When the Gilets Jaunes (“Yellow Vest”) protests broke out just a little over a year ago, the leaderless, populist movement was somewhat baffling – as with so much of French social life – for Americans. Beginning as a protest against a fuel tax combating global
If you can say one thing, and only one thing, about Harris’s body of work thus far, it’s that it certainly seems to incite conversation.
even if death is on everyone’s menu, lurking somewhere after dessert, this evening, we survived
Drag has challenged me to re-examine and expand my gender identity, which I now see as a continuum between my “everyday self” and “performance self”.
It’s not always clear what we’re looking at, but perhaps Henry is tearing down the house, family, and narrative form itself with hope alongside rage.
Their arguments, even when hate-filled, are lucidly formed and difficult to penetrate. There’s a weird thrill of uncomfortable relief when we find ourselves half-agreeing with them.
Watching the three Players go through an elaborate and very tightly regulated game for citizenship to “The Promised Land,” the dot game would have been more than enough to create a natural tension between the players, with which to fuel their antagonism, and eventual alliances, secrets, and betrayals.
There’s a genial kind of, I don’t know, Brechtian disruption going on when you hurl that sound at people. They just lose their shit and do not know what to do with themselves. It is somehow a punk rock gesture.
“I’ll just put my bias on the table.” What is the impact of the work? “Let’s turn over the rock and see what’s under there.” Terry says.
Does the key to life come less from real knowledge and more from a sense of rhythm? Pattern recognition? A skewed version of the old saying, “If it looks like a life, and it walks like a life, then it must be a life?”
Can I get a witness!! Looking for e pluribus pluribus with George Emilio Sanchez’s “XIV” at Dixon Place
With XIV, my favorite experimental constitutionalist bruthrr George Emilio Sanchez is crashing a brown, brooding and bold biography into the broader American histories of other fights for equal rights. XIV offers an incisive and often intimate look at the never ending challenge that is our country’s constant separations of equality in a show that continues this weekend and next at Dixon Place.
pathetic is writer/director Julia Jarcho’s riff on Racine’s Phedre, the neo-classical exploration of a woman’s lust, so of course it takes place in a high school.