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You are invited to submit your latest documentary or animated films for the 52nd edition of DOK Leipzig, the International Leipzig Festival for Documentary and Animated Film, which is held from 26 Oct
John Maynard excites awe in the Australian film distribution sector for his campaigns to drag the public to see the great films he champions. Now, he is working on 'Samson & Delilah.'
This week-long workshop will focus on basic camera and editing skills through the creation of a short music video.
Monday 6 April 2009: OPEN CHANNEL is proud to announce that entries for the much-anticipated Raw Nerve 2009 are now open.
The show Her Greatest Hits was determined by the audience who, at the request of O’Loughlin, shouted out their favourite stories for her to reprise. Her laughter while writing these topics down was a preview of the hilarity the night would hold.
It’s hard to work out what Asher Treleaven is trying to achieve. In his new stand-up show Open Door, the Jim Carrey-esque figure drifts from the surreal to the offensive to the mildly amusing without much hint of direction or purpose.
Josh Thomas presents himself as an outsider, an endearingly inept man-child - chosen last at sport, socially ill-at-ease, bewildered by the opposite sex, no good in bed – and does so with charm.
In an hour-long set of spirited stand-up, the Californian covers a characteristically wide-reaching assortment of existential and cultural miscellanies, missing his mark only when opting to pin a more obvious tail to the end of one of his often bizarre, off-the-cuff-seeming patterings.
Make no mistake, Wes Snelling knows how to make you cringe. Deliciously crass, Snelling complements an hilarious array of characters with original music performed by a fantastic live band in his 2009 Comedy Festival offering.
Thankfully, my expectations were blown as quickly and absolutely as performers Shenoah Allen and Mark Chavez’s lightning-fast transitions from one sketch to the next.
Welcome to the Freak Show is musical comedian Darren Freak’s first outing in the Melbourne International Comedy Festival. Originally from Adelaide, part of his show is commenting on his life in Melbourne since moving here two years ago, as well as some spoken word sections revolving around his family and childhood in Adelaide.
In the Hobart Bond Store in the bowels of the Tasmanian Museum & Art Gallery stand the many ruined, rescued pianos from Ross Bolleter’s Tasmanian travels. In Ten Days On The Island's Ruin, he has set up a classification system for us: neglected (including verandah pianos).
For Ten Days On The Island this year, Tasdance presents the choreographic work of two indigenous artists, Gail Mabo (KELP) and Sthan Kabar-Louët (Le Burceau Des Esprits or The Cradle of the Spirits).
Ten Days On The Island's Tasdance & The Karbal Nouméa Ballet has taken a real risk for both their dancers and choreographers. The risk was inviting indigenous choreographers to communicate their unique dance languages.
Company B has unearthed Australian theatrical gold with this fabulous revival of Dorothy Hewett's The Man from Mukinupin presented by Company B and the Melbourne Theatre Company.
From the attendant’s speech we know we are about to walk into darkness; there will be machines and we must be absolutely silent. We are about to witness Siren, a 45-minute installation by British artists Ray Lee and Harry Dawes, at the Queen Victoria Museum and Art Gallery at Inveresk, Launceston.
Moonwebs and Scorched Thongs playing at the Playhouse Theatre, successfully holds me throughout and gives a sense of a journey and a completion, uncovering freer forms, more upbeat music, adding more colour and expression.
I went to the Melbourne International Comedy Festival's CJ Jenkins is a Freakshow expecting some sort of zany burlesque. I was, however, surprised to find that it is actually a candid, funny and moving one woman show, with CJ playing herself, telling stories about her upbringing and her disability.
Ngai Tahu 32’s strength is in its intensity, and that intensity is present at every level. The choreography is considered and measured, the video projection persistently present, the staging eloquent. Elizabeth Whiting’s costumes are striking, and Paddy Free’s soundscape captivating. Most of all, the performers offer such high levels of commitment and energy to their work and to each other
Hosted at Arthur’s Bar at Rosati during the Melbourne International Comedy Festival, The Middle Ages charts the adventure of two women who use a time (or ‘bargain’) machine to lose 20 years off their body clocks.
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