Editor’s Note: QUEERING MARRIAGE is the concluding essay documenting the long-table process around Kyoung’s Pacific Beat’s production of PILLOWTALK at the Tank. You can read about the previous conversations here and here. I have the privilege of sharing out PILLOWTALK’s third, and final long-table, addressing
Every story needs to be considered individually for us to have any chance at finding something that looks like justice.
“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.
Editor’s Note: Jason Tseng attended a long-table discussion following a recent performance of Pillowtalk and provided the following response. Future long-tables will be held on January 18th and January 25th. I have had the opportunity to track the development of Kyoung Park’s Pillowtalk – from its first public
I wonder about the ways that our bodies clue us into selves and identities, perhaps even before we’re aware of them.
Solo storytellers must boldly jump off their high dives and fall into their public swimming pools.
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.
Its in-betweenness, like the liminal space of “not me…not not me,” grants us the ability to be in two places at once.
Animal metaphors are used to inspire and describe the texture of the words and atmosphere.
The moment it becomes legible, it becomes something else.
These works imagined utopias that challenge our assumptions about the limits of what we accept as reality.
She mourns and then she is fully present, looking right through you, dancing with abandon.