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Looking Through the Window with Mur
Mur shows up at the Murray Hill coffee shop in an outfit streaked with multicolored paint and a gift for me still drying in their hand. The performance artist
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Binging to Bliss in “Bodhisattva Beer Run”
A golden age is brewing for AAPI contemporary performance[i] with Glenn Potter-Takata and evan ray suzuki serving as crafty “kodama” (木霊, 木魂 or 木魅) leading us through the forest to refreshing springs of compositional bliss.
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Highly Produced Punk Chaos in Alex Romania’s FACE EATERS
One of the work’s most shocking accomplishments is that, despite the intense volume, confounding poetic ramblings, disturbing vibes, and depressing inspiration, the audience loves it.
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On the Possibility of Life in Contemporary Performance: A Conversation with Audrée Juteau
Audrée Juteau’s methods are fungal. She is breaking down detritus in our societal soil and making it into art. Dance is the mushroom in Mystic-Informatic, which Audrée and her human
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Pioneers Go East Collective at Judson: Queer Artists Make Big Sounds in A Big Room In A Church.
For two nights, Judson Church hosted the Crossroads Series with varied programming each evening. On Tuesday, April 23rd, three very different performances were presented by Pioneers Go East Collective, a
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A Conversation with Architectural Historian and Balletomane Thomas Mellins on “Excellence and Innovation: New York City Ballet at 75”
I’ve always known that the David H Koch Theater, once known as The New York State Theater, was made to George Balanchine’s specifications. Still, until sitting down to speak
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Attention, Salvation, and Celebration: Three Emerging Choreographers of La MaMa Moves!
There is a moment in Samuel Beckett’s Waiting for Godot that I return to whenever I think about the relationship between dance and language. It’s an often misquoted scene, but
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In Colt Coeur’s “Still,” Politics Aren’t Quite Personal Enough.
My interest in theater, and acting, came from what I perceived as an intellectual limitation in ballet, where training is relegated to silence. While discussions of technique and aesthetic
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Dispatches from Abroad: Thomas Ostermeier’s Sanitized People’s Revolution in “An Enemy of The People”
[LONDON, ENGLAND] I saw Thomas Ostermeier’s An Enemy of the People at the Duke of York Theatre twice, on purpose. It’s a sublime text to be working on today, wrought
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Ancestral cycles in Alethea Pace’s “between wave and water”
Alethea Pace’s “between wave and water,” presented recently at BAAD!, honors the memory of the ancestors buried there in a potent passage of works that resist the urge to erase America’s history of slavery. It is a purposeful, hefty juxtaposition of care-fully crafted encounters, movement through space as memorial practice, memorial practice as malleable time…
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The Animate Breath of Ka Baird’s Live Performance
Ka Baird stalks the stage like a phantom: hungry, unsettled, irrepressible. Wielding a microphone and sometimes a flute, they sway and swing at the air, moving with the zeal of
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READY, SET // A response to Esmé Boyce Dance’s creation of The Humbling or Chapter of Mama: Part 1
Racing with the gravity of children, the adults ricochet around this room built for great art, cackling. A narrow dodge. Cori’s it. A swipe across the belly.
