... the context of his career. Set apart, like a philosophic gateway to his cosmos, Brook prefaces The Shifting Point with an explanation of its title. The content and tone of this declaration of faith forecast those of the volume that follows: I have never believed in a single truth. Neither my...

... with Julian Beck and Judith Malina, who had staged four of his plays and pointed to his anarchist thought as one of the sources of their revolutionary theater. Copyright © THEATER 1990 1990 PAUL GOODMAN, E LIVING THE AND THE GREAT...

...Praise Zenenga Praise Zenenga's article navigates the long and troubled history between Zimbabwe's theater artists, and national government and local police strongmen. Zenenga uses the Zimbabwean Censorship and Entertainment Control Act of 1967 as his departure point and compartmentalizes...

... discourse” in the presentation of contemporary performance, he points to the affinities that performance curation maintains with dramaturgy and criticism, even as the role stakes a claim to greater institutional and creative power. © 2014 by Yale School of Drama/Yale Repertory Theatre 2014 Truth...

...Jay Pather Using the protests of the Fees Must Fall movement as his starting point, Jay Pather examines the contradictions inherent within the culturally and politically loaded black body of postapartheid South Africa. Pather discusses the works of Brett Murray, Chuma Sopotela, Themba Mbuli...

... and elsewhere, and among the general reevaluations spurred by the disintegration of the DDR were many that had a feminist point of view; the comments printed below were written before their authors had seen Fuegi's book. I trust this will account for what may seem like a most peculiar reticence. (For the record...

... and dataveillance. In her estimation, the exhibition becomes less about the politics of methodologies of surveillance than about “how surveillance in a Big Data society is pervasive to a point of its absorption.” Jennifer Parker-­Starbuck Surveilling the Scene It is easy to question the benefits...

... 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...

... painted by Peter Schumann second banner.) about 4’x 6’mounted horizontally, one on top of the other, NARRATOR: (Points to picture of older couple.) With the on a crosspiece supported by two side poles. The poles are help of our grandparents held by two chorus members whoflip from one banner...

... of the world, with a large arrow pointing the screen as if presenting it. to the southern point of South America, and then charly Something that nobody has ever seen one of just the American continent with the same before. (Rushing back behind the television...

... of professionals, an armed diaspora on a mission of “armed obser- vation.” Based on James Strahs’s text, North Atlantic was originally developed within the Wooster Group’s 1984 project L.S.D. ( . . . Just the High Points ). According to David...

... ARMOUR WREN THE WILLIAMSON GIRL, and her fiiends I had driven some two hundred yards JAMES WREN, and the Black Boy SAM beyond the point where we had encountered ANDREW, the overseer and brother him when I said to my son, James: “I Of WILLIAMSON...

... and dancing, the virtues for which they wished to be acclaim’d. This theatrical reassertion of court relations played out across the entire audito- rium: Jones’s use of one-point perspective ensured that only the king sat in a direct line with the set’s vanishing point, thus vaunting the twin...

... a micropolitical point of view, what distinguishes those positions is, on the one hand, the degree of each curator’s vulner- ability to art, as well as the type of value the curator attributes to it, and on the other, the curator’s degree of identification with the world of those who invest capital in art...

... of Drama. Katherine Ling: They're not great as actors. That's not their strong point. Their strong point is they're a living thing, a body theatre. It's a seduction theatre. And if they don't go with that all the way, then they cannot possibly be convincing. I've seen them looking fake...

... to be under attack and "literature" is taken to mean the verbal medium in general. For all the confusion, however, the tone is much too shrill not to betray a certain anxiety among film estheticians about the nature of their own medium. It is traditional to point out that the film is distinct from, say...

... possible, some appealingly comic. Say, Blau with the others, but at the point of retreat he theater retreated to the relative safety of a lost track of the real war altogether, wound was wounded, and now he remains in the ditch under cover of night. And they left up tilting at windmills. Maybe he...

... he points his umbrella at the corner again I am expecting the artistic director of In that corner Flensburg...

.... moment to set the scene. Clearly they per- Not only that, the debate seems rigged. The sonify hostile points of view in an intense two sides are not equally balanced: Mann social struggle, one that has !ed...

... from an array of Western and Eastern religious works, mythologies, philosophi- cal tomes, and scientific treatises. (Foucault calls it “a book of books,” a vol- ume with so many reference points that its reach dilates immeasurably.) Four Larks offers an apt aesthetic for realizing...