Kate Dakota Kremer
Kate Dakota Kremer is a playwright and dramaturg. Plays include Porch Play, Opera of the Telephone at Delphi, Nocturne, and Blue Mountain Prohibition, a translation/adaptation of Alejandro Casona’s Prohibido suicidarse en primavera. Her plays have been produced and/or developed by Firehouse Theatre, StageFemmes, Three Cat Productions, New Ground Theatre, and the Last Frontier Theatre Conference. Fiction has appeared in Red Branch Journal and Every Day A Century and nonfiction in the TCG Circle Salon, Encore Magazine, Kenyon Review blog, Seattle Repertory Theatre blog and Remy Bumppo Field Guide. She has worked in literary departments at the Seattle Repertory Theatre and Remy Bumppo Theatre Company and appeared onstage in productions and readings for the Endangered Species Project, Great River Shakespeare Festival, and New Ground Theatre. She tweets @katekremer and can also be found on the New Play Exchange.
Blognews, trends, insights
In this installment of her After-the-Avant-Garde series, Kate Kremer looks at the parallel functions of the prompter in the chicken suit in Nature Theater of Oklahoma’s 2009 Romeo and Juliet and Br’er Rabbit in Branden Jacobs-Jenkins’ An Octoroon.
In this installation, Kate Kremer continues her exploration of durational theatre and what it has to do with realism.
In this installment , Kate Kremer discusses the difference between public and private space, and the kind of theatregoing experience one can have in situations with unfamiliar rules.
What conditions make life unlivable? Kate Kremer explores this question looking at performances by Forced Entertainment and Tehching Hsieh, ranging from six hours to one year.