Life is triggering. I am triggered constantly. You either choose to run away from that reality, be victimized by it, or lean into it by accepting the truth of your own experience.
What, for the theater, are our tablecloths, forks, spoons, plates and bowls that maybe aren’t actually serving us anymore? Is how we are making theater and performance the best way it could exist, or is there a better version?
The anxiety vortex of What Makes Us Feel Good shoots one into the black hole of anxiousness.
“These People Seem Like Republicans”: Rebecca Patek takes on shame, rapey logic and misogyny with CHASM
With CHASM I wanted a way to get that back because I feel like that’s not about a career, or being an artist, it’s mine, it’s what I do, it’s what I’ve always done. It feels necessary for survival.
“Money is not the root of all evil. The love of money is the root of all evil.” We need money, but money is not the only way to define our value.
You could call it an exploration of the butterfly effect on a schizophrenic scale.
We’ve written a very hopeful apocalypse.
In Donly’s theater of gentleness and Bosch’s garden of delight, we are granted a vision of the world in which disagreement is not the harbinger of the end of love but the engine of love’s continuance.
“I’m Fundamentally Interested in a Gentle Theater” – a conversation with Corinne Donly and Sarah Hughes
I got the impression that Corinne and Sarah were working out their ideas in front of me, rather than regurgitating concepts already known. In other words, the play was becoming before my eyes.
A response to The Krumple’s ‘YOKAI: Remedy for Despair’ via the questioning of how one responds to art and how dependent that response is on form and location.
The Ones are always in transition, moving from one version of themselves to the next, not out of fear, but human necessity.
Mei Yamanaka continues developing the piece we caught at Fresh Tracks, and Laurel Snyder showcases a trio of new works