“Making art is a sedimentation of layers. What we make today indirectly reflects what was done before. Maybe it comes as an opposition, or a continuation, as an echo, but we need to be aware of that. And I do think that in Australia we are not aware of what’s been done.”
– Angela Conquet

In episode three, the Artistic Director of Dancehouse, Melbourne’s home of contemporary dance, Angela Conquet, joins hosts Jana Perkovic and Fleur Kilpatrick. We talk about contemporary dance in Australia, what makes it particular; about the urgency to preserve it, and whether Australia, being such a young country, is not aware of the forces of impermanence.


“There is a good side to not being crushed by culture. I think in Europe you’re really aware of the centuries and centuries of Western culture and it has all been done. One of the beautiful things about Australian writing, culture and performance is this sense that that’s not hanging over everybody. I think at its best there is a tremendous freedom in Australian performance, a huge intelligence and a kind of disrespect that’s really healthy.”
– Alison Croggon

In episode two poet, novelist, critic and commentator Alison Croggon, joins hosts Jana Perkovic and Fleur Kilpatrick. We talk about the place of the review in art documentation and how one balances the responsibilities that the critic has to the artist, the audience and to history.


“We characterise development historically as a kind of linear progression from ‘bad’ to ‘good’ to ‘better’. It is demonstrably not true. It expands, it contracts, it expands, it contracts. It is not a mechanical process. It is an organic process.”
– Robert Reid

In our first episode artist, historian and prolific contributor to Australian theatre, Robert Reid, joins hosts Jana Perkovic and Fleur Kilpatrick. The conversation gives context to this moment in performance history whilst looking to the future of documentation.

Welcome to Audio Stage, a podcast for conversations with performance makers, critics and academics.

In our first season, we tackle documentation and history. Documentation is a notoriously problematic aspect of our practice. Live performance is defined by its live-ness and yet a failure to record its intangible presence can result in a deep cultural ignorance. What we record is what we remember – if we remember at all.

In the next few episodes, We will be talking to historians, critics, artists, and programmers about selecting work, documenting work, remembering work and, thus, writing history. Enjoy, and stay tuned.

June 11, 2014