we come to performance to watch people get wrecked and wreck each other in a simulated way, while remaining in the comfort of our own private spectatorship
Like a giant notebook portfolio or a crumpled map in the glove box of a borrowed car, the paper endures, holds the changes, shows the history of Sha and Sarah’s togetherness— and our witnessing of that togetherness.
Let us, then, be the dreamers of the empty space between repetitions that sows fertile soil for difference and kinship.
Question everything. Laugh often. And be proud as peacocks, amoebas and hominids—you’re alive, and it’s June!
If performance is an intersection between the realness of live embodiment and the fantastical suspension of reality, then this is true performance.
I put my arms around the dry branches, sunk my face between the needles. I remembered holding you like this before you left. I remembered when we did this without thinking.
“I aim to be a balance between a healer, a dictator, and an anarchist” – Sophia Cleary
Eliza Bent is about as close to a recognizable brand as you can get in downtown theater land (I say this in a good way) – she has a specific and winning skewed sensibility and a propensity for characters, which I assumed would not be overly diminished by the Zoom platform.
No one goes into the archive unless they have a hole to fill. Archives are the remedy to forgetful minds, faulty sources, and even death itself. They promise concrete answers and facts.
7 Names: Everett Saunders + Marjani Forté-Saunders X Benedict Nguyen
This body unfurls in slow motion, leaving ample space for labels, classifications, and archetypes to land upon her and vanish.
I start to explain something about artistic agency over visual archives of original work but all that comes out is I guess we’re all in trouble.