“The looks we get at reality are really only guesses.”
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.
A performance artist who grew up in the circus uses clowning, street dance, and butoh in playful and provocative combinations.
It takes a rare kind of playwright to evoke the head-spinning contradictions in our national political psyches.
“If someone hands over their repertory theater group to you, what are you going to do with them?”
A feminist paean from one Polish artist to another
Transcripts, technical language, and airline disasters.
Artistic development, near-death experiences, and the power of persistence.
American-born French director applies the paradox of the Baroque worldview to the composition of his films, and most recently, to La Sapienza. Nicholas Elliott probes Green’s interest in the tension between spirit and reason.
“We wanted to make a sea of flesh. But it was impossible. Throughout the process we had to reveal the personality of each performer to be able to get to the sea of flesh.”
Matías Piñeiro makes intricate films that play with literature, history and language. His Shakespearean Viola opens on July 12 at the Film Society of Lincoln Center alongside a retrospective of his films.
Infinite Jest, David Foster Wallace’s monumental tome is performed over a period of 24 hours in ten different locations in Berlin.
Alex Zafiris talks to theater director, writer and media designer Jay Scheib about his recent play,World of Wires, which closes his trilogy, Simulated Cities/Simulated Systems.
Matt Jakubowski talks with multi-talented writer Ismet Prcic about his new autobiographical novel,Shards, American theater, and the importance of experience and writing during and after wartime.
It is about the articulation of the literary and physical voice that I write about here, after having seen David Greenspan’s sublimely written and performed The Myopia, produced by The Foundry Theater and closing this weekend, on February 7.
When asked what his plays were about, Harold Pinter once famously and facetiously replied that they were all about “the weasel under the cocktail cabinet.”
The first time I saw Antony perform was November 1992; he was onstage at a downtown club with Johanna Constantine and Poison Eve, two other original members of the Blacklips Performance Cult.
In a letter to Mrs. Patrick Campbell, written in November 1912, George Bernard Shaw cleverly described himself as follows: “He will fill his fountain pen with your heart’s blood, and sell your most sacred emotions on the stage.