the beauty of the play is that things get really weird, really fast at times, but always go back to the tune
It’s about how we try to use stories to explain things that we otherwise can’t explain, and how sometimes even those stories don’t do the work for us. How do we keep doing the work after the story?
It’s the concept of being brave and having a safe space that is safe enough that you can feel brave — because it takes bravery to have those conversations that you know will be difficult, with people that might have a viewpoint that is different than yours, but in order to find common ground and to communicate with each other, those conversations must be had.
Ni’Ja Whitson queers divine kingdoms with cosmological meetings amidst a swirl of lineage, legacies and streaming star scapes. Salve.
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.
Shaun Irons and Lauren Petty discuss “Why Why Always,” a cine-performance
The British artist discusses “Blackouts,” at Crossing the Line 2017
“Roberto Bolano’s appearance in the world is great for Latin American literature, for Latin American writers,” Javier Antonio Gonzalez, playwright and artistic director of the theater company Caborca, told me recently. “Even though his work is celebrated everywhere and people connect to it all over
Oh My God That’s Kevin Kelleher – Or, Does Specialness Only Exist In Your Mind? A Discussion with Tiny Little Band.
Stefanie and Jerry, in the midst of a mysterious project that I now know addresses (among other things) heroes, myths, and specialness, are experiencing, as a result of the process, a transformation in their thinking regarding such things
I was right I was wrong I was right I was wrong.
Here, humor and failure coexist comfortably; there is room for both at all times.
Margaret Tudor on Daniel Kok and Luke George’s ‘Bunny’ @ Abrons Arts Center.