English psychoanalyst Adam Phillips, writing about Oscar Wilde in his book Unforbidden Pleasures (2015), notes that "great art, in Wilde's view.enables us to forget ourselves, our rational, conforming, intelligible, law-abiding, too-timid, explaining selves, and this forgetting makes things possible." Within a constellation of works ('great' or not) in an arts festival, we can even more intensely lose ourselves to reverie, joy, passion and bewilderment. How will we position ourselves as ‘Chimerica’ threatens to unravel? Cultural groundwork is being laid by Asialink, APT, OzAsia, Asia TOPA and others, but the Australian Government faces a major political challenge. Australia’s foreign policy is habitually oriented to the US while our economic dependency on Chinese purchasing power grows daily. These nations are dangerously co-dependent: mutually hostile and intricately entwined economically. (Listen to our interview with director Kip Williams about his approach to this epic play.) The title conjures, first, the chimera-a beast from Greek mythology with a lion’s head, a goat’s head rising from the creature’s back and a tail ending in the head of a snake-and then its embodiment as a hybridised China and America. Plastic shopping bags in hand, cast members, including a cohort of NIDA students, each become Tiananmen Square’s Tank Man in the much-anticipated Sydney Theatre Company production of UK playwright Lucy Kirkwood’s Chimerica. We’re off to the Adelaide Festival! See you again on 22 March. RealTime celebrates women's creative capacity to prevail. Demands are rapidly escalating for gender equity and freedom from discrimination and violence in the face of surging dictatorial politics overtly hostile to women's rights. Elsewhere in this E-dition, a cohort of female RealTime writers respond to a variety of out-of-the-ordinary works in the Perth International Arts Festival (Jana Perkovic), Supercell Contemporary Dance Festival (Kathryn Kelly) and Asia TOPA (Sally Sussman and Madeline Roycroft).
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Above, the team at Women in Film & TV NSW pose in the outfits they wore for their funny and forceful “End the Sausage Party” protest against the low number of nominations for films made by women in the 2016 AACTA Awards. Welcome to our International Women’s Day E-dition, which includes Lauren Carroll Harris’ report on promising new directions offered filmmakers and audiences by female-focused film festivals. At the very least, we can be thankful that we still have an Australia Council for the Arts while we feel for US artists as President Donald Trump goes gunning for the NEA.
The return of funds might look like a victory for art in the culture wars, but there's a lot of catch-up to do, funding levels are less than adequate and Coalition arts policy set at zero. Some 60 arts organisations have gone unfunded, some barely sustained by state government funding, others not, careers floundering, while Catalyst became an electoral slush fund and lucky dip for large arts organisations, festivals, academics and questionable arts ventures benefitting from the suffering of others. The return of $61m to the Australia Council was cautiously welcomed by the small to medium arts sector, hoping that funds will definitely now go directly to those for whom they were originally intended.
With the Adelaide Festival's sense of celebration (as in the image above from Barrie Kosky's wondrous Saul) and gravitas still resonating, it was a pleasure to hear that Arts Minister Mitch Fifield has shut down the Catalyst Fund. Reviewers are translators too, transforming art experiences into their own art, failing or succeeding in expanding and intensifying the looping conversation that art prompts.
Matthew Lorenzon enjoys Chamber Made Opera and the Sichuan Conservatory of Music 's Between 8 and 9, which deals directly and playfully with how we can speak about music. How meaningful is Asia TOPA's invitation for its audiences to witness or enter heightened states in works that blur the line between lived experience and art ? Jana Perkovic is disturbed by abstraction not anchored to any palpable materiality in Chunky Moves' Anti-Gravity and Luke Goodsell perceives a gap at the centre of Rosie Jones' The Family: a failure to explore the life of the woman who led that destructive cult. Is failure of translation fundamentally more likely than success, asks Andrew Fuhrmann, confronted with the strengths and weaknesses of works in this year's Dance Massive. Translation looms large in RealTime this week as our reviewers tackle the relationship between experience and its distillation into art.
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