“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
A long time into the future, slowly: Emily Johnson’s “Then a Cunning Voice and A Night We Spend Gazing at Stars”
“There is no end to the work we begin here.”
This January I had the privilege of seeing Saori Tsukada and Nikki Appino’s CLUB DIAMOND at the Public Theater’s Under the Radar festival. The work uses various forms of storytelling (live performance, silent film, musical composition, scrappy street theater) to speak deeply about our collective
/VANITAS/ unpacks our inextricable and very physical connection to, and at times our embodiment of, the web. At the start, one performer picks up a small gray square, which transforms into a mirror, revealing for the audience their own reflection: look at yourself! Characters emerge
Benson’s voiceover technique does all the good stuff and almost none of the bad stuff that you usually get from utilizing a narrator in the theater.
Several times, misdirected/redirected, freezing and running in white-out conditions, I wondered why bother at all. But, sometimes it’s all you can do to just show up… 2 American Realness Discourse Talks, 2 Works-in-progress, 1 tight bit o’ dance.
I wrote an essay a while back that broke open the term ‘art’ into five different definitions. It was for a Ph.D. seminar on art and leadership. I read thousands of pages, wrote papers and posts, and still, like most in my cohort, struggled with
On October 21, 2016, I attended action movie by Olive Bieringa in the Vital Matters Dance Festival, held at the Southern Theater in Minneapolis, MN. This four-day festival was important in centrally locating the body and its felt experience. I found depth and renewal in
Minneapolis, MN I was catering the opening night of the Vital Matters Festival of Dance at the Southern Theater, so between arranging plates, slicing bread, instructing assistants, opening jars, and fluffing tablecloths, I tiptoed into the back of theater to watch Anna Marie Shogren’s Human
In the context of a contemporary dance festival dedicated to the “vital materiality of the body,” I was surprised that the greatest challenge to my idea of embodiment came about through its negation—through a conscious disembodiment of dance, in Otto Ramstad’s solo work Lineage. In the
Vital Matters Dance Festival The Southern Theater, Minneapolis, MN October 20, 2016 HIJACK, Anna Marie Shogren, Otto Ramstad, //CATHEDRAL\\ I go to shows mostly for two reasons, and I bet they are the same reasons as most of you: For entertainment and fun. For contemplation,
Identity politics and dance in the age of Trump: Or how to become a “body without organs” and still acknowledge some borders
In October, I saw two very different works by the French choreographer Jérôme Bel: Jérôme Bel at The Kitchen and Artist’s Choice: Jérôme Bel/ MoMA Dance Company at MoMA. The first contained no dance as we might traditionally think of it, in terms of constant/grandiose/fast/visible