 12, 2012

The Trouble With Asian Men

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August 24, 2012

The gaze stripping bare: violence and vision in version 1.0’s THIS KIND OF RUCKUS

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August 24, 2012

Busting up and deeply personal national traumas

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October 12, 2010

Labours of love: Whittaker and Caesar's Starfuckers

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October 06, 2010

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February 13, 2010

Beauty disturbed: Ruhe, Sydney Festival

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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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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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