Edelman always wanted to be white. ‘I know, I know. Dream achieved!’ he says.
Jerry’s keen ear is tuned to productions of un-meaning—the kinds of nonsense, half-sense, and anti-sense that enable and mask violence, particularly violence committed in the names of patriotism and progress
PQ has “evolved into a platform, which explores progressive approaches, new media, virtual spaces and interdisciplinary relations.”
It makes me become like my gaze, a promiscuous saccade. I am jostled and stilled. I’m curled around the strange heat of my own body, a feverish REM cycle.
Okay. I wrote a really long discursive essay about The Theater(s) We Need Now – and I didn’t even dive too deep into the arts admin weeds – but I know how things are, I know what life is like, I know everybody’s busy so
Two choreographers navigate the strangeness of the stage in works developed through a new residency in Red Hook, Brooklyn.
The flower we touch as children in awe burns. The only chide needed to withdraw. With undeniable power to flaw, fire will still flicker and die. For it lives, as do You and I. …a heap of various regrets, sorrowful realities of unfledged dreams, or
…strange, messy, and masterful. It might even restore one’s faith in independent theater.
On the ambivalent legacy of January’s premier festival
Put Away the Fire, dear pt.2 (in draft form) at La MaMa Moves last month moves in and out of cinematic and live performance structures, often jump-cutting from internal narratives to vigorous dancing
Confluence. Storage. Breach. Darvejon A. Jones on Kari Hoaas’s “Shadowland” at La MaMa Moves
How for the next few weeks these actors get to tackle conflicts onstage and then return to their everyday lives, undeniably altered. Meanwhile, before me, a performance was taking place. We were involved in something together, the audience and actors.