There is a dizzying effect to the realization / acknowledgement of one’s cringe-worthy actions as white person to date, and Aloha Aloha gives that kaleidoscopic wheel quite the healthy spin.
there’s never enough time and we’re always reaching back, trying to remember what it felt like to crack wide open for the first time.
The evening resembles what one might imagine how a Moth Storytelling Hour might play out if it were held at the Restaurant at the End of the Universe.
Responding to CUTE ACTIVIST at the Bushwick Starr: “Does this play want me to ‘like’ it or to ‘crying face’ it?”
Sobelle’s work relies heavily on what one might describe as “sleight-of-staging,” which I’ll posit here is a cross between what a magician does with objects (cards and the like) and what a director does with design and blocking.
Parson slowly and deftly reverses the lens, edging away from the endlessly verbal Sam and leaving us with only Bess.
She exists, she conjures, she illuminates through whisper and scream.
Dan O’Neil interviews Tantztheater Wuppertal Pina Bausch dancer Stephanie Troyak, and asks the question: “Can we make this?”
To attend is to remind yourself how much we miss by relying on established institutions to deliver us our culture, pre-curated and mixed just so, on whatever silver platter they might have recently polished.
In THE POWER OF EMOTION: THE APARTMENT, the notion of emotion as a perfomative element provides the foundation for a wider exploration on how we not only watch, but hear and interpret emotion.
To what degree must our celebrities look, sound, and live lives enough like ours in order for us to fetishize becoming them?
A response to The Krumple’s ‘YOKAI: Remedy for Despair’ via the questioning of how one responds to art and how dependent that response is on form and location.