I left ‘Sleep’ as if I was waking from a dream—confident that what I had just experienced was meaningful, but entirely unclear as to why.
Sobelle’s work relies heavily on what one might describe as “sleight-of-staging,” which I’ll posit here is a cross between what a magician does with objects (cards and the like) and what a director does with design and blocking.
Between Walled Rooms is a series of freeform responses to live performance works by female identifying and gender nonconforming choreographers, initiated by Tara Sheena. This work is a response to Hadar Ahuvia’s “Everything you have is yours?”.
Five Questions: Sam Schanwald with Hannah Wasileski, the projections designer from SLEEP
The critic or artist who wants to be trusted must be willing to be vulnerable and flawed; she must be willing to be wrong. She must be willing to risk. And it is no less terrifying for the critic to reveal herself than the dancer, choreographer, actor, artist, or musician.
slowdanger is a performance duo from Pittsburgh. They are Anna Thompson and Taylor Knight, who speak their minds both alone and together. We talk about the queerness of being a multidisciplinary artist and the influence of technology on dance work, among much more. Their collaboration
Tone-deaf and half-baked, Ivo van Hove’s adaptation of “The Fountainhead” flounders onstage
Perforations Festival brings us into direct responsibility for the execution of artistic ideas and challenges the passive stasis of sideline observation in a mostly successful series of performances that ripped apart conventional norms.
How do we resolve our needs for nurturing, intimacy (implied individualism), and safety with our fascist reality?
Audrey Moyce responds to TOYS: A DARK FAIRY TALE at 59E59.
Parson slowly and deftly reverses the lens, edging away from the endlessly verbal Sam and leaving us with only Bess.
You could call it an exploration of the butterfly effect on a schizophrenic scale.