A German play based on a French memoir reflects on the global Left’s abandonment of the working class—and finds additional significance in the Age of Trump.
The playwright discusses his formative years, rejuvenation of historical material, and how race is coded into theatergoing itself.
Featuring selections by Bethany Ides, Isaac Pool, Charles Bernstein, Matthew Weinstein, Ivan Talijancic, and more.
By casting actors to perform as herself, Bocanegra considers “the nature of presentation itself.” Lili Taylor stars in her Farmhouse/Whorehouse at BAM’s Next Wave Festival this December.
Taking cinema’s portrayal of artists personally
Feminists face off against Norman Mailer in the Wooster Group’s reenactment of the notorious ‘71 Town Hall debate
The actors chat about performing masculinity, transitioning, and Blackwell’s one-person show They, Themself and Schmerm.
“I asked my students for the image of the essence of tenderness. One girl brought in a small, silver plate with a bunch of grapes neatly laid out on it. When I noticed she had stripped the skin off the grapes, I got goose bumps.”
A play that updates European absurdist techniques to take aim at liberal America’s great existential troubles: race and gender.
On the fiery filmmaker Andrzej Żuławski and his final work—Cosmos.
“Freedom and bondage I find interesting. Or purity—and a contrast to that purity.”
“You’re looking at the human inverse of a technological idea.”
”I am not a human being up there, true, and I am not a woman. I’m consciousness.”
“I wanted to build the script as if we were entering into a brain or a memory, where you have separate elements existing in the same time and you don’t understand the logic.”
“They said, ‘You’ll be in charge of the children and the dogs.’ And I said, ‘Okay! But what does that even mean?’”
“As soon as you film someone it accelerates the deterioration of love.”
“People love to underrate plot, because it makes them sound like they’re beyond it, like plot is best left to Danielle Steele.“
“There’s the scientific and mathematical—how stuff is—and there’s the prosaic, the poetic—how people are.”