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Charlotte Farrell

@charlottefarrellperformance

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performance maker & academic // co-founder of @__bodyofwork__ // author of Barrie Kosky on the Contemporary Australian Stage 📚

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One week to go!

On Thursday October 22, please join me at Sydney Theatre Company for a very special FREE event celebrating a production that changed my life: Barrie Kosky and Tom Wright’s The Lost Echo (2006).

At 5pm, I’ll be in conversation with playwright Tom Wright, with a special performance by @paulcapsis and a reception to follow.

There are also places still available for the daytime symposium (10am-4:30pm) featuring presentations by a range of brilliant scholars, critics, and practitioners.

Registration required.

With grateful acknowledgement of generous support from @unswada, UNSW School of the Arts and Media, @sydneytheatreco, and @nidacommunity.

🔗 for more info and to register, see the link in my bio.
📸: @heidrunlohr

#sydneytheatre #thelostecho #barriekosky #tomwright #paulcapsis taken in Sydney Theatre Company by @charlottefarrellperformance

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5 days ago

Hot off the press! My review of Jorjia Gillis’ Mum Club @griffintheatre for @theconversation.aunz. Link in bio 🍼

#theatrereview #australiantheatre #mumclub #motherhood by @charlottefarrellperformance

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2 months ago

My piece in @theconversation.aunz published today in response to the closure of @divineplayhouse.syd. Link in bio 🔗 by @charlottefarrellperformance

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3 months ago

Why can’t all academic conferences be this fun? Such a nourishing and intellectually stimulating time at ADSA’s ‘Spill’ symposium & IFTR as part of Queer Futures with new and longtime friends and colleagues. We also launched 2.0 of the How to Play in Slow Time book (now available in paperback) and podcast with the fabulous folks at Create USyd. I took hardly any photos but here are some highlights with @_mrcusb @pavloskountouriotis @spandyandrei @_czaroftorture ianryr @alextalamoartist Bryoni, Maria @matt.bapty & the extraordinary Back to Back theatre ❤️❤️❤️ taken in Naarm by @charlottefarrellperformance

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3 months ago

⚠️ Warning: Flashing Lights⚠️

WORKERS’ WIVES by @__bodyofwork__ will play at @biennalesydney thanks to @innerwestcouncil at White Bay Power Station.

⚡️April 11 & 12 2pm - 4pm ⚡️

In this site-specific piece by artist collective Body of Work, cis-female, trans and nonbinary performers enact domestic-inspired gestures and tasks to generate power. Feminised care through housework is recast as material that charges up the space. Making visible the labour of the White Bay Power Station’s employees’ wives, the collective’s devotional endurance draws attention to ongoing permutations of gender inequality in so-called Australia, while reauthoring the legacy of the White Bay Power Station through a queer feminist lens. The performance calls attention to the sustained presence of queer bodies in the space, challenging their historical erasure.

The collective feel into the time we are in, their individual histories of inherited power/s, and how they meet as a group alongside the memories in the space. They pay their respects to Country and its power; the truth and reckoning in the world as we witness and experience it; and what is possible when we offer our bodies time to unravel, yield, focus, and transform together.

Charlotte Farrell & Emma Maye Gibson (Body of Work)
with Megan Holloway, Imbar ‘imbi’ Nassi, TESH

Design & Fabrication of ‘Bike Sign’ - Benjamin Paul & Tim Gibson

Above video is a collage of process including interview and video with Sam Phibbs, photo shoot with @daniel.boud, fabrication process with @butterflybenno and Tim Gibson, development process with team and an image from an unknown artist belonging to the Spanish Women’s Liberation Movement from book Mothering Myths of Art Birth and Care by Laurie Cluitmans & Heske ten Cate.

@charlottefarrellperformance @infinite.complexity @amorphousgay @gangajan

With thanks to @innerwestcouncil for the opportunity to create, respond and be together.

With respect on Gadigal Country. by @charlottefarrellperformance

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6 months ago

@bettygrumble and I in our company @__bodyofwork__ have been masterminding our latest offering in collaboration with queer dream team @gangajan @amorphousgay and @infinite.complexity.

We will be presenting ‘Workers’ Wives’ on Gadigal Country as part of the @biennalesydney x @innerwestcouncil performance program @whitebaypowerstation April 11 & 12, 2-4pm.

‘Workers’ Wives’ is a site-specific performance that makes visible the feminized labour of the White Bay Power Station’s employees’ wives. It also comments on the NSW ‘marriage bar’ that prevented married women from working in public service until 1966.

Through domestic-inspired durational performance acts, ‘Workers’ Wives’ draws attention to ongoing permutations of gender inequality today, while reauthoring the legacy of the White Bay Power Station through a queer feminist lens.

⚡️ 💋 ⚡️

Photos by @daniel.boud 📸 taken in White Bay Power Station by @charlottefarrellperformance

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8 months ago

It was great to present my research on queer performance in Sydney at the ILSR conference, Kolkata today. My first keynote! 📚 taken in Kolkata, West Bangal, India by @charlottefarrellperformance

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a year ago

Thrilled to share the release of my latest book project coauthored with dream team Bryoni Trezise, Alex Tálamo and Maria White, How to Play in Slow Time: Creativity, Pedagogy, Process.

This book considers the role and function of creativity for anchoring educational practices both in universities and beyond. Reinterpreting the ground-breaking creative processes of leading artists, writers, musicians and dancers, the book offers a toolkit of invitations and encounters that demonstrate how creativity can be practiced – and taught – as a competency that cultivates expertise in harnessing experimentation, curiosity, somatic intuition and collaborative practices of world-building. Vital to diverse disciplines, fields and professional sectors, How to Play in Slow Time boldly changes the conversation around the conspicuous role creativity takes in shaping our learning and teaching futures.

There is a corresponding podcast @howtoplayinslowtime that features interviews with the artists from the book as well.

See links in bio 🔗

Book cover image credit: Best Festival Ever by Boho Interactive. Photograph by Bryony Jackson, 2016. by @charlottefarrellperformance

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a year ago

Tonight @_hannah_buck @our_neon_foe 6-8pm. Don’t miss it! taken in Our Neon Foe by @charlottefarrellperformance

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a year ago

I am giving a talk about my latest research project on Wednesday July 2, 12-1pm in person at UNSW and online. Contact me if you’re interested in attending and I’ll share the details 💗 🌈 🪩
📸: @bettygrumble by @josephmayersphotography taken in Bidjigal Country by @charlottefarrellperformance

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a year ago

Mesmerizing, brutal, tender, hilarious, abject, astonishing performance beyond the limits of what one would deem imaginable. Thank you @floholzinger for A YEAR WITHOUT SUMMER @volksbuehne_berlin. I haven’t felt like this since I saw Barrie Kosky’s The Lost Echo in 2006, which for me was a life changing production, as was this. taken in Berlin, Germany by @charlottefarrellperformance

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a year ago

Expressions of interest are now open for The Lab, UNSW’s groundbreaking collaboration with Sydney Fringe Festival. This exciting new initiative will transform Studio 1 at the Esme Timbery Creative Practice Lab @unswcpl into a vibrant hub for experimental performance during the 2025 Sydney Fringe Festival.

Submissions are sought for six extraordinary shows to feature in the inaugural season. This is a fantastic opportunity for:

UNSW Alumni
Current students
Experimental artists
Interdisciplinary creators
Innovative performance makers

Selected works will be showcased in a highlighted two-week season as part of the 2025 Sydney Fringe Festival.

Apps close March 16, 2025, at 11:59 PM (AEDT).

Link in bio for more info!

@harriet_gillies 👏🏻👏🏻👏🏻 taken in Esme Timbery Creative Practice Lab by @charlottefarrellperformance

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2 years ago