…embodies what I’ll describe as a challengingly lateral Death-drive dramaturgy…
The discomfort of navigating precarity is not merely a state of being, but more truthfully, a continuous fact of life.
600 Highwaymen’s “A Thousand Ways, Part 3: An Assembly” is one of 2022’s most remarkable works of theater.
Sifting through that experience over time we keep finding ourselves holding out our hands, cupped, like we had caught a firefly. It’s the gesture that says we too received a gift.
Like a giant notebook portfolio or a crumpled map in the glove box of a borrowed car, the paper endures, holds the changes, shows the history of Sha and Sarah’s togetherness— and our witnessing of that togetherness.
Let us, then, be the dreamers of the empty space between repetitions that sows fertile soil for difference and kinship.
Rehearsing it felt like having conversations with a ghost. Jacob from 4 years ago still has something to say to Jacob now. Jacob will always be becoming Jacob.
Waves crashed on the sand and ambient beats wafted from the DJ tent. Rainbow flags marked a sacred circle on the beach: beyond the luxurious summer homes and expensive restaurants, a brave queer oasis for experimental art emerged.
For us, the dancers translate a shared archive into movement.
I hope Putin understands “Fuck War” in not only Russian, but Estonian, Latvian and Lithuanian as well.
maura re/members with george emilio sanchez’s “In the Court of the Conquerer” & zavé martohardjono’s “TERRITORY: the Island Remembers” – audio version link available at top of post
“…one dancer’s hands on the foreheads of the other two, leading the paths of their movement; a dancer leaning on another who was kneeling on the floor, using them as an anchor, stability; the soloist connecting with the floor as the other dancers stared into her…”