On deep listening and language as liberation.
The artist, director, and actress discuss their endurance performance, The Second Woman, and its exploration of gender performativity.
A CAST of eight: ACTOR, CHEF, COMPOSER, DANCER, FILMMAKER, PAINTER, and siblings: SISTER and BROTHER. If necessary, ACTOR may be played by a PHOTOGRAPHER.
A look back at the AIDS crisis.
An experimental theater company takes on Edward Albee.
Reza Abdoh, the first large-scale retrospective of the late Iranian-American theater director’s work, is on view through September 3 at MoMA PS1. The comprehensive exhibition was co-organized by Bidoun’s Negar Azimi, Tiffany Malakooti, and Babak Radboy alongside MoMA PS1 director Klaus Biesenbach.
A taste of what’s to come at Manhattan’s new space for multidisciplinary programming.
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.