I have always admired the director, Barrie Kosky. My admiration started with his King Lear for Bell Shakespeare and grew after his production of Seneca’s Oedipus in 2000 and by the time he had created the epic based on the work of the Roman poet Ovid, The Lost Echo (that I had to go to twice – 16 hours all up) I had become a deeply committed fan.
It wasn’t just because his work was confronting, at times confusing, completely irreverent, bizarre and insightful to the point of genius. It was also his constant questioning of the state of the Arts and how the Arts are viewed here in Australia.
What worried Kosky most about the arts in Australia is that he believed that the bland was denying the erotic and the disturbing. He also expressed a belief that there wasn’t enough dialogue, enough pushing of the boundaries, enough support to experiment and potentially even “fail” without judgement. Continue reading BEARFOOT THEATRE’S ‘HERE, THERE AND EVERYWHERE’ : DYNAMIC THEATRE