... Real Estate and Theater Space in New York: A Forum Theater asked a variety of New York’s artistic directors, producers, and designers to consider how the city’s real estate pressures influence their current work and artistic thinking. We asked...

... Twice Real Marina Abramović and the Performance Archive When Marina Abramović Dies: A Biography by James Westcott 2010: MIT Press Marina Abramović: The Artist Is Present edited by Klaus Biesenbach 2010: Museum of Modern Art In 1988, Marina Abramović and her longtime partner, Frank Uwe...

...Helen Jaksch © 2016 by Helen Jaksch 2016 Before Your Very Eyes Gob Squad Public Theater, New York, November 2015 Employee of the Year 600 Highwaymen Under the Radar Festival, New York, January 2016 Helen Jaksch Real Live Kids Before Your Very Eyes Gob Squad Public...

...Joan Holden Copyright © THEATER 1988 1988 AN ANSWER TO THE QUESTION, “WHEN ARE YOU GOING TO TRY WRITING A REAL PLAY...

...Michael Kinghorn Copyright © THEATER 1992 1992 IGEORGE STEINER’S REAL PRESENCES MICHAEL KINGHORN eading George Steiner’s new book Real Presences is actions...

... of the theatrical event—instead, Rau seeks to make the representation itself real, blurring the line between fiction and reality to trouble and implicate the audience. Laur ens De Vos A Tal e of Trut h The Use of Brechtian Strategies for Non-­Brechtian Artistic Purposes in Milo Rau s Theater of the Real Before...

...T. J. Reiss Copyright © by yale/theatre 1973 1973 Bernard Dort and the Search for a "Real Theatre" T. J. Reiss Although Bernard Dort's Theitre &l,' as the cover notice insists, represents a continuation of its author's dialogue in the theatre first...

...Elaine May © yale/theater 1974 1974 Elaine May as a PTA chairwoman, Compass, Chicago, 1956. Theodore J. Flicker. Compass, St. LOUIS, A Compass Scenario The Real You Elaine May 84...

...Migizi Pensoneau; Bobby Wilson; Eric Ting; Shyla Lefner; Justin “Jud” Gauthier; Ty Defoe; R. Réal Vargas Alanis; Julie Felise Dubiner; Sebastián Eddowes-Vargas [email protected] [email protected] [email protected] [email protected] [email protected]...

...John H. Muse This article surveys the new forms of drama, performance, and spectatorship created by artists making use of the real-time microblogging website Twitter—as either a forum for performance in itself, or way to extend the boundaries of a more conventionally theatrical performance. He goes...

...John H. Muse John H. Muse discusses Jonathan Ball’s 2010 collection, Clockfire , a compendium of “sketches of impossible plays,” as a means of interrogating theater’s relationship both to surveillance and the virtual, both of which Muse sees as inherent in all theatrical acts, real or imagined...

... reflected and problematized in Rau’s “theater of the real.” The analysis includes aesthetic consideration, an examination of Rau’s rehearsal and creation techniques, and the ways in which audiences and critics have responded to these provocations in different performances. Milo Rau s La reprise: Histoire(s...

...: Bret Brookshire. ELINORFUCHS FAL s E M E M o RY S Y N D R o M E The Memory Theater of Pi? David Hancock But you are real, Uncle, and your hat is real. And your mustache is real, your feet are real, your trousers are real, your heart is real and your feelings...

... to believe in a fairy tale about the graceful emergence of democracy, free markets, and optimism — while evidence mounts of real trouble. The changes aren’t over yet, and stage artists have a lot to tell us about that. Theater 38:2 © 2008 by Yale School of Drama/Yale Repertory Theatre...

... mounts of real trouble. The changes aren’t over yet, and stage artists have a lot to tell us about that. Theater 38:2 © 2008 by Yale School of Drama/Yale Repertory Theatre 1 sellar We’ve chosen to begin with Hungary for two reasons. First, Hungarian artists...

.... The West has chosen to believe in a fairy tale about the graceful emergence of democracy, free markets, and optimism — while evidence mounts of real trouble. The changes aren’t over yet, and stage artists have a lot to tell us about that. Theater 38:2 © 2008 by Yale School of Drama/Yale...

...,’ ” Steve Paxton said. “ ‘Why not?’ was a catch-­word at the time. It was a very permissive time.”13 The “why-­nots” led the choreography to feel unpolished and even “real.” Perceiving the dialogue between the “realness” of voguing and the “realness” of postmodern dance was a key point...

... physical pressure.” Only last year the two states, until both nations are ready to make Supreme Court said you can’t do it anymore. a real Truth and Reconciliation process, we are After that, Prime Minister Ehud Barak pro- saying...

... the scripted demands of their characters. Allowed page. Despite their claims to denote a real world, to speak only their given dialogue, the actors all that Flaubert’s objects really do, according to “inhabit” the genre of contemporary realism, tend- Barthes, is signify the “category of ‘the real...

...• ited, mechanizing cant of radical thought as their response to a limiting, mecha• nized world. They are all minds of real interest (you will have to take my word...