In these episodes of The Future Is Now, CEC Artslink invites cultural worker Qondiswa James and mixed media artist Cannupa Hanska Luger, two of Artslink’s Future Fellows, to discuss their artistic work, practices, and visions for the future.
Director Meggan Gomez reflects on working with her youth ensemble based in New Mexico to create _____ Historias, a play that is created in real-time in response to stories shared by the audience.
Georgina Escobar talks to Juli Hendren of Tricklock Company about Revolutions, an international festival held each year in Albuquerque, and the exciting symposium this year brings.
Albuquerque, New Mexico: We have a varied company, and we’re always looking to put on kick ass plays. It’s pretty cool that we have a company where any of our actresses could play Hamlet. And not like, “Female Hamlet”, but you know, Hamlet. Or where people of different races play siblings, without comment or explanation, and our audiences don’t bat an eye.
Georgina Escobar writes about traveling from New York to New Mexico to see Cascarones at Teatro Paraguas, and the affirmation this production brought after she waited to see it staged.
Many of us can attribute our path to the theater to a dynamic teacher in school: the teacher that inspired us or showed us a new side of ourselves. This series is a snapshot of today's high school theater educators across the country sharing about what they do and how and why they do this work.
What's the point of entering the rehearsal room without a plan? In this episode, Tara Khozein and Martin Boross are joined by Apollo Garcia Orellana and Sandy Timmerman to talk about approaches in devising, the importance of being lost, and why they prefer to work without a playwright in the room.
What makes us want to immerse, and what makes us want to flee? Tara Khozein and Martin Boross sit down with Hope Orange and Diana Delgado at q-Staff theatre in Albuquerque right after their residency and public showing of Dwelling, an immersive theatre event on the theme of home.
