Why confusion is important…

Last night on Something Else, we spoke to Michelle St Anne, founder and Artistic Director of The Living Room Theatre, a Sydney based performing company engaged in production of multidisciplinary and “sensory oriented” work.

You can listen to the podcast here.

Michelle spoke about why she likes non-linear and “illogical” theatre; how she uses various sensory stimulation (including smell) to  indulge imagination and enter the subconscious of people; why confusing the audience is important (“I love confusing people; I think it’s really important because then you get them frustrated and the mind starts racing”); and how interdisciplinary collaboration enriches her practice and brings variety of textures to each new work.




In 14 years of existence, The Living Room Theatre performed in venues such as the Sydney Opera House, The Performance Space, Carriageworks, and most recently in a suburban laneway. With a keen interest in interdisciplinary and multi-media practice, the company has brought together practitioners from diverse disciplines including dance, sound, installation art, film, architecture, puppetry, lighting, and even academia.

The Living Room Theatre’s most recent project is Wasted@Sydney, a street-performance tackling environmental issues and taking place at the University of Sydney on June 5th at 1pm. It has been described as: “Brides married to their bins. Trumpets blazing. Carillion’s ringing. Professor’s pulling bins and heaps of rubbish. Bring your latex!” As Michelle explains, it will be “a fanfare on campus” and a way to explain potentially boring sustainability policy through art. Make sure you come along and join the “avant-garde” procession!


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1) ‘Five Hundred Suns’ by Alister Spance Trio
2) ‘Lillies of the Valley’ by Jun Miyake (from the Pina Soundtrack, film by Wim Wenders)

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