We return from Adelaide, bearing delights and insights granted us by the artists whose work we experienced in just one of the three weeks of OzAsia Festival. Singapore’s Hotel, reviewed this week, and Japan’s The Dark Inn, expanded and deepened our sense of time as well as sharpening our cultural awareness. Also from Japan, Keiichiro Shibuya’s opera The End for virtual pop star Miku transcended its pop sources with tragic heft. Reviews of this and The Dark Inn next week. Ben Brooker welcomes OzAsia performances by Akram Khan, Eisa Jocson and Checkpoint Theatre that spoke powerfully to the complexities of gender, and Chris Reid embraces the festival’s visual arts program. Now it’s Sydney’s turn to enjoy the growing Australian-Asian symbiosis in Performance Space’s Liveworks which features works from Japan, South Korea and the Philippines alongside Australian creations, including Justin Shoulder’s Carrion [image above]. Art that unites in a time of division! Keith & Virginia
OZASIA FESTIVAL: WORLDS RECONFIGUREDBen Brooker applauds Macho Dancer, Until the Lions and Recalling Mother, performances that in very different ways unsettle conventional gender and personal relationship expectations with verve and passion.
LESSONS LEARNT FROM DEBORAH PEARSON
John Bailey is taken with the dextrous interweaving of personal, cultural and political spheres in UK writer-performer Deborah Pearson's History, History, History, in which the subjectivities of micro and macro histories are laid bare.
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