[{"command":"add_css","data":[{"rel":"stylesheet","media":"all","href":"\/sites\/default\/files\/css\/css_q9UPA70QlNIx0yvWU2obaecIXbGUPn2wwCcY6j_Bjl4.css?delta=0\u0026language=en\u0026theme=howlround\u0026include=eJxLzkksLq7Uz8tPSdUpy0wtL9YHk3q5-SmlOakAtoYL0A"},{"rel":"stylesheet","media":"all","href":"\/sites\/default\/files\/css\/css_8UNeBkbXQjda-VWEYmJUKzxZGS8ZmxUNWpD8wm14nXQ.css?delta=1\u0026language=en\u0026theme=howlround\u0026include=eJxLzkksLq7Uz8tPSdUpy0wtL9YHk3q5-SmlOakAtoYL0A"}]},{"command":"insert","method":"html","selector":".howlround-tabs-result .hr-ajax-tabs__content","data":"\u003Cdiv class=\u0022views-element-container\u0022\u003E\u003Cdiv class=\u0022grid-2-cols view view-user-all-content view-id-user_all_content view-display-id-block_1 js-view-dom-id-1700071429e3bd4057f2d7b4f8bb9b5236aa3aba2bbd00bf254cd01d86e7c5ee\u0022\u003E\n  \n    \n      \n      \u003Cdiv class=\u0022view-content\u0022\u003E\n          \u003Cdiv class=\u0022views-row\u0022\u003E\n\u003Cdiv  data-history-node-id=\u00224353\u0022 about=\u0022\/bird-bunny-and-american-avant-garde\u0022 class=\u0022view-mode-profile view-mode-profile--node-type-essay node node--type-essay node--promoted node--view-mode-profile\u0022\u003E\n\n  \n  \u003Cdiv class=\u0022node__content\u0022\u003E\n    \n            \u003Cdiv class=\u0022field field--name-field-media-image field--type-entity-reference field--label-hidden field__item\u0022\u003E\u003Carticle class=\u0022media media--type-image media--view-mode-teaser-card\u0022\u003E\n  \n      \n            \u003Cdiv class=\u0022field field--name-field-image field--type-image field--label-hidden field__item\u0022\u003E    \u003Cpicture\u003E\n                  \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Photo%201_0.webp?itok=pqWiPc3t 1x\u0022 type=\u0022image\/webp\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n              \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Photo%201_0.jpg?itok=pqWiPc3t 1x\u0022 type=\u0022image\/jpeg\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n                  \u003Cimg loading=\u0022eager\u0022 srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Photo%201_0.jpg?itok=pqWiPc3t 1x\u0022 width=\u0022340\u0022 height=\u0022240\u0022 src=\u0022\/sites\/default\/files\/styles\/body_small\/public\/B_K_Kremer_Photo%201_0.jpg?itok=SLfuWKXc\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n  \u003C\/picture\u003E\n\n\u003C\/div\u003E\n      \n  \u003C\/article\u003E\n\u003C\/div\u003E\n      \n\u003Cdiv  class=\u0022group-content\u0022\u003E\n    \u003Ca href=\u0022\/bird-bunny-and-american-avant-garde\u0022 class=\u0022field-pseudo-field field-pseudo-field--tile-link\u0022 aria-hidden=\u0022hidden\u0022 hreflang=\u0022en\u0022\u003E \u003C\/a\u003E\u003Cdiv class=\u0022field-pseudo-field field-pseudo-field--content-type-label field-pseudo-field--content-type-label--essay\u0022\u003EEssay\u003C\/div\u003E\n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-title-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch3\u003EThe Bird, the Bunny, and the American Avant-Garde\u003C\/h3\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022field field--name-field-date field--type-datetime field--label-hidden field__item\u0022\u003E10 October 2015\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-teaser-body-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Cp\u003EIn 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\u2019s 2009 \u003Cem\u003ERomeo and Juliet\u003C\/em\u003E and Br\u2019er Rabbit in Branden Jacobs-Jenkins\u2019 \u003Cem\u003EAn Octoroon.\u003C\/em\u003E\u003C\/p\u003E\n\u003C\/div\u003E\n      \n  \u003C\/div\u003E\n  \u003C\/div\u003E\n\n\u003C\/div\u003E\n\u003C\/div\u003E\n    \u003Cdiv class=\u0022views-row\u0022\u003E\n\u003Cdiv  data-history-node-id=\u00224144\u0022 about=\u0022\/duration-and-avant-garde-part-2\u0022 class=\u0022view-mode-profile view-mode-profile--node-type-essay node node--type-essay node--promoted node--view-mode-profile\u0022\u003E\n\n  \n  \u003Cdiv class=\u0022node__content\u0022\u003E\n    \n            \u003Cdiv class=\u0022field field--name-field-media-image field--type-entity-reference field--label-hidden field__item\u0022\u003E\u003Carticle class=\u0022media media--type-image media--view-mode-teaser-card\u0022\u003E\n  \n      \n            \u003Cdiv class=\u0022field field--name-field-image field--type-image field--label-hidden field__item\u0022\u003E    \u003Cpicture\u003E\n                  \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Photo%201_0.webp?itok=igBRhWBl 1x\u0022 type=\u0022image\/webp\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n              \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Photo%201_0.jpeg?itok=igBRhWBl 1x\u0022 type=\u0022image\/jpeg\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n                  \u003Cimg loading=\u0022eager\u0022 srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Photo%201_0.jpeg?itok=igBRhWBl 1x\u0022 width=\u0022340\u0022 height=\u0022227\u0022 src=\u0022\/sites\/default\/files\/styles\/body_small\/public\/B_K_Kremer_Photo%201_0.jpeg?itok=4b2XaiGP\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n  \u003C\/picture\u003E\n\n\u003C\/div\u003E\n      \n  \u003C\/article\u003E\n\u003C\/div\u003E\n      \n\u003Cdiv  class=\u0022group-content\u0022\u003E\n    \u003Ca href=\u0022\/duration-and-avant-garde-part-2\u0022 class=\u0022field-pseudo-field field-pseudo-field--tile-link\u0022 aria-hidden=\u0022hidden\u0022 hreflang=\u0022en\u0022\u003E \u003C\/a\u003E\u003Cdiv class=\u0022field-pseudo-field field-pseudo-field--content-type-label field-pseudo-field--content-type-label--essay\u0022\u003EEssay\u003C\/div\u003E\n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-title-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch3\u003EDuration and the Avant-garde Part 2\u003C\/h3\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-subtitle-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch4\u003EThe Tactics of Real Time\u003C\/h4\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022field field--name-field-date field--type-datetime field--label-hidden field__item\u0022\u003E29 June 2015\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-teaser-body-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Cp\u003EIn this installation, Kate Kremer continues her exploration of durational theatre and what it has to do with realism.\u003C\/p\u003E\n\u003C\/div\u003E\n      \n  \u003C\/div\u003E\n  \u003C\/div\u003E\n\n\u003C\/div\u003E\n\u003C\/div\u003E\n    \u003Cdiv class=\u0022views-row\u0022\u003E\n\u003Cdiv  data-history-node-id=\u00223952\u0022 about=\u0022\/avant-home-and-garden\u0022 class=\u0022view-mode-profile view-mode-profile--node-type-essay node node--type-essay node--promoted node--view-mode-profile\u0022\u003E\n\n  \n  \u003Cdiv class=\u0022node__content\u0022\u003E\n    \n            \u003Cdiv class=\u0022field field--name-field-media-image field--type-entity-reference field--label-hidden field__item\u0022\u003E\u003Carticle class=\u0022media media--type-image media--view-mode-teaser-card\u0022\u003E\n  \n      \n            \u003Cdiv class=\u0022field field--name-field-image field--type-image field--label-hidden field__item\u0022\u003E    \u003Cpicture\u003E\n                  \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Picture%202.webp?itok=Q3ExYUjw 1x\u0022 type=\u0022image\/webp\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n              \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Picture%202.jpeg?itok=Q3ExYUjw 1x\u0022 type=\u0022image\/jpeg\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n                  \u003Cimg loading=\u0022eager\u0022 srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Picture%202.jpeg?itok=Q3ExYUjw 1x\u0022 width=\u0022340\u0022 height=\u0022226\u0022 src=\u0022\/sites\/default\/files\/styles\/body_small\/public\/B_K_Kremer_Picture%202.jpeg?itok=PMgRO3sq\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n  \u003C\/picture\u003E\n\n\u003C\/div\u003E\n      \n  \u003C\/article\u003E\n\u003C\/div\u003E\n      \n\u003Cdiv  class=\u0022group-content\u0022\u003E\n    \u003Ca href=\u0022\/avant-home-and-garden\u0022 class=\u0022field-pseudo-field field-pseudo-field--tile-link\u0022 aria-hidden=\u0022hidden\u0022 hreflang=\u0022en\u0022\u003E \u003C\/a\u003E\u003Cdiv class=\u0022field-pseudo-field field-pseudo-field--content-type-label field-pseudo-field--content-type-label--essay\u0022\u003EEssay\u003C\/div\u003E\n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-title-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch3\u003EAvant-Home-and-Garden\u003C\/h3\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-subtitle-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch4\u003ESite-specific Theatre and the Politics of Public and Private Space\u003C\/h4\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022field field--name-field-date field--type-datetime field--label-hidden field__item\u0022\u003E30 January 2015\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-teaser-body-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Cp\u003EIn 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.\u003C\/p\u003E\n\u003C\/div\u003E\n      \n  \u003C\/div\u003E\n  \u003C\/div\u003E\n\n\u003C\/div\u003E\n\u003C\/div\u003E\n    \u003Cdiv class=\u0022views-row\u0022\u003E\n\u003Cdiv  data-history-node-id=\u00223903\u0022 about=\u0022\/durational-theater-part-1\u0022 class=\u0022view-mode-profile view-mode-profile--node-type-essay node node--type-essay node--promoted node--view-mode-profile\u0022\u003E\n\n  \n  \u003Cdiv class=\u0022node__content\u0022\u003E\n    \n            \u003Cdiv class=\u0022field field--name-field-media-image field--type-entity-reference field--label-hidden field__item\u0022\u003E\u003Carticle class=\u0022media media--type-image media--view-mode-teaser-card\u0022\u003E\n  \n      \n            \u003Cdiv class=\u0022field field--name-field-image field--type-image field--label-hidden field__item\u0022\u003E    \u003Cpicture\u003E\n                  \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Picture%201.webp?itok=7dTJKmCk 1x\u0022 type=\u0022image\/webp\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n              \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Picture%201.jpg?itok=7dTJKmCk 1x\u0022 type=\u0022image\/jpeg\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n                  \u003Cimg loading=\u0022eager\u0022 srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/B_K_Kremer_Picture%201.jpg?itok=7dTJKmCk 1x\u0022 width=\u0022340\u0022 height=\u0022226\u0022 src=\u0022\/sites\/default\/files\/styles\/body_small\/public\/B_K_Kremer_Picture%201.jpg?itok=40Y0w3UU\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n  \u003C\/picture\u003E\n\n\u003C\/div\u003E\n      \n  \u003C\/article\u003E\n\u003C\/div\u003E\n      \n\u003Cdiv  class=\u0022group-content\u0022\u003E\n    \u003Ca href=\u0022\/durational-theater-part-1\u0022 class=\u0022field-pseudo-field field-pseudo-field--tile-link\u0022 aria-hidden=\u0022hidden\u0022 hreflang=\u0022en\u0022\u003E \u003C\/a\u003E\u003Cdiv class=\u0022field-pseudo-field field-pseudo-field--content-type-label field-pseudo-field--content-type-label--essay\u0022\u003EEssay\u003C\/div\u003E\n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-title-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch3\u003EDurational Theater Part 1\u003C\/h3\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-subtitle-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch4\u003ETime and Punishment\u003C\/h4\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022field field--name-field-date field--type-datetime field--label-hidden field__item\u0022\u003E22 December 2014\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-teaser-body-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Cp\u003EWhat 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.\u003C\/p\u003E\n\u003C\/div\u003E\n      \n  \u003C\/div\u003E\n  \u003C\/div\u003E\n\n\u003C\/div\u003E\n\u003C\/div\u003E\n    \u003Cdiv class=\u0022views-row\u0022\u003E\n\u003Cdiv  data-history-node-id=\u00223806\u0022 about=\u0022\/devising-new-avant-garde-part-2\u0022 class=\u0022view-mode-profile view-mode-profile--node-type-essay node node--type-essay node--promoted node--view-mode-profile\u0022\u003E\n\n  \n  \u003Cdiv class=\u0022node__content\u0022\u003E\n    \n            \u003Cdiv class=\u0022field field--name-field-media-image field--type-entity-reference field--label-hidden field__item\u0022\u003E\u003Carticle class=\u0022media media--type-image media--view-mode-teaser-card\u0022\u003E\n  \n      \n            \u003Cdiv class=\u0022field field--name-field-image field--type-image field--label-hidden field__item\u0022\u003E    \u003Cpicture\u003E\n                  \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-12\/b_k_kremer_picture_one.webp?itok=Ky2FOAA8 1x\u0022 type=\u0022image\/webp\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n              \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-12\/b_k_kremer_picture_one.jpg?itok=Ky2FOAA8 1x\u0022 type=\u0022image\/jpeg\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n                  \u003Cimg loading=\u0022eager\u0022 srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-12\/b_k_kremer_picture_one.jpg?itok=Ky2FOAA8 1x\u0022 width=\u0022340\u0022 height=\u0022200\u0022 src=\u0022\/sites\/default\/files\/styles\/body_small\/public\/2018-12\/b_k_kremer_picture_one.jpg?itok=n-wzovjW\u0022 alt=\u0022Set for a play by Megan and Murray McMillan.\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n  \u003C\/picture\u003E\n\n\u003C\/div\u003E\n      \n  \u003C\/article\u003E\n\u003C\/div\u003E\n      \n\u003Cdiv  class=\u0022group-content\u0022\u003E\n    \u003Ca href=\u0022\/devising-new-avant-garde-part-2\u0022 class=\u0022field-pseudo-field field-pseudo-field--tile-link\u0022 aria-hidden=\u0022hidden\u0022 hreflang=\u0022en\u0022\u003E \u003C\/a\u003E\u003Cdiv class=\u0022field-pseudo-field field-pseudo-field--content-type-label field-pseudo-field--content-type-label--essay\u0022\u003EEssay\u003C\/div\u003E\n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-title-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch3\u003EDevising the New Avant-garde\u2014Part 2\u003C\/h3\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-subtitle-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch4\u003EThe Renaissance Kid and the Open Play\u003C\/h4\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022field field--name-field-date field--type-datetime field--label-hidden field__item\u0022\u003E18 October 2014\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-teaser-body-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Cp\u003EThe rise of artistic multi-functionalism, and the open, assimilative, and collaborative values it implies, has coincided with the emergence of devising as a major theatrical discipline. Although devising is hardly new the process of developing work through collaboration among a group of artists has gained traction in recent years. It makes sense: both multi-functionalism and devising are solutions to an economic downturn, ways to continue creating complex and multivalent art in a scale-back climate.\u003C\/p\u003E\n\u003C\/div\u003E\n      \n  \u003C\/div\u003E\n  \u003C\/div\u003E\n\n\u003C\/div\u003E\n\u003C\/div\u003E\n    \u003Cdiv class=\u0022views-row\u0022\u003E\n\u003Cdiv  data-history-node-id=\u00223729\u0022 about=\u0022\/devising-new-avant-garde-part-1\u0022 class=\u0022view-mode-profile view-mode-profile--node-type-essay node node--type-essay node--promoted node--view-mode-profile\u0022\u003E\n\n  \n  \u003Cdiv class=\u0022node__content\u0022\u003E\n    \n            \u003Cdiv class=\u0022field field--name-field-media-image field--type-entity-reference field--label-hidden field__item\u0022\u003E\u003Carticle class=\u0022media media--type-image media--view-mode-teaser-card\u0022\u003E\n  \n      \n            \u003Cdiv class=\u0022field field--name-field-image field--type-image field--label-hidden field__item\u0022\u003E    \u003Cpicture\u003E\n                  \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-12\/b_k_kremer_rj-2.webp?itok=JXupCws3 1x\u0022 type=\u0022image\/webp\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n              \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-12\/b_k_kremer_rj-2.jpg?itok=JXupCws3 1x\u0022 type=\u0022image\/jpeg\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n                  \u003Cimg loading=\u0022eager\u0022 srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-12\/b_k_kremer_rj-2.jpg?itok=JXupCws3 1x\u0022 width=\u0022340\u0022 height=\u0022227\u0022 src=\u0022\/sites\/default\/files\/styles\/body_small\/public\/2018-12\/b_k_kremer_rj-2.jpg?itok=lvjY3VAB\u0022 alt=\u0022Avant-garde theatre.\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n  \u003C\/picture\u003E\n\n\u003C\/div\u003E\n      \n  \u003C\/article\u003E\n\u003C\/div\u003E\n      \n\u003Cdiv  class=\u0022group-content\u0022\u003E\n    \u003Ca href=\u0022\/devising-new-avant-garde-part-1\u0022 class=\u0022field-pseudo-field field-pseudo-field--tile-link\u0022 aria-hidden=\u0022hidden\u0022 hreflang=\u0022en\u0022\u003E \u003C\/a\u003E\u003Cdiv class=\u0022field-pseudo-field field-pseudo-field--content-type-label field-pseudo-field--content-type-label--essay\u0022\u003EEssay\u003C\/div\u003E\n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-title-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch3\u003EDevising the New Avant-garde\u2014Part 1\u003C\/h3\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-subtitle-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch4\u003EThe Old Coup and the New Now\u003C\/h4\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022field field--name-field-date field--type-datetime field--label-hidden field__item\u0022\u003E28 August 2014\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-teaser-body-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Cp\u003EWhereas the old avant-garde was oriented toward an imagined future and engaged in a revolutionary project of overthrowing stale regimes and remaking art\u2014and society\u2014according to visionary principles, the new avant-garde is focused on the current moment.\u003C\/p\u003E\n\u003C\/div\u003E\n      \n  \u003C\/div\u003E\n  \u003C\/div\u003E\n\n\u003C\/div\u003E\n\u003C\/div\u003E\n    \u003Cdiv class=\u0022views-row\u0022\u003E\n\u003Cdiv  data-history-node-id=\u00223689\u0022 about=\u0022\/political-activism-and-new-avant-garde\u0022 class=\u0022view-mode-profile view-mode-profile--node-type-essay node node--type-essay node--promoted node--view-mode-profile\u0022\u003E\n\n  \n  \u003Cdiv class=\u0022node__content\u0022\u003E\n    \n            \u003Cdiv class=\u0022field field--name-field-media-image field--type-entity-reference field--label-hidden field__item\u0022\u003E\u003Carticle class=\u0022media media--type-image media--view-mode-teaser-card\u0022\u003E\n  \n      \n            \u003Cdiv class=\u0022field field--name-field-image field--type-image field--label-hidden field__item\u0022\u003E    \u003Cpicture\u003E\n                  \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-12\/kate_kremer.webp?itok=CpQNklbs 1x\u0022 type=\u0022image\/webp\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n              \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-12\/kate_kremer.png?itok=CpQNklbs 1x\u0022 type=\u0022image\/png\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n                  \u003Cimg loading=\u0022eager\u0022 srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-12\/kate_kremer.png?itok=CpQNklbs 1x\u0022 width=\u0022340\u0022 height=\u0022204\u0022 src=\u0022\/sites\/default\/files\/styles\/body_small\/public\/2018-12\/kate_kremer.png?itok=xYQWH7jO\u0022 alt=\u0022Photo from That\u2019swhatshesaid.\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n  \u003C\/picture\u003E\n\n\u003C\/div\u003E\n      \n  \u003C\/article\u003E\n\u003C\/div\u003E\n      \n\u003Cdiv  class=\u0022group-content\u0022\u003E\n    \u003Ca href=\u0022\/political-activism-and-new-avant-garde\u0022 class=\u0022field-pseudo-field field-pseudo-field--tile-link\u0022 aria-hidden=\u0022hidden\u0022 hreflang=\u0022en\u0022\u003E \u003C\/a\u003E\u003Cdiv class=\u0022field-pseudo-field field-pseudo-field--content-type-label field-pseudo-field--content-type-label--essay\u0022\u003EEssay\u003C\/div\u003E\n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-title-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch3\u003EPolitical (Act)ivism and the (New) Avant-garde\u003C\/h3\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022field field--name-field-date field--type-datetime field--label-hidden field__item\u0022\u003E26 July 2014\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-teaser-body-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Cp\u003EThere is a prevailing sense that the millennial avant-garde is not creating political, activist theatre to the same extent as the avant-garde of the \u201960s and \u201970s. I don\u2019t think this is true. But I do think that the challenge has changed.\u003C\/p\u003E\n\u003C\/div\u003E\n      \n  \u003C\/div\u003E\n  \u003C\/div\u003E\n\n\u003C\/div\u003E\n\u003C\/div\u003E\n    \u003Cdiv class=\u0022views-row\u0022\u003E\n\u003Cdiv  data-history-node-id=\u00223622\u0022 about=\u0022\/inheriting-avant-garde-or-how-do-we-carry-it-forward\u0022 class=\u0022view-mode-profile view-mode-profile--node-type-essay node node--type-essay node--promoted node--view-mode-profile\u0022\u003E\n\n  \n  \u003Cdiv class=\u0022node__content\u0022\u003E\n    \n\u003Cdiv  class=\u0022group-content\u0022\u003E\n    \u003Ca href=\u0022\/inheriting-avant-garde-or-how-do-we-carry-it-forward\u0022 class=\u0022field-pseudo-field field-pseudo-field--tile-link\u0022 aria-hidden=\u0022hidden\u0022 hreflang=\u0022en\u0022\u003E \u003C\/a\u003E\u003Cdiv class=\u0022field-pseudo-field field-pseudo-field--content-type-label field-pseudo-field--content-type-label--essay\u0022\u003EEssay\u003C\/div\u003E\n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-title-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch3\u003EInheriting the Avant-garde, or How Do We Carry it Forward?\u003C\/h3\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022field field--name-field-date field--type-datetime field--label-hidden field__item\u0022\u003E13 June 2014\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-teaser-body-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Cp\u003EWriters and directors such as Robert Wilson, Mar\u00eda Irene Fornes, Richard Foreman, Caryl Churchill, Elizabeth LeCompte, Judith Malina, Julian Beck, Peter Brook, Ed Bullins, and Joseph Chaikin challenged our notions of space and duration, meaning and eventfulness, theatricality and chance. They revolutionized our sense of what a play might be. That was their revolution. What is our avant-garde?\u003C\/p\u003E\n\u003C\/div\u003E\n      \n  \u003C\/div\u003E\n  \u003C\/div\u003E\n\n\u003C\/div\u003E\n\u003C\/div\u003E\n    \u003Cdiv class=\u0022views-row\u0022\u003E\n\u003Cdiv  data-history-node-id=\u00222155\u0022 about=\u0022\/series\/after-avant-garde\u0022 class=\u0022view-mode-profile view-mode-profile--node-type-series node node--type-series node--promoted node--view-mode-profile\u0022\u003E\n\n  \n  \u003Cdiv class=\u0022node__content\u0022\u003E\n    \u003Ca href=\u0022\/series\/after-avant-garde\u0022 class=\u0022field-pseudo-field field-pseudo-field--tile-link\u0022 aria-hidden=\u0022hidden\u0022 hreflang=\u0022en\u0022\u003E \u003C\/a\u003E\n            \u003Cdiv class=\u0022field field--name-field-media-image field--type-entity-reference field--label-hidden field__item\u0022\u003E\u003Carticle class=\u0022media media--type-image media--view-mode-teaser-card\u0022\u003E\n  \n      \n            \u003Cdiv class=\u0022field field--name-field-image field--type-image field--label-hidden field__item\u0022\u003E    \u003Cpicture\u003E\n                  \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-09\/b_k_kremer_rj-1.webp?itok=gx2Vo4nV 1x\u0022 type=\u0022image\/webp\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n              \u003Csource srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-09\/b_k_kremer_rj-1.jpg?itok=gx2Vo4nV 1x\u0022 type=\u0022image\/jpeg\u0022 width=\u0022650\u0022 height=\u0022366\u0022\/\u003E\n                  \u003Cimg loading=\u0022eager\u0022 srcset=\u0022\/sites\/default\/files\/styles\/650w_x_366h\/public\/2018-09\/b_k_kremer_rj-1.jpg?itok=gx2Vo4nV 1x\u0022 width=\u0022340\u0022 height=\u0022227\u0022 src=\u0022\/sites\/default\/files\/styles\/body_small\/public\/2018-09\/b_k_kremer_rj-1.jpg?itok=yHZINJZj\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n  \u003C\/picture\u003E\n\n\u003C\/div\u003E\n      \n  \u003C\/article\u003E\n\u003C\/div\u003E\n      \n\u003Cdiv  class=\u0022group-content\u0022\u003E\n    \u003Cdiv class=\u0022field-pseudo-field field-pseudo-field--content-type-label field-pseudo-field--content-type-label--series\u0022\u003ESeries\u003C\/div\u003E\n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-field-title-wysiwyg field--type-text-long field--label-hidden field__item\u0022\u003E\u003Ch3\u003EAfter the Avant-Garde\u003C\/h3\u003E\n\u003C\/div\u003E\n      \n            \u003Cdiv class=\u0022clearfix text-formatted field field--name-body field--type-text-with-summary field--label-hidden field__item\u0022\u003E\u003Cp\u003EIn her series, Kate Kremer explores the question of the new avant-garde; what is avant-garde theatre today?\u003C\/p\u003E\n\u003C\/div\u003E\n      \n  \u003C\/div\u003E\n  \u003C\/div\u003E\n\n\u003C\/div\u003E\n\u003C\/div\u003E\n\n    \u003C\/div\u003E\n  \n      \n          \u003C\/div\u003E\n\u003C\/div\u003E\n","settings":null}]