“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.”
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.
A conversation with playwright Kate Benson and director Lee Sunday Evans on their new play, [PORTO], at The Bushwick Starr
Standing Up in January: Day 2 Dispatch (COIL, Squirts & La Mama with Pavel Zustiak, Patti Harrison & Marga Gomez)
La Mama dispatch for PS 122’s COIL Fest, Pavel Zustiak’s “Custodians of Beauty” and “Bastard (The Painted Bird: Part 1)” and Squirts intergenerational queer pairings with stand up sets from Patti Harrison and Marga Gomez. To start the year alternating between bent over from either despair or because I might laugh so hard that the tears trickle down my legs felt fitting to my polar emotional swings of late.
What a fucking metaphor you guys.
How will we ever go back after the planting that guest curator Eva Yaa Asentawaa sowed during last week’s “the skeleton architecture, or the future of our worlds?”
French choreographer and breakdance world champion Anne Nguyen‘s Autarcie (…), presented by the Crossing the Line Festival and Dancing in the Streets at Gibney Dance Center from September 29 to October 1, 2016, is rooted in hip-hop but aims to open a new space within
We’re invited to look in, but our presence isn’t required.
Being an artist is another way of negotiating a place as a citizen.
The trouble and the treasure of writing about modern adaptations of ancient myths is that there is too much context and too many references from centuries of retelling and analysis, so that I could read about Phaedra the myth and Phaedra the woman for the