...John H. Muse John H. Muse surveys the recent phenomenon of the flash mob—brief, participatory performances in public spaces, often advertised virally and lasting no more than a few moments. He discusses the work of Improv Everywhere, particularly their events Frozen Grand Central and No Pants...

.... In Muse’s analysis, Ball’s book “portray[s] spectatorship in theater and in contemporary life as an uneasy, dangerous activity often difficult to distinguish from surveillance.” Copyright © 2018 Yale School of Drama/Yale Repertory Theatre 2018 Jonathan Ball Clockfire virtual theater imaginary...

... of the piece around Europe and on-site in a radio studio in Kigali and explaining the role of radio in the Rwandan genocide of 1994. With The Congo Tribunal , Defraeye identifies several of the many global ramifications of what is often referred to as the African World War and summarizes the three cases...

...Ryan Adelsheim; Rye Gentleman; Michelle Hayford Devised theater genealogies too often take shape around a set of primarily white, Western “ensemble-based” theater companies and training schools working in modes that emerged in Europe and the United States in the 1960s and 1970s in response...

... “My Vast Country ” Russia’s Regional Theaters in Transition Multifaceted, controversial, yet often banal, theater culture is not born above the clouds. It encompasses every aspect of life, every plane of existence, and has earthly roots even as it draws from the heights of the spiritual...

.... century gentlemen. It does not know how to look at the modern Experience in concentration camps is often offered as proof of world through a modern mind because its controllers don’t allow this. In them many victims subjected to ultimate degradations still its writers and craftsmen to force...

...Susan Block Copyright © THEATER 1978 1978 Mime in Wisconsin America's State of Mime Susan Block For most of the American public, mime is material (as most do) are often like But illusionary pantomime can be quality still...

... is not to revolutionize has recently argued [“The Conservative Avant-­ the theater system so that everyone works like Garde,” 2010] that, unlike artists working in the we do. We don’t want to teach others how it 1960s, contemporary experimental performance should be done. Often we are doing what we groups do...

...Evan Hill up front Cryptic Comic Carvings Evan Hill Our present moment is rife with comicality. The comedy industry is bigger, more diverse, and more lucrative than ever. The market is now driven by niche fan bases and decentralized, often participatory, mediums of comedic production. Political...

... - crook and actor, murderer and panderer, the mime is everywhere apparent in all jugglers, mountebanks, minstrels, the cir- phases of theater history - it has often cus, prostitutes and actresses. (Women eluded historical...

... sellar You often describe the Ontological- how to cast spells, or anything about the black Hysteric Theater as a theater of, and for, impulses. arts, but I’ve certainly been infl uenced by art- Is there an impulse toward magic among them? ists who were—people like fi lmmaker Harry...

...). Keyssar devotes chapters of her mode is no longer adequate. The environ- tween scenes are often smoothed by a shared survey to the precursors of feminist drama, ment of social upheaval faced by Terry and theme or gesture. Actresses change char- to the work of Megan Terry and the Omaha others...

... in art history and criticism” marks it as an easy tar- get for silencing and obscuring.2 Of course, often aiding and abetting in the relegation of performance art practices to the blank spaces of art history — and, to be sure, into the shad- ows of curatorial and museological practices...

... to their problems. And despite lessons to be learned from such experiences, the field as a whole lacks a mechanism to do so. Among the prevalent practices: •  Arts managers are often entrepreneurial, willing to take risks and most have a flair for drama. They seldom approach facility...

... are from the visual arts and fine arts. Often, on, I began to play with the theatricality of the artists I’m talking about are not artists these texts. I put them in a dark space, and they know. Also, theater and dance pieces are I created an installation using vintage light reliant on being placed...

... finger-painting so often leveled against him. and be put in surrealistic juxtaposition for Although he tended to be slightly defensive mysterious ends, but wherever they are they in the exchanges, often throwing back...

... having left, often Béatrice Picon-Vallin for challenging adventures elsewhere — one Director of research for theater arts, Centre doesn’t leave a group like the Soleil without National de la Recherche Scientifique; professor of being changed by it — Mnouchkine was able...

... much. The irony, of course, is that this kind of ag- gressiveness often proceeds from something much less deeply hostile than the above-mentioned undersell, which often bespeaks a poi- sonous narcissism, and a contempt...

... stared from the window and dreamed of being a famous writer. Each day I washed the breakfast dishes, dressed the baby and walked in River- side Park. Often I’d say the 23rd Psalm that my mother had taught me. What an exciting life I thought my husband led: classes, grad school at Colum...

...- of bleachers at the opposite end, and from a few rows of shop. He often had the participants follow his movements ground-level chairs placed along both long walls. In the program around the room and repeat his utterances. Wilson, who did not notes, the audience was informed that they should feel free...