Article

Nightlife as Form

Nightlife as Form

Madison Moore examines nightlife as a staged experience and club culture as a source of artistic innovation. Tracing its development from 1920s Harlem to its current manifestations around the globe, Moore explores how nightlife leverages darkness, the “just-beginning-to-stir,” and scenes to become incubators of popular culture.

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Diagnosing the Condition of the New Dramaturgy

Diagnosing the Condition of the New Dramaturgy

Polish theater scholar and editor of "Didaskalia" Anna Burzynska reviews New Dramaturgy: International Perspectives on Theory and Practice, edited by Katalin Trencsenyi and Bernadette Cochrane.

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The Curatorial Turn

The Curatorial Turn

In this article, Tom Sellar works toward a definition of the performance curator, a protean role at the crossroads of performance and visual arts presentation. He reveals performance curation’s ties to dramaturgy and criticism; could this emerging field imply greater institutional and creative power?

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From Content to Context: The Emergence of the Performance Curator

From Content to Context: The Emergence of the Performance Curator

Guest Coeditor Bertie Ferdman traces the rise of the performance curator from the early 1960s to the present, showing how curation has become central to the presentation of performance today. Ferdman explores the numerous innovative ways in which performance curators craft frameworks in which the public is prepared to receive—and question—the live.

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Productions and Events

Productions and Events

Andrea Tompa reviews Jerôme Bel

Gherardo Vitali Rosati reviews the European Theatre Convention’s Spring Theatre

Bus Tour 2013

Jessica Rizzo reviews Annie Dorsen’s Magical

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Joining The World: The Flying Circus Project 2013 In Burma

Joining The World: The Flying Circus Project 2013 In Burma

Singapore-based arts journalist Ng Yi-Sheng records a personal travelogue and critical account of The Flying Circus Project, an interdisciplinary performance, art, and ideas program conducted annually in Southeast Asia. Hosted in politically fragmented nation of Burma in 2013, the Flying Circus Project appears for Yi-Sheng as a model for provisional community building that slips fraught political and artistic borders.

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Engagement Féminin: L’équilibre And Contemporary Dance In West Africa

Engagement Féminin: L’équilibre And Contemporary Dance In West Africa

Emily Carson Coates considers the interplay of contemporary dance aesthetics

and social change developed in the work of Burkinabe choreographers Auguste

Ouédraogo and Beinvenue Bazié and their project Engagement Féminin, which

aims to foster a new generation of professional female dance artists in West Africa.

Coates considers the initiative’s recent piece Dans Un S’Y Mettre, proposing that

it emerges from a gender politics of the dancers’ own devising, based in mutual

support and articulated through the women’s dancing bodies.

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Walk for Me: Postmodern Dance at the House of Harrell

Walk for Me: Postmodern Dance at the House of Harrell

No Tea, No Shade! Madison Moore reads the work of contemporary choreographer

Trajal Harrell, which critically crosses the downtown pedestrianism postmodern

dance with the high-fashion spectacle of uptown Harlem drag balls and voguing.

By considering the social contexts of these apparently disparate scenes, Moore

highlights the stylistic affinities and cultural clashes on display in Harrell’s sweeping

cycle of dance works titled Twenty Looks or Paris Is Burning at the Judson Church.

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Up Front

Up Front

A model UN gone to the dogs. Australian artist Bennett Miller’s performance installation Dachshund UN at the 2013 Festival TransAmeriques in Montreal crosses animal studies with unflinching geopolitical critique by handing over the principal forum of world government to a quorum of cute, clueless, and capricious hounds. Meanwhile, on a local scale, Brooklyn community activists and artists assemble for public discourse on the state of cultural economics in America.

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Discurso

Discurso

This translation of Discurso by Guillermo Calderón was commissioned by the English Stage Company at the Royal Court Theatre. The translation was first performed as a rehearsed reading at the Royal Court Theatre on March 9, 2011. The reading was performed by Kika Markham and directed by Guillermo Calderón.

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