The Intimate Process of DUET-ED
It shook me, as the kids say. And I see a lot. And experience a lot. And I felt shook.
Category Archives: Essays
No Worries / No War Zone: Theater of the Chill in Ben Gassman’s Independent Study
What does it do to the modernist play, the living room drama, I wonder, when there is no living room, when there’s no home at all? Where does the play go?
Athletic Kinesthetic Action On Stage
Their movement allows them to take up all the space, filling the stage all the way to the frame.
Crocodile Tears: The Problem of Empathetic Art
What controversies like Robert Lepage’s “SLĀV” reveal about the shortcomings of art practices
Queering Marriage
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
My Experience Working On AMERICA IS HARD TO SEE
Every story needs to be considered individually for us to have any chance at finding something that looks like justice.
Mieke D Responds To PILLOWTALK’s 2nd Long-Table: On Queer and TransMagic in the Werkplace
“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.
Jason Tseng in response PILLOWTALK’s First Long-table Discussion
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
Carrying Queerness With You: Reflections inspired by {my lingerie play}
I wonder about the ways that our bodies clue us into selves and identities, perhaps even before we’re aware of them.
Together Alone
Solo storytellers must boldly jump off their high dives and fall into their public swimming pools.
A Choreography of Ideas
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.
Entering the Fifth Dimension: Yanira Castro’s STAGE
Its in-betweenness, like the liminal space of “not me…not not me,” grants us the ability to be in two places at once.