Nowadays I’m less interested in causing maybe a huge stir or making something achingly beautiful on the whole. Now it’s more like: take a sizable hunk out of the corner somewhere and maddeningly chew.
What, for the theater, are our tablecloths, forks, spoons, plates and bowls that maybe aren’t actually serving us anymore? Is how we are making theater and performance the best way it could exist, or is there a better version?
I grew up in a yellow house in West Seneca, NY, a suburb of Buffalo. My bedroom window was on the second floor in between the windows of my sisters, though I am the youngest, with a huge maple tree in front of it that made me feel like I lived in a treehouse.
“Money is not the root of all evil. The love of money is the root of all evil.” We need money, but money is not the only way to define our value.
Editor’s Note: Jason Tseng attended a long-table discussion following a recent performance of Pillowtalk and provided the following response. Future long-tables will be held on January 18th and January 25th. I have had the opportunity to track the development of Kyoung Park’s Pillowtalk – from its first public
Jeremy M. Barker and Matthew Goulish discuss Every house has a door’s “The Three Matadores”
Aw man. I wish I was a kick ass Trumpet player or something.
Editors Note: We caught up with Alice Pencavel, who has written a few wonderful pieces for this very publication and now has a show coming up in the United Solo Festival on Tuesday, October 18th. Where did you grow up and how did you end
“I really wish I knew how to drive.” – Jess Barbagallo responds to FIVE QUESTIONS
Zen and the Art of Stage Directing or conversations about expectations or just making up your damn mind already
Alexandra Beller and Ivan Talijančić in conversation about choice-making, dramaturgy, and building Mindflock.
Join us for Community of Practice Season 2: January 23, February 20, March 19
Book excerpt: The Sovereign Soloist – States of Exceptional Labor and “State of Darkness” by Richard Move