What Happens When Elevator Repair Service Stages a Play?
How do you deconstruct a deconstruction?
Stormy Budwig on Meg Stuart’s UNTIL OUR HEARTS STOP
These moments of transparency and revealed infrastructure are strictly intended.
More Muscle! Liza Birkenmeier’s ‘the hollower’ (director Kristy Dodson) presented by New Light Theater Project
One woman’s refusal to participate in the social straightjackets necessitates another’s sacrifice; the hollower’s women are negatively bound to each other in a zero sum game.
Singlet’s Whole World: Audrey Moyce Responds
Though their insular world went weird, and quickly, I was there, because they were there. Davis and Markey have the attunement to one another that only comes from a sustained exposure to the other’s way of standing, talking, moving, being-in-the-world.
My name is not John, but it may as well be: on Danger Signals by Built for Collapse
The history in the text (of lobotomies, of white-male explorers, of colonization) becomes compressed: events, accidents, happenstance, and mistakes, become “like layers of snow into a glacier.”
La MaMa Moves at 13
The La MaMa Moves Festival, now in its 13th season, opens Thursday May 10. Curator Nicky Paraiso and artists Ellen Fisher, Jonathan Gonzalez, Adham Hafez and Ni’Ja Whitson recently shared some thoughts about their relationship to the festival.
Shapeshifters: Black Queer Land(ing) at Gibney Dance
mayfield brooks, jumatatu m. poe, and the I Moving Lab are part of aa three-week series conceived and curated by Marýa Wethers at Gibney Dance highlighted “intersections and crossroads among Blackness, queerness, and Indigeneity.”
SEAGULLMACHINE: Less Hiccup, More Smash?
When I hear that two pieces have been “smashed together,” I make certain assumptions. If I read “conceived by” or “created by the ensemble,” I expect a piece so thoroughly picked apart and put back together, it barely recognizes the original source material. At the
YERMA Turns Audio Operatic – Aron Canter responds
Her quizzers and yelps, the need of her sound, the holes in her anger revealed through the unsteady rocking of her delivery, created the tapestry that was her performance.
Heather Kravas: Objects That Inspire & Interview with Aron Cantor
The objects could be anything generative, and Heather’s choices are varied, sophisticated, heartfelt, and a fascinating insight into what interests this artist.
Moth&Flame: Audrey Moyce Responds
Suggestions of timeless spaces, Miss-Julie-ish rage, and as I knew from the program, taking up issues of sexual violence.
Aloha, Aloha, or When I Was Queen: Is That Voice Still Mine?
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.