To celebrate its 60th anniversary, the Australian Ballet School has been inviting reminiscences from former students. We thought we’d join the fun – here is a memory from Margaret Mercer, who was in the very first intake.

On the eve of the premiere of the Queensland Ballet's 'Coco', Matthew Lawrence provides an up-close insight into rehearsals.

Is the dancer’s body a site for public discussion or a no-go area? Susan Bendall examines the issues.

The new Artistic Director of the Australian Ballet School talks about her goals to Karen van Ulzen.

How National Pilates Training gave Sally Derbyshire (nee Brown) a new chapter in her dance career.

Olivia Stewart explains the need for an agent, a good network and a 'quadruple' threat.

Matthew Lawrence provides advice on auditioning – from the panellist's point of view. 

Physical touch is unavoidable in dance, but how do you ensure that no boundaries are crossed? In the second part of her feature, Nina Levy explains the role of intimacy coordinators in the professional space.

Want to audition for Netherlands Dance Theatre? Artistic Director Emily Molnar describes the process.

Lucy Christodolou offers three keys to making auditions an enjoyable experience.

Audition advice from Matthew Lawrence, Ballet Master for the Queensland Ballet and Queensland Ballet Academy, and former Lecturer for QUT. 

There seems to be a recent reluctance among students and their parents to enter exams. Why? Michelle Dursun investigates.

Injuries will never be easy. However, dancers can prevent a decline in their physical and mental health by proactively supporting themselves and turning their injury time into something both powerful and productive, writes Lucy Christodolou.

Phil Chan is a choreographer as well as the co-founder of an organisation called Final Bow for Yellowface, which argues against using racial stereotypes on stage. Here he responds to our recent debate on 'cancelling' ballets like 'La Bayadere'.

What do we mean by artistry? Matthew Lawrence explores this most elusive of subjects.

The West Australian Ballet's staging of the 19th century classic is countering the critics, writes Karen van Ulzen.