...Jennifer Parker-Starbuck Jennifer Parker-Starbuck reviews the performance exhibition We’re Watching: A Performance Exhibition on Surveillance , at Bard College. Her article contextualizes her experiences at the exhibition with the wider sociopolitical condition of living under mass surveillance...

...Shonni Enelow Shonni Enelow asks, “What can we learn from looking at actors about the ways that surveillance has shaped contemporary life?” Her article examines performances in Leos Carax’s Holy Motors (2012), as well as works within the performance exhibition We’re Watching at Bard College (2017...

... choreography to the palimpsest of Wilson’s sketches, which painstakingly drew each moment of staging, “before long, we’re seeing hands everywhere.” As gestures and handprints accumulate, a new portrait of Wilson accrues, one of “an artist so committed to the theater’s present tense” that materialist action...

... Council for the Arts (since my artistic director? family lived in VA at that timej and said, “We want to start For us, it’s a very interesting process because we’re very a theater company,” and they said, “Go into the schools. collaborative and have become increasingly so over the That’s where we...

.... He currently serves on the executive commit- [and turned it] into a project called the i-10­ tee for Alternate roots and is the board chair for Witness Project. We were like, we’re just going the Network...

.... Pennygaff night we’re in something super, with beautiful the blockhead swallowing blades of steel. While makeup rooms, mirrors, and then the next night the style and tone of the show are purposely...

... Which theaters did you look at and how did you we’re going to go after this?We’re on a rampage. choose them? Is this part of the study that the CLAUDE CAHUN Film as well. And consumer Women? Project released in September, The Re- culture in general...

... not a straightforward “we talk to them and they coming through the audience and getting mad at them for talk to us” exchange, because, of course, we speak laughing off the top, we’re not being honest, we’re using gibberish, which presents problems for conversation in that because we know...

... do here, in the inaugu- considering a specific project. Let’s say we’re ration? The most violent, radical people will preparing protest spectacle for the presidential say, “We should stop it! We should bomb the inauguration...

... Copyright 1969 by yale/theatre 1969 The Living Theatre raps The following discussion took place we're in here playing heroes all night. among members of the Living Theatre on We have got to be the bad guys, because Saturday afternoon, 28 September...

... of the adverse reaction we got, Oh, I know it’s there. we sold out. Does that affect, for example, your choice of plays? Do you Do you have a certain commitment to new playwrights? pick plays with an audience in mind? We’re doing Michael...

... more straightforward pan- debbie tucker produce, because I felt like it was important els, but we’re moving toward more participa- green’s generations, Walkerspace, that people can take them away, and we do...

... Booth has definitely been reincarnated, but the two. I wanted to investigate that. And I we’re not sure Lincoln has. And that’s odd, you was struck as I was reading about Lincoln and know. Booth killed...

... to see that it’s something we can do as long as the profile of the theater is maintained. We’re not a tryout house. Since we’re devoted to new plays and don’t as yet have...

... you think you don't need a permit for breathing? 113 JUNIUS: Yes, sir. If you say so, sir. PAUL: I do say so. We all say so and if we don't know what we're talking about, who does? That's why we're sitting here, boy, because we...

... and visually strong, and she’s our larger arts institutions. I hope the work one of the most skilled and magnetic perform- we’re doing with lapp and the lax Festival ers I’ve seen. As well suited as House Music can help in further bridging these gaps. was for a gallery or visual art environment, we came...

... guaranteed for a three-month block, and then we have to move out. But, because we’re artists, it is easy to do. AREA came up as a branding idea that we could use to help establish a higher profile and give it programming credibility with funders. We had become identified with one particular block...

... in Ruins A Dialogue between Peter Sellars and Faustin Linyekula The following public conversation between Amer- to take responsibility and say, “We’re here. ican director-­curator Peter Sellars and Congolese What is it that we can do?” So in order to do dancer-­choreographer Faustin Linyekula...

... system, we’re going to have a a sophisticated cast which could answer all competitive attitude that prevents our being these questions. But he never did this. He completely generous. We all know what the only...

.... What’s your upcoming 1990-91 season going to be like? CSC remains one of the few theaters in New York We’re doing a production of Beckett’s Happy Days with committed to producing the classics, as well as originating Charlotte Rae and Bill Moor, followed by a production of new works inspired...