…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.
Two figures approach each other. They could be brothers, countrymen, mortal enemies. In a world obsessed with borders, they are fundamentally different and dangerously similar.
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