Dominick DeGaetano reflects on Hyung Seok Jeon’s A Held Posture, which last performed at Theaterlab in New York City in January 2018.

Caroline Prugh discusses Kaimera Productions’ SPACES, a site-specific performance weaving together storytelling and dance that took place in June 2017 at the Harlem Arts Festival in New York City.

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics. 

Peterson Toscano describes his solo show Everything is Connected, which tackles religion, LGBTQ issues, privilege, and climate change.

In the fifth installment of this series, Brendan McCall reflects on the work of Norwegian American vocalist Kristin Norderval, and how her art transforms listening into a political act.

Multidisciplinary artist and cultural producer Ivan Talijancic interviews New York based duo Ximena Garnica and Shige Moriya about LEIMAY ensemble, their recent production Frantic Beauty, and the creation process for their five-part Becoming series.

In the third installment of this series, Brendan McCall discusses the work of Norwegian artist Øystein Elle and his company Capto Musicae. Originally a classically trained opera singer, Elle now works in a hybrid performance field combining live and recorded music, with performances that border on vocal concerts or art installations.

The Feath3r Theory post-ballet theatre musical about the influence of pop culture on how we live.

John R. Killacky discusses his time as curator of Performing Arts at Walker Art Center, and the controversy caused by featured works.

A conversation with Theatre Nohgaku members about noh theatre and their production of Zahdi Dates and Poppies.

Avant-garde performer and director Paul Zimet offers a brief overview of his role in Joseph Chaikin’s Open Theater and his forty-year history with Talking Band.

I gravitated towards performance art. Many questions emerged from my practice. What am I on fire to do? What gender(s) can I explore? Where is the niche for performers like me? How do I engage my entire history? Do I pursue opportunities that call for a specific gender(s)? Who is my audience? How do I market myself effectively? Will my intentions and choices determine how I am read or is that something outside my control?

Marcina Zaccaria writes about Elizabeth Hess' Dust to Dust, a one-woman show responding to the the violence toward woman during the 1992-1995 war in Bosnia.

Allison Vanouse reviews Lucy Watson's Re-Present Me, a performance art piece meditating on the artist's relationship with the supernatural.

Allison Vanouse writes about DEAD ART STAR at Bathaus, and how social media documentation interacts and intersects with performance art and its goals.

Andrew Alexander offers tools for appreciating the art and value of live performance while reflecting on gloATL's 2013 public art project, Liquid Culture.

Allison Vanouse reviews "Odd Spaces" at the Boston Museum of Fine Arts. What is to be gained, she asks, in finding new ways to perform in odd spaces?

Allison Vanouse profiles Near Death, a performance art presentation at Boston's Cyclorama.

Cameron Wong writes about banished? productions' unique blend of art forms, and how the Capital Fringe allows them to bring together communities in ways unheard of, inspiring, and galvanizing. 

The News creates a space for queer performances to be put on a stage. Each ten minute time slot allows artists a place to experiment, explore new work, and start their conversation.