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 third in a series of plays inspired by the Divine Comedy.
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.
A performance artist who grew up in the circus uses clowning, street dance, and butoh in playful and provocative combinations.
Body swapping, infinite loops, and ’70s conspiracy thrillers haunt the dynamic performances of a movie-loving artist and the actors he works with.
“If someone hands over their repertory theater group to you, what are you going to do with them?”
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.
In Tongue PhD––Lithuanian-born, New York-based artist Ieva Misevičiūtė’s latest solo performance, which had its US premier at The Kitchen this September––the muscular movements, animal ancestry, and (countless) metaphoric permutations of the tongue are explored and presented in the style, oddly enough, of a PhD dissertation.
“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.
“Like holding hands with a stranger—for kind of a long time.”
“I hope it’s not a masochistic impulse within me, but I will always stay until the end to see how a creative thought completes itself.”
“They said, ‘You’ll be in charge of the children and the dogs.’ And I said, ‘Okay! But what does that even mean?’”
“There’s the scientific and mathematical—how stuff is—and there’s the prosaic, the poetic—how people are.”