Roslyn Oades

Roslyn Oades is a Melbourne-based theatremaker best known for her pioneering work in the field of headphone-verbatim and audio-driven performance projects. Her work has been commissioned by Malthouse, Melbourne Festival, Urban Theatre Projects, Sydney Festival, Belvoir, Vitalstatistix, Hot House and Festival 18 on the Gold Coast. 

Original works for stage include: Hello, Goodbye & Happy Birthday, I’m Your Man, In a Deep Dark Forest, Cutaway–A Portrait, Stories of Love & Hate and Fast Cars & Tractor Engines. Her productions have toured nationally with Performing Lines and I’m Your Man was adapted into an online interactive documentary by SBS TV. Hello, Goodbye & Happy Birthday received the Green Room Award for outstanding writing for the Australian Stage and in 2019 Roslyn received a special Green Room Award for Technical Achievement in theatre. Her work has also been nominated for Helpmann Awards, Sydney Theatre Awards and NSW Premiere’s Literary Award. Roslyn recently commenced a new series of place-based projects, including: Cell 26, an audio work for a prison bed, Sea Stories, an audio work for sunrise and The Nightline an underground listening club for insomniacs. She harbours an ongoing fascination with innovative creative non-fiction forms of art making.

Fast Five with Roslyn Oades

What feels alive about your practice right now?
Engaging in the present tense and discovering new routines based on staying local. I have not experienced this sort of stillness for a very long time. I feel much more aware of being part of a local village/community right now, which has been a profound focus shift. I’m curious about what will emerge from this experience.

Are there any particular sounds you’ve been noticing in lockdown?
I have a heightened awareness of bird song at the moment. I live close to the Melbourne CBD. With the city in hard lockdown, the voices of birds feel particularly present and comforting. My ears search for them every morning while I’m still half asleep.

How have you been experiencing time in recent months?
Time has felt fluid and warped since March. At first, the project cancellations and “pivots” made me panic and scramble for solutions. It’s surprising how accustomed I’ve now become to shifting sand and living day to day. Trying to stay on top of everything with extended home schooling and no access to my studio has been exhausting. I’ve definitely slowed down now and accepted I can’t do all the things I’d planned this year.

Can you evoke the concept for your Hi-Viz event in a few words?
My concept for the Audiosketch podcast is to meet some innovative audio-based artists and invite them to share some unfinished ideas, creative process, listening advice, personal inspiration and an art crush.

What’s one thing you do to keep stimulated and engaged as an artist?
Making space for reading, watching, listening and giving myself permission to slow down. A new interest in running 3 days a week has also been amazing for keeping my mental health in balance during lockdown.

Chamber Made acknowledges the traditional owners of the land on which we are based and where we make work, the Boon Wurrung and Woiwurrung (Wurundjeri) peoples of the Kulin Nation. We pay our respects to Elders past and present and to all First Nations people throughout Australia.

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