“The looks we get at reality are really only guesses.”

Body swapping, infinite loops, and ’70s conspiracy thrillers haunt the dynamic performances of a movie-loving artist and the actors he works with.

The actors chat about performing masculinity, transitioning, and Blackwell’s one-person show They, Themself and Schmerm.

“They said, ‘You’ll be in charge of the children and the dogs.’ And I said, ‘Okay! But what does that even mean?’”

“If there is a despairing quality to our work, it is despairing of the fact that once upon a time there used to be an earnest revolutionary spirit in this country.”

Slovenia-based performing arts project Via Negativa explores the sin of pride in its experimental performance, Out.

I have seen Scott Shepherd perform many times as a core member in two of my favorite New York theater companies—Elevator Repair Service and The Wooster Group.

Belgian director and playwright Jan Lauwers of Needcompany in discussion with fellow dramatist Elizabeth LeCompte of The Wooster Group on the parallel lives of their respective companies and the upcoming performance of The Deer House at BAM.

‘It’s an odd thing to describe what your art is when so many of your desires are mediated through the desires of others.” Catherine Sullivan

“The chasm between contemporary art and theater is a topic of perpetual amazement to CiNE. 

“I worked at Shepherd-Pratt mental hospital, and I liked to take my name tag off and maybe be confused for one of the patients.”

All those words like “transfixing” and “riveting”—words you see advertised on billboards that mean nothing after all, actually mean something when describing The Roundabout Theatre Company’s production of Harold Pinter’s Ashes to Ashes.

On the occasion of Elevator Repair Service’s acclaimed staging of The Sound and the Furyat the Public, we revisit Coco Fusco’s interview with the ensemble from BOMB 67.

It is a strange fact of nature that the most violent forms of weather—hurricanes and tornadoes—have at their heart a calm, still center. That center is only evident because of the contrasting fury that surrounds it. Otherwise, it’s just another pleasant, sunny day.

Naked Angels, the ad-hoc theater company of which I am a member, has been home/clubhouse to several notable young actors: Marisa Tomei, Lili Taylor, Fisher Stevens, Patrick Breen, Rob Morrow, and Gina Gershon. Not as well known, perhaps, but just as unique is the remarkably eccentric (Would he mind being so labeled? No actor should.) Toby Parker.

Ridge Theater walks the line between opera and the avant garde, biting over a hundred sounds a minute. An original look at how they do it.

Up for experimental theater? Try the Cucaracha Theatre company. Drama, death, dreams—they go there in conversation with Betsy Sussler.

Yuri Lyubimov discusses the theater as a phenomenon for the elite, censorship, and why Scandinavians are more prepared for plays.

Blue Man Group, three individuals making one collective whole, delves into their sociopolitical reasoning for using Cap’n Crunch cereal as a musical instrument.