Aesthetics

In this last installment, Irene Loy discusses a character’s drive to renounce their desire, and advocates for diversifying how desire is written for stage and film. 

Cassandra Snow writes about the challenges and opportunities involved in producing theatre in non-traditional spaces.

Puppeteer Cecilia Cackley interviews Gabriela Céspedes, a leading caja lambe-lambe puppet artist based in Argentina.

In this installment, scholar-artist Dominique C. Hill interviews Omi Osun Joni L. Jones about the Theatrical Jazz aesthetic, and how it intersects with academic theatre.

We would like to dedicate the fourth article of the series to dance. Viktor Szeri, an up-and-coming dancer from Budapest, leads us into its secrets. / A sorozat negyedik posztját a táncnak dedikáljuk. Szeri Viktor, egy fiatal és feltörekvő budapesti táncos, bevezet annak titkaiba.

The founders of dollardaddy's both come from the University of Kaposvár, a theatre school that is in a small city in the south of Hungary. In their article they present to us their path from the countryside to the very heart of the capital. / A Dollár Papa Gyermekei alapító tagjai a kaposvári színművészeti egyetemről jöttek, egy Magyarország déli részén fekvő kisvárosból. Írásukban leírják a vidékről a főváros szívébe vezető útjukat.

Tom Block discusses the benefits of bringing mysticism into the world of artistic creators as we head into a difficult and divisive period in American history, and how a reinvigoration of these ideas could offer a much-needed remedy.

Jamie Gahlon, Senior Creative Producer of HowlRound, reports on a trip she took in fall 2016 to explore, deepen, and build partnerships with theatremakers and organizations in Eastern Europe.

Jonathan Mandell compares The Penitent by David Mamet with Penitent by Terrance McNally, and argues that neither late-career playwright has anything for which to apologize.

Writer and performer Kelly Tsai shares the process of devising Ai Weiwei: The Seed, which is based on the art and writings of activist-artist Ai Weiwei.

Professor James Ogden explores what it means to put a chair on stage, considering how design informs character choices.

Abraham Benson-Goldberg discusses Khan Theatre’s production of Philoctetes, examining the intersections of young soldiers, heroism, war, and politics.

Edward Einhorn discusses the relevance of absurdist theatre.

Derek McCormack reports on the ongoing trend in productions that are avant-garde reimaginings of old texts in particular at BAM’s New Wave Festival.

Amelia Parenteau deconstructs the use of technology in The Builders Association’s production of Elements of Oz, an adaptation of The Wizard of Oz, presented at 3LD in New York City.

The process of creating two works, as part of the UCLA School of Theater, Film and Television’s participation in Google's Glass Creative Collective, that use audience's and actors' locations, identities, and choices as pivotal elements of their storytelling structures and investigating the simultaneous processes of dramatic writing/devising and writing code.

verity healey considers the Battersea Arts Centre’s new Courtyard theatre space and inviting an audience to participate in the performance through interaction with the performance space.

Zach Dorn explores Kuro Tanino’s mythical Avidya: No Lights Inn, a ritualistic and darkly spiritual experience at the Kyoto International Performing Arts Festival in Japan.

Rachel E. Diken on Aglio e Olio, a “kitchen theatre” piece written and performed by Meg Persichetti and produced and directed by Laura Gilkey in Maplewood, New Jersey.

Rob Oronato on Taylor Mac’s A 24-Decade History of Popular Music, a “communal, intelligent, erotic, participatory, spectacular performance art concert; a marathon survey dedicated to destroying through exposure the racism, patriarchy, supremacy, and fascism suppressing the fabulosity of all our country’s different beleaguered Others over the years.”

A new play takes cues from funk music to explore bisexuality, biphobia, and polyamory in 1990s Brooklyn.

Robert Ruffin considers how Aristotelian construction can be viewed through the lens of the laws of thermodynamic exchange, or the marriage of physics and dramaturgy.

Brian Hashimoto travels to Poland and reports on the 2016 Malta Festival.