Sinopse

We talk with theatre and dance artists, academics, critics, about ideas. We're based between Melbourne and Berlin, Zagreb and Brussels. We sometimes swear. (For more information, please visit the official website, audiostage.guerrillasemiotics.com.)

Episódios

  • JADE LILLIE  LYDIA FAIRHALL / WHAT IT TAKES TO CREATE A COMMUNITY - Audiostage

    JADE LILLIE & LYDIA FAIRHALL / WHAT IT TAKES TO CREATE A COMMUNITY - Audiostage

    06/11/2017 Duração: 55min

    "When you're trying to deconstruct the dominant structures, it's not going to happen politely, is it?" - Jade Lillie Welcome to the final episode of the season on race, womanhood, and belonging - and you're in for a real treat. To close a season created in partnership with Footscray Community Arts Centre, we speak with two head ladies of FCAC about the ethos that guides FCAC's work. Departing Artistic Director Jade Lillie, and Head of Programming Lydia Fairhall, discuss white privilege, their personal history with both feminism and decolonisation, and what it really takes to create a community. "I don't know that spending my life attacking power structures is going to be as of much benefit for me, in this life, as trying to cultivate peace and forgiveness. (...) It's a hard thing to think about. I'm the first woman in her family to keep her children. I have that luxury. My mother never did. Should I just be out there? Fighting the big fight? I don't know. It's a constant tension for me." - Lydia Fairhall

  • LETICIA CÁCERES  LENA CAMINHA / BEING UNDERSTOOD - Audiostage

    LETICIA CÁCERES & LENA CAMINHA / BEING UNDERSTOOD - Audiostage

    28/09/2017 Duração: 42min

    "In Timor, in the school, we have to learn about the Portuguese language, because it's the official language, in our country." "That's not your mother tongue, is it? What's your language?" "Makasai. And my husband's is Fataluku." "Can you two understand each other?" "Yes." "And what language do you speak at home?" "Tetum." In the fourth episode of the season, we speak to theatre director Leticia Cáceres, and performer and writer Lena Caminha, about language and its relationship to belonging. What happens when your mother tongue is not your country's national language? What happens when your husband's mother tongue is not your own? What happens when your teacher cannot pronounce your name? What happens when you migrate to a country whose language you resisted learning in school, because it was the language of the coloniser? "Some places in this country have been bleached white. And it's places where we don't recognise Italians and we don't recognise Hungarians, we don't recognise Argentinians, that kind of mak

  • CANDY BOWERS  AMOS GEBHARDT  CHI VU / THE FEMALE GAZE - Audiostage - Audiostage

    CANDY BOWERS & AMOS GEBHARDT & CHI VU / THE FEMALE GAZE - Audiostage - Audiostage

    31/07/2017 Duração: 41min

    "Hollywood is the great value-dictator of our time." - Amos Gebhardt The third episode of our season on belonging and exclusion is here, and this month we are conversing across many disciplines, and setting a record with the number of voices featured. Our guests are writer and performer Candy Bowers, artist and filmmaker Amos Gebhardt, and playwright and theatre-maker Chi Vu, three artists who have challenged the dominant narratives of gender, culture, and race both in their work, and as prominent public speakers. In this episode, recorded at FCAC and moderated by RMIT Deputy Dean of Media Lisa French, our guests speak about the female gaze on stage and screen, and what to do with Jill Soloway when being woman-identifying is only one of the parts of your identity. "So I worked on a play called Straight White Men by Young Jean Lee last year at MTC. And I thought what was extraordinary with that play is that - I really don't think Melbourne is at the same level regarding consciousness and dialogue in regards to

  • PAOLA BALLA  CARLY SHEPPARD / MOTHERHOOD AND FEMINISM - Audiostage

    PAOLA BALLA & CARLY SHEPPARD / MOTHERHOOD AND FEMINISM - Audiostage

    09/07/2017 Duração: 32min

    "Familiarity with suffering makes you very strong." - Paola Balla In the second episode of our season on belonging and exclusion, created in partnership with FCAC, cross-disciplinary performance artist Carly Sheppard and PhD researcher, artist and curator extraordinaire Paola Balla speak about Australian Aboriginal women's perspective on intersectionality, motherhood, contemporary feminism, and making art. We are so privileged to be listening in. "I think a lot of people don't realise that it's embedded white supremacy that's the problem, it's not necessarily the white people. And until they understand that they carry the scars of colonisation as well... Obviously, they don't carry the scars that we carry, we're a different set. But they haven't yet owned their own set. They don't even know what they are." - Carly Sheppard This episode was recorded at Women of the World Melbourne, amongst the hustle and bustle of the festival. There were so many complex and interesting ideas and generosity of sharing going

  • ELAINE BROWN  ALIA GABRES / BLACKNESS AND WHITENESS - Audiostage

    ELAINE BROWN & ALIA GABRES / BLACKNESS AND WHITENESS - Audiostage

    06/06/2017 Duração: 48min

    "I wasn't prepared to be anybody's mother. I was prepared to be a revolutionary." - Elaine Brown Welcome to season five of Audio Stage, a very special season for us. For this season, we collaborate with Footscray Community Arts Centre to bring you a series of conversations by black women about belonging and self. We have wanted to do this for a long time. We wanted to talk about race. We wanted to talk about Australia's racism. We wanted to talk about dispossession, about family and intergenerational trauma, about microaggressions, about what it means to be an artist when your voice, the fact of your voice, is in and of itself a danger to the status quo. We also knew that we wanted to listen, not talk. So here we are. In the next five episodes, we are listening in on some huge, important conversations about what it means to belong in a society that perhaps never wanted us in the first place. We record from a country in which so many of us are constantly reminded that we do not belong here. "For me, being bl

  • MATTHEW TODD / HOW TO BE GAY AND HAPPY - Audiostage

    MATTHEW TODD / HOW TO BE GAY AND HAPPY - Audiostage

    20/02/2017 Duração: 01h01min

    "We're just a whole group of people swirling around together, trying to get on with our lives, not knowing that we've been traumatised." - Matthew Todd Our final episode of season four, #queer, takes us to London, where we speak to the author of perhaps the most extraordinary book of 2016: Matthew Todd. Matthew Todd is a sometimes stand-up comedian, and a playwright, whose play Blowing Whistles, described as one of the most popular gay plays of recent times, has had sellout seasons in the UK and Australia. A long-time editor of the UK gay magazine Attitude, and a person who has actively participated in, and even helped shape, contemporary LGBT culture, Matthew has recently published a stunning book under the title Straight Jacket: How to be Gay and Happy, in which he takes a critical look behind the shiny façade of this culture. Part memoir, part investigative journalism, and part polemic, the book asks if gay people are as happy as it seems, and as happy as they could be, and as happy as the LGBT culture de

  • THE RABBLE / QUEERING ICONOGRAPHY - Audiostage

    THE RABBLE / QUEERING ICONOGRAPHY - Audiostage

    30/12/2016 Duração: 01h06min

    "We try to pose ourselves impossible questions." - Emma Valente In the episode four of season four, on queer performance, Jana and Beth are joined by the extraordinary Emma Valente of the performance collective The Rabble. Self-described as "an on-going conversation between its Artistic Directors Kate Davis and Emma Valente about aesthetic, space, gender, theatre and representation", since 2006 The Rabble have created a small, but distinguished body of work. Their eleven performance pieces to date always put the female experience at its centre: sometimes through excavations of our iconographic unconscious, sometimes by shredding to bits canonical texts such as The Picture of Dorian Gray or Story of O. Today we talk about feminism, iconography, and queering our visual heritage. "Yes, I think [the canon] is male-dominated, without even getting into the content, and what gaze it sits through. The repetition of the male voice over and over again through history, and then legitimising it, is undoubted." - Emma Va

  • MATTHEW DAY / ON DANCE AND PHYSICAL AFFECT - Audiostage

    MATTHEW DAY / ON DANCE AND PHYSICAL AFFECT - Audiostage

    23/11/2016 Duração: 59min

    "Maybe doing nothing for a while is the best way an activist, an artist, or an academic can do anything." - Matthew Day In our last episode of season three, on dance and value, Jana and Beth are back in the studio together, this time joined by co-host Audrey Schmidt, to talk with choreographer Matthew Day about affect, physical touch, and how we can be queer outside of queer theory. Matthew is one of the most interesting among the younger generation of Australian choreographers, appearing seemingly out of nowhere at Next Wave 2010 with THOUSANDS, a work of fully formed brilliance which would later form part of his Trilogy series. He has recently completed a Masters of Choreography at the DAS Graduate School in Amsterdam, and is about to present his new work, ASSEMBLAGE #1, as part of his Housemate residency at Dancehouse. Whoever has seen the Trilogy series – described as “a suite of visceral eviscerating works” of searing minimalism - would find it hard to imagine that, as a teenager, Matthew was a ballroom

  • SARAH-JANE NORMAN / HOW DANCE OCCUPIES THE SELF - Audiostage

    SARAH-JANE NORMAN / HOW DANCE OCCUPIES THE SELF - Audiostage

    01/11/2016 Duração: 01h02min

    "We talk a lot about white guilt, and it is a real phenomenon. ... That guilt is kind of like the wages of privilege. But I'm interested in reframing it through my work, not as guilt, but as shame. Which is a different thing. It is a profoundly different thing." - Sarah-Jane Norman In the fourth episode of season three, we discuss the politically explosive work of Sarah Jane Norman, Aboriginal Australian, queer, non-binary, cross-disciplinary artist. SJ's whole body of work traverses performance, installation, sculpture, text, video, and sound; it is anchored in a multitude of physical disciplines, as well as the written language. SJ has presented their work at Venice International Performance Week, Spill Festival of Live Art, Fierce Festival, In Between Time, Edinburgh Festival, as well as Performance Space, Next Wave, the Australian Experimental Art Foundation, and Brisbane International Festival. A proud Indigenous Australian of both Wiradjuri and European heritage, SJ grew up in Sydney and regional NSW,

  • SISTERS GRIMM / THE POLITICAL DRAG, THE QUEER MAINSTREAM - Audiostage

    SISTERS GRIMM / THE POLITICAL DRAG, THE QUEER MAINSTREAM - Audiostage

    26/09/2016 Duração: 01h10min

    "The weird thing is that LGBTIQ exists as a category of being, that’s designated by mainstream culture, when actually it’s unbelievably fragmented. And there’s so much intra-group conflict because everyone actually has really, really different aims, and different objectives, and their struggle doesn’t mirror that of the other groups at all.” – Declan Greene "You find these little things that help... 'If I can channel Judy Garland, If I can channel the strength of this survivor'... For some reason, it usually is a female survivor, because you don't want to identify with the straight men that are making your life hell, or that you don't relate to. You relate to the women who are outsiders as well." - Ash Flanders In the third episode of season four, we discuss what queer is and isn't with playwright Declan Greene and performer Ash Flanders, who together make up Sisters Grimm, Melbourne-based queer performance collective par excellence. Sisters Grimm have risen through the ranks of Melbourne's independent theat

  • BOJANA CVEJIĆ / THE DANCE MARKET  THE DANCE WORKER - Audiostage

    BOJANA CVEJIĆ / THE DANCE MARKET & THE DANCE WORKER - Audiostage

    30/08/2016 Duração: 51min

    "Artists lack political education." - Bojana Cvejić In the third episode of season three, on the price and value in dance, we speak with Bojana Cvejić, performance theorist and dramaturg extraordinaire. With degrees in musicology and philosophy, Bojana works with performance-makers and choreographers ranging from Jan Ritsema to Xavier Le Roy, and has been teaching at prestigious institutions, from PARTS in Brussels to SNDO in Amsterdam. She has published a number of seminal books on contemporary performance, investigating it from the perspective of practice, labour, and social organization. And that's what we talk about today. "There was a moment around 2000, where single authorship was contested on artistic grounds. Then it was re-valorised, politically, economically, in relation to the value of the contribution of the dancers themselves. Now we're in a moment where it seems that spectatorship, audience, reception decides - and programming relies on the judgement of the audience." - Bojana Cvejić Today's

  • RACHEL PERKS / TO SPEAK AS A QUEER WOMAN - Audiostage

    RACHEL PERKS / TO SPEAK AS A QUEER WOMAN - Audiostage

    24/07/2016 Duração: 58min

    "Feminism is still, in most circles, seen as radical... What you're really saying is, misogyny is equatable with normativity." - Rachel Perks And the fourth season of Audio Stage continues with the question: queer? What is queer? What is not queer? How does queer exist in performance? How does queer performance exist in the world? What is its political power, and what its aesthetic urgency? In the second episode of the season, Jana and Beth talk to Rachel Perks, Melbourne-based performance-maker who has, in only a few years, created a whole series of acclaimed shows that explore a woman's experience of this world: ANGRY SEXX, We Get It (with Elbow Room), and now Ground Control. As we speak - from the comfort of Jana's bed - Rachel has only just closed Ground Control, a courageous new work developed for Next Wave 2016, and there is an exhaustion and exhilaration, a tiredness and hopefulness, as we talk about love, about being female, about cyborgs and myths, and about how sometimes love is a duty. Trigger w

  • ZVONIMIR DOBROVIC / WHAT IS AND ISN’T QUEER PERFORMANCE - Audiostage

    ZVONIMIR DOBROVIC / WHAT IS AND ISN’T QUEER PERFORMANCE - Audiostage

    27/06/2016 Duração: 56min

    "I remember the first time I went to a funding meeting, and the guy who was responsible said: "Can't you get a boyfriend without a festival?" - Zvonimir Dobrović And it's time for a new season of Audio Stage! The question we are asking is: queer? What is queer? What is not queer? How does queer exist in performance? How does queer performance exist in the world? What is its political power, and what its aesthetic urgency? In the first episode of the season, Jana is talking to compatriot Zvonimir Dobrović, curator of Queer Festivals in Zagreb and New York. For the comfort of our listeners, the conversation is NOT in Croatian! We talk about his controversial curatorial policy, the power of norms, and how Queer Zagreb developed out of the anti-war activism in 90s Croatia. When you have fear in the public sphere, you can do anything with people. You can manipulate, because it plays with the basic notions of safety. Conservatism always plays with fear, and it's always fear of the other. And anything can be that '

  • DEBORAH JOWITT / THE VALUE OF DANCE CRITICISM - Audiostage

    DEBORAH JOWITT / THE VALUE OF DANCE CRITICISM - Audiostage

    06/06/2016 Duração: 51min

    "I have not seen anything in the US as extreme as what I have seen [in Australia] in the past week." - Deborah Jowitt In the second episode of season three, Angela, Jana, and Beth speak to Deborah Jowitt, legendary dance critic and the idol of everyone in the room. A long-term critical columnist for The Village Voice (1967-2011), Jowitt has created an immensely influential body of work that includes four books - the latest of which, on Jerome Robbins, was published by Simon and Schuster in 2004. Having lectured at Princeton, Barnard, and Tisch School of the Arts, and recipient of two Bessies, and a Guggenheim Fellowship, Deborah Jowitt is one of the seminal voices of and for the 20th century dance. "People were concerned, there seemed to be disaster all round: enmity between countries, the possibility of bombs falling. I really thought: we're going aerobic. We're going to tone our bodies so we can run all the way from New York to Westchester county without getting hit." - Deborah Jowitt The conversation too

  • CHRYSA PARKINSON / THE VALUE OF DANCE AS PRACTICE - Audiostage

    CHRYSA PARKINSON / THE VALUE OF DANCE AS PRACTICE - Audiostage

    30/04/2016 Duração: 56min

    "I think that equality comes with assymetry and that it's not necessary for roles to be symmetrical for there to be equality." - Chrysa Parkinson In the first episode of season three, Angela and Jana speak to Chrysa Parkinson on the creativity of the dancer: the work of dance, the authorship of the dancer, and whether excessive praise is how we pay artists in lieu of a living wage. After many years in New York, working with Tere O'Connor Dance among others, Chrysa Parkinson now lives in Brussels. In Europe, she performed initially with Thomas Hauert and David Zambrano, and later with Boris Charmatz, Rosas/Anne Teresa De Keersmaeker, Jonathan Burrows, Mette Ingvartsen, Phillip Gehmacher, Eszter Salomon, John Jasperse, Deborah Hay, Meg Stuart. She is an esteemed pedagogue, teaching annually at PARTS, and currently serving as Director of the New Performative Practices MFA program at DOCH/Uniarts in Stockholm. Chrysa Parkinson would say that her current practice is performance. "I don't really like the idea th

  • ANGHARAD WYNNE-JONES  ESTHER ANATOLITIS / RESPONSIBILITY OF CULTURAL LEADERS - Audiostage

    ANGHARAD WYNNE-JONES & ESTHER ANATOLITIS / RESPONSIBILITY OF CULTURAL LEADERS - Audiostage

    11/10/2015 Duração: 01h01min

    "Risk is not so risky. It’s a necessity. It is how forms develop, how we find new audiences, new artists, how cultural conversations happen." - Angharad Wynne-Jones In our momentous final, fifth episode on responsibility, Fleur and Jana speak with two great women of the Australian performing arts: all-round cultural leaders Angharad Wynne-Jones, Artistic Director of Arts House Melbourne, and Esther Anatolitis, Director of Regional Arts Victoria (formerly CEO of Melbourne Fringe). In an emotional, grounding ending to the series, we touch on some important, often neglected questions: how do we create an ecology that supports the artist, as well as the arts?" "The independent arts is a hell of a lot stronger than any arts minister in any doomed-to-fail attempt to politicise the ways that art gets made.” - Esther Anatolitis This is a very special episode. As Angharad and Esther spoke with an authenticity and feeling that is rare in public discourse. We felt very privileged to have them with us, and we all left

  • JOLYON JAMES  SONYA SUARES / RESPONSIBILITY IN ACTING - Audiostage

    JOLYON JAMES & SONYA SUARES / RESPONSIBILITY IN ACTING - Audiostage

    16/08/2015 Duração: 49min

    “There’s a consciousness that needs to be put around the way that we behave. We can’t just keep patting ourselves on the back or excusing it: ‘We’re creating art! It’s not real!’ It is also really happening to somebody.” - Sonya Suares This week we return to the topic of 'Responsibility'. Fleur speaks with Sonya Suares and Jolyon James on how this concept relates to the actor: the responsibility of the actor, of the director to the actor, diversity in casting and the potential impact of not providing a multiplicity of stories and voices for our stages, and the responsibilities of creating work for children. "The worst people to ask about what kind of work they want are young people, when you’re making work for young people. But the best thing you can do is find out how they think and what they do." -Jolyon James Discussed in this episode: Finding the 'truth' as an actor or lying about finding it, 8 Gigabytes of Hardcore Pornography, creating a sense of safety in the rehearsal room, onstage nudity and vulnerab

  • ANDREW HAYDON / NATIONAL IDENTITY - Audiostage

    ANDREW HAYDON / NATIONAL IDENTITY - Audiostage

    02/08/2015 Duração: 01h01min

      “Reading about theatre is a weirdly incomplete experience. Reading about other things is similarly incomplete but it doesn’t have to be the whole experience because if you read about it, you can get hold of it as well. Even with a poor representation of a picture – an artwork – you at least see what it looks like.” - Andrew Haydon This week we are taking a brief pause from our 'Responsibility' season. This is a bonus round from Berlin. Jana speaks with independent theatre critic, Andrew Haydon, about audiences, histories and European vs English theatre. This episode opens up the topics discussed on our show and examines them in a global context. Andrew is one of the few British theatre critics who regularly travels around Europe to see new work, and who is conversant in contemporary European theatre (and not just what happens on the British Isles), approaching it with a distinctly British, but never parochial, perspective. In his writing for The Guardian, Time Out, Exeunt Magazine, and in his respected bl

  • ROSLYN OADES / RESPONSIBILITY IN VERBATIM THEATRE - Audiostage

    ROSLYN OADES / RESPONSIBILITY IN VERBATIM THEATRE - Audiostage

    19/07/2015 Duração: 01h18s

    "I am very interested in the question of who's allowed to say what in Australia." -Roslyn Oades In the third episode of our season on responsibility in art, Roslyn Oades, director, actor and a pioneer in the field of headphone verbatim theatre joins hosts Fleur and Jana. We talk about responsibility in the field of verbatim theatre: what it means to represent someone else's story, building a right of reply into your work, ethical eavesdropping and how the response and willingness of the individual participant does not necessarily reflect the response of the community they are a part of. "A boxer wrote on a boxing forum: 'Who is this stupid slut Roslyn Oades who thinks she knows something about boxing?'... The word had spread in the community. He hadn't seen the show, he didn't know me, but he had heard that a woman was making a show about boxing, and he was offended." - Roslyn Oades Discussed in this episode:  The manipulative power of the voice, whose allowed to say what in Australian society, the actor'

  • JANE HOWARD  RICHARD WATTS / RESPONSIBILITY IN CRITICISM - Audiostage

    JANE HOWARD & RICHARD WATTS / RESPONSIBILITY IN CRITICISM - Audiostage

    05/07/2015 Duração: 01h01min

    "I think being part of the community is key to being a good critic." - Jane Howard "My rule of thumb is, if they've been to my house for dinner, or I've been to their house for dinner, I'm not going to review them." - Richard Watts In the second episode of our season on responsibility and art, our guests are Jane Howard, SA-based theatre critic whose work appears in The Guardian, Kill Your Darlings and Meanjin, and Richard Watts, host of SmartArts for 3RRR, national reviews editor for ArtsHub and long-term champion of Melbourne arts. We talk about responsibility in arts journalism and criticism: how much of it is advocacy and how much critical reflection, ignorance and how to avoid it, and how to avoid becoming friends with artists! "One of the things that got me into reviewing in the first place was going to the theatre and hearing critics in the foyer afterwards loudly complaining about a show and then seeing a very lukewarm review, a blandly critical review published the next day. I thought “No, it’s imp

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