A white light emits from the mouth of a vintage Shure Unidyne microphone dangling from the ceiling on what looks like an electric vine with various twists and hooks adorned. When Richard comes unhinged, as he does at various times during Schaubühne Berlin’s production of
The question, in the end, is how much we value space in this city. For people able to afford exorbitant rents, exorbitant theater prices are logical.
She exists, she conjures, she illuminates through whisper and scream.
Shaun Irons and Lauren Petty discuss “Why Why Always,” a cine-performance
Dan O’Neil interviews Tantztheater Wuppertal Pina Bausch dancer Stephanie Troyak, and asks the question: “Can we make this?”
Anchuli Felicia King is a multidisciplinary artist of Thai-Australian descent who works primarily in live theater.
Its in-betweenness, like the liminal space of “not me…not not me,” grants us the ability to be in two places at once.
Canada abandons the arts for “creative hubs”; exploring relevance in performance at Philly FringeArts; questioning the Guggenheim; and more.
As theatermakers, as makers of culture, we are doing as much to perpetrate white supremacy and racist ideology than anyone else. A play that features all white actors, is by virtue of its existence in this country, a racist play.
Rohina Malik and Kareem Fahmy talk The Mecca Tales with Jerry Lieblich
A Blood Orange traffics in confusion, doubles, echoes and muffled voices.
The British artist discusses “Blackouts,” at Crossing the Line 2017