How it feels: Andrew Edwards reviews a selection of contemporary dance across forms, from installation to interactive performance and film.
‘It requires work’: Andrew Edwards writes on Karen Christopher and Tara Fatehi Irani’s rewardingly dense durational performance.
Take Me Online: Andrew Edwards reviews a selection of transporting works from Glasgow’s festival of performance and live art.
Living architecture: Andrew Edwards reviews a homage to Glasgow poet Edwin Morgan which takes the audience backstage at the Tron.
‘A story without an ending’: Andrew Edwards writes on Daniel Kitson’s account of the pandemic, from within the thick of it.
“What happens when you take the crowd away?: Andy Edwards reviews a football match that offers a new kind of liveness.
“It hits me like a thunderbolt – the bright lights, blazing through the window”: Andrew Edwards imagines a visit to Glasgow’s Tron Theatre.
“It’s hard to keep listening and even harder to stop” – Andy Edwards recommends a painful, compelling radio drama series.
‘Head above water’: Andrew Edwards reviews Theatre Gu Leòr’s multilingual play about climate crisis and the erosion of the Gàidhlig language.
Andrew Edwards writes on the “exhilaration and fear-induced defecation” of Jian Yi’s ambitious, visually rich multimedia fusion of Butoh and live art.
Welcome to the Meadowdrome: Andrew Edwards writes on Frauke Requardt and Daniel Oliver’s participatory show about neurodivergence and family-building.
Rave speed 0.25: Andrew Edwards writes on French choreographer Gisèle Vienne’s slow motion, dirt-smeared party.
‘Dances for those who dance them’: Andy Edwards on V/DA’s survey of Afro-Caribbean dance and its radical ‘strategy of refusal’.
Andy Edwards writes on four encounters with Glasgow’s Take Me Somewhere, an annual festival of live performance.
‘Locked in crosshairs’: Andy Edwards on the disorienting experience of watching Harry Josephine Giles’ catalogue of contemporary violences.