Aesthetics

In Between Two Knees, the 1491s use comedy to destabilize rigid ideas of history. Sebastián Eddowes Vargas discusses the Perelman Performing Arts Center production, highlighting the narrative and political potency of laughing in the face of trauma.  

How might neurodivergent adults like to experience theatre? Taking this question as his starting point, Rob Onorato explores an approach to performance that embraces elements of neurodivergence as catalysts for formal innovation.

Carl(os) Roa and Rula(s) A. Muñoz share a multi-vocal, non-linear account of their group’s work at the Latinx Theatre Commons (LTC) Designer and Director Colaboratorio. Through both text and images, they document their group’s explorations of non-hierarchical generative process, as well as the challenges they faced.

Through a combination of testimony and reenactment, Milo Rau’s Hate Radio stages a broadcast from a notorious media operation that spread racist propaganda during the Rwandan genocide. Joseph Dunne-Howrie discusses the way that Rau’s work, when produced in 2023, reveals a contemporary parallel in the rightwing radicalization that is facilitated by networks like Fox News and GB News.

Playwright Raul Garza discusses the potent connections between environment and Latinx heritage that he explores by employing magical realism in his play Arbolito.

The 2022 national tour of Oklahoma! brought Daniel Fish’s critically acclaimed revival to commercial theatre audiences nationwide. Those audiences met the production with overwhelming disapproval and animosity rooted in its departures from decades-old conventions. Actor Christopher Bannow, who played Jud in the touring production, details his experience of enduring audience rejection while remaining committed to engaging audiences in challenging conversations through risky theatrical choices.

Joseph Dunne-Howrie examines the way that three of Javaad Alipoor’s plays infuse the internet into theatrical performance, creating intersecting narratives that interrogate identity formation in the age of global interconnectivity.

The Divine Comedy Theatre Festival in Kraków, Poland explored the theme of “Polish Taboo” across its thirty-two productions this year. Howard Shalwitz, who attended the festival as part of an American delegation of artists building connections between the United States and Poland, shares his experience attending the festival.

Yaşam Özlem Gülseven interviews Mikheil Charkviani about his work on Exodus, a production that traded grand historical narratives for granular perspectives on the impact of war in Georgia. Their interview, like the production, hinges on an important question: how do we learn to live with the past?

David Valdes explores the limitations of queer theatre historically and makes the case for a more expansive future—one that includes a wider range of characters living more complex lives, created by more queer theatremakers.

Morgan Skolnik argues for theatre that goes beyond physical accessibility and disability representation to actively center disabled artists and the creative potential the disability community holds.

Projection designer David Forsee, who brings artificial intelligence into his own design workflow, creates a toolkit for other designers interested in effectively and ethically integrating text-to-image models into their design processes.

Robert Hubbard discusses the South Dakota Shakespeare Festival production of Othello, which Tara Moses adapted and directed through an Indigenous Futurist lens. The resulting production employed its Shakespearean source text to model solidarity between Tribal Sovereignty and Black Liberation movements.

Ekemini Ekpo applies W.E.B. Dubois’ concept of “double consciousness” to the experience of performing Blackness for a predominantly white audience that may or may not be interested in disturbing the primacy of their own lived experience.