... of communication might change not only how we talk to one another but also what long-lost phantoms we might be able to access anew.” © 2020 by Miriam Felton-Dansky 2020 High Winds Sylvan Oswald insomnia phantasmagoria abstraction trans aesthetics transmasculinity play formatting Play a Journal...

... to curation relate to the “knowing-body.” Using artist Lygia Clark's Caminhando (Walking) to problematize the politics of desire, Rolnik explores how curation practices might liberate themselves from capitalist-colonial micropolitics, as well as how curators negotiate the safeguard of artistic practices...

... as a developing force in the American theater. Ironically, as this piece argues, one of the resident dramaturg's tasks might well be the elucidation of a theater's aesthetic mission which, if available, would have made it unnecessary to analyze an advertisement for a statement of purpose. Copyright © THEATER...

... compromised because he is not comfortable allowing his wife to continue having the family she wants. San Francisco Bay Guardian critic Misha Berson wrote that “despite the Munich setting, Neither Fish Nor Fowl might have been set in Detroit or Cleveland. Edgar talks about how completely different life...

... within their own collaborative processes and how theaters might cultivate a culture grounded in care work. Reflecting on the lack of support for queer, POC, and disabled artists in US commercial theater, they discuss the ways that Sins Invalid’s work challenges those institutional paradigms. Finally...

... overcomes virtuosity, and so full of feelings that his performance might only point to them, like mathematicians indicating proofs just beyond their capacity. Copyright © 2018 Yale School of Drama/Yale Repertory Theatre 2018 Robert Wilson Einstein on the Beach archive gesture materialism...

... in the gaps created by the transformative industrial and aesthetic shifts of American theater in the 1960s.” Herrera then reexamines how dramatists of marginalized identities, by recovering the legacies of Baldwin and Fornés, might move beyond mainstream aesthetics and “diversity’s categorical logics” through...

... diversity of creative exercise. This sort of programming lasted all the way to the new millennium —  did it ever stop? — in performance seasons with one black artist or with visual artist lineups that included a white women’s moment among the men. At times, queer white men might be identified as gay...

... the spectator’s relation to the stage might somehow be put to the test, or at least approached in a different sort of way. I’ve been thinking about this in relation to a certain sort of spectatorial “going up” in the work of Socìetas Raffaello Sanzio (SRS). Later on, I want to recall an example from M.#10...

... in front of him, Thomas D. is good with numbers he would sit in the stands, amused by the he might have been a good accountant baserunning of the robed men on the green he...

..., there is a moment before the curtain rises when you think things might be different this time, the stage might spill forth phantoms, let loose some antediluvian madness that will carry you off to its terrible, bone-­crested lair, something you fear but desire with each pulse. (C, 12...

... of critique or engagement or faith, towards the one relation (the stage-auditorium relation) that constitutes them ‘as’ spectators and thereby grants them whatever little animation they might have. They are, so to speak, here ‘for’ this performance but they do not acknowledge...

..., specify a state of a medium at a particular moment. We might paraphrase: when speaking of the medium of theater, “it is better to specify” court performance in Jacobean London, melodrama in nineteenth-­century New York, cabaret performance in Weimar Germany, or experi- 8...

... been wont to call this output) appeared in print and digital media. And fol- lowing the publication of critical pieces by James McMasters, Lyra D. Monteiro, and Stacy Wolf in February,9 April 2016 also registered a noticeable uptick in commentaries reflecting what we might consider #HamCrit’s...

.... This had not been happen• ing. Theaters were not producing new plays, were not even reading them. So I began to read plays for the OADR. I am a very slow play reader and I stage the play in my head. As I was reading these hun• dreds ofplays, it dawned on me that I might be able to help the play- Arthur...

... and attempted to judge whether or not I might get a wrights, several concentrated playwriting conferences now take theater somewhere, somehow, to produce the work. We sup place. The best of the lot, of course, is the O’Neill Theater ported the playwright (per diem, travel, honorarium) and the Center...

...Tim Etchells © 2016 by Tim Etchells 2016 Forced Entertainment’s First Night, Rotterdam, Netherlands, 2001. Photo: Hugo Glendinning Tim Etchells By Means of the Future Forced Entertainment, Prediction, and the Community of Audience To tell it as one might find it in a book...

... knew nothing of their children’s whereabouts, hundreds of miles might separate them. And, of course, the children might not even know they were Jewish, might not know they were placed into hiding, might not know they were still, for all intents and purposes, hidden. It was safer if the child...

.... Doggedly they trail their (more or less informed) heirs who might harbor forgotten, misplaced, or intentionally hidden boxes or suitcases that might yield some hitherto unknown papers. In the case of Brecht, several such suitcases are still unaccounted for. In view of his odyssey on the run from...

... of libertarians that the poet — allegedly Delmore Schwartz — who once said “even paranoids have enemies” might have been on to something. With a little fine-tuning of fear quotients everywhere, it’s possible to have grudging sympathy for police warnings even when our better selves warn us that exchanging...