A response to The Krumple’s ‘YOKAI: Remedy for Despair’ via the questioning of how one responds to art and how dependent that response is on form and location.
If male artists were to spend the rest of their lives critiquing–as directly as this play critiques–the patriarchal authority of the Western canon, they would never run out of material.
Assaulted by sound. A noisescape that experientially presented embodied anxiety. Mic stand dialogue, alienating and surprisingly all the more evocative for it. Shit hanging from the ceiling. A donut that somehow is both a murder weapon and the patriarchy itself? A potato that is both
I am seeing the iPhone ghost faded into Mark’s jean pocket. We see each other.
He is seeing each one of us.
“Nostalgia” is appealing because its outlines are blurry, soft, malleable; it is easy to romanticize the past because you can pick and choose the parts of them you want to recall.
“What are we even trying to save!?”
We have long had a fascination with what our culture’s celebrities do behind closed doors. What nicknames do they use? What junk food do they like? Yeah but how do they talk to each other, really? These are just some of the many questions Gemma
Is a one-act the most intentionally ephemeral storytelling? Or a prelude to a more extended version of itself?
An effective seduction, there is enough truth in the tall tales to keep us believing and bound to the ride.
But the tortoises bring a different element. They seem trustworthy. You can really count on them to play their part.
George Emilio Sanchez offers a rumination on Culturebot’s Maura Donohue’s recent work at La MaMa
I could go on, you should go on for me, counting heros not yet fallen.