Category Archives: Criticism Without Borders
LA MAMA ETC | Pasolini’s PYLADE + Ivica Buljan = The Best Play of the New York Season
Pier Paolo Pasolini’s PYLADE, as astonishingly staged by the Croatian stage director Ivica Buljan and La MaMa’s Great Jones Repertory Company (GJRC), is the theatrical event of the NY season.
LA MAMA ETC | Pasolini’s PYLADE + Ivica Buljan = The Best Play of the New York Season
Pier Paolo Pasolini’s PYLADE, as astonishingly staged by the Croatian stage director Ivica Buljan and La MaMa’s Great Jones Repertory Company (GJRC), is the theatrical event of the NY season.
POETRY MATTERS | A gentle poet gives a timely, passionate defense of the poetic.
Author Jay Parini argues that poetry offers a way to sanity and clarity, helping us to see ourselves and our world.
POETRY MATTERS | A gentle poet gives a timely, passionate defense of the poetic.
Author Jay Parini argues that poetry offers a way to sanity and clarity, helping us to see ourselves and our world.
MOVIES INTO THEATER | I can’t believe it’s not Ingmar Bergman’s film (part 2)
This is the second half of a 2-part essay. The brand name of Ingmar Bergman is now a system of signs that express other ideas.
MOVIES INTO THEATER | I can’t believe it’s not Ingmar Bergman’s film (part 2)
This is the second half of a 2-part essay. The brand name of Ingmar Bergman is now a system of signs that express other ideas.
MOVIES INTO THEATER | I can’t believe it’s not Ingmar Bergman’s film (part 1)
So what happened to change the Bergmanian tide? Money and the swift canonization of a once reluctant Swedish dramatist-turned-film-icon are the quick answers.
MOVIES INTO THEATER | I can’t believe it’s not Ingmar Bergman’s film (part 1)
So what happened to change the Bergmanian tide? Money and the swift canonization of a once reluctant Swedish dramatist-turned-film-icon are the quick answers.
WITHOUT BORDERS | Screw Ingmar Bergman’s films. Go see his screen texts on stage, Sept. 3 to 5
What’s the point of seeking to certify a heartbreaking work of stagecraft by comparing it to Bergman’s cinema aesthetics?
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WITHOUT BORDERS | Screw Ingmar Bergman’s films. Go see his screen texts on stage, Sept. 3 to 5
What’s the point of seeking to certify a heartbreaking work of stagecraft by comparing it to Bergman’s cinema aesthetics?
___
PERFORMANCE DESIGN | What’s the Haps?
Three musings on visual-art projects. One nagging question: “But is it Performance Design?”
PERFORMANCE DESIGN | What’s the Haps?
Three musings on visual-art projects. One nagging question: “But is it Performance Design?”
Let’s Get to Know Each Other
What I do I need to cover or address in this media project so I can continue to engage your mind and heart? Please share what stories you would like to see reflected on this media project:
Let’s Get to Know Each Other
What I do I need to cover or address in this media project so I can continue to engage your mind and heart? Please share what stories you would like to see reflected on this media project:
NUYORICAN FIND | Caught in the glories of race in Rodriguez Calero’s urban paintings
I was so fascinated by the man in Calero’s “Transcendent” that I kept circling back to it. Is it a black man? Oh, wait. The painter is a Nuyorican. What gives?
NUYORICAN FIND | Caught in the glories of race in Rodriguez Calero’s urban paintings
I was so fascinated by the man in Calero’s “Transcendent” that I kept circling back to it. Is it a black man? Oh, wait. The painter is a Nuyorican. What gives?
GUGGENHEIM MUSEUM | Cuban-American Conceptual artist delights with his curtain of golden beads
Felix Gonzalez-Torres’s “Untitled” Golden (1995) asks of gallery owners and curators to use these beads as room dividers through which any viewer must pass.
GUGGENHEIM MUSEUM | Cuban-American Conceptual artist delights with his curtain of golden beads
Felix Gonzalez-Torres’s “Untitled” Golden (1995) asks of gallery owners and curators to use these beads as room dividers through which any viewer must pass.
CONVERSATION | Jean-Guy Lecat talks about creating a Theatre for a New Audience in Brooklyn on Jan. 5th
TFANA will host a series of free public discussions about how theatrical design can support art.
CONVERSATION | Jean-Guy Lecat talks about creating a Theatre for a New Audience in Brooklyn on Jan. 5th
TFANA will host a series of free public discussions about how theatrical design can support art.
REPORT FROM THE FAR FAR SOUTH | Encountering an exciting Argentine voice: Santiago Loza
This is part of a series of U.S. artist Samuel Buggeln’s special reports from Buenos Aires.
REPORT FROM THE FAR FAR SOUTH | Encountering an exciting Argentine voice: Santiago Loza
This is part of a series of U.S. artist Samuel Buggeln’s special reports from Buenos Aires.
DEADLINES | 2-minute videos sought for Arab Fund’s “Why Culture?” competition
AFAC is now tossing the question into the field of pictures in motion, videos and animation. AFAC has opened the call for the “Why Culture? Video Competition,” and the challenge is: Can you create a 2 minute video that delivers a concept on why culture matters? The competition is open to everyone.
DEADLINES | 2-minute videos sought for Arab Fund’s “Why Culture?” competition
AFAC is now tossing the question into the field of pictures in motion, videos and animation. AFAC has opened the call for the “Why Culture? Video Competition,” and the challenge is: Can you create a 2 minute video that delivers a concept on why culture matters? The competition is open to everyone.
PERFORMANCE DESIGN? | A ghost train from Bulgaria, composed of sound and lights, speeds through Berlin’s city center
HR-Stamenov’s The Phenomenon of W24°58’59,43″ N42°07’55,29″ is very much a site-specific, media, sound and light installation. This time, he toys with the image of a ghost metro train which has traveled throughout Europe and suddenly appears in Berlin. It ignores physics, gaps between buildings, space and time.
PERFORMANCE DESIGN? | A ghost train from Bulgaria, composed of sound and lights, speeds through Berlin’s city center
HR-Stamenov’s The Phenomenon of W24°58’59,43″ N42°07’55,29″ is very much a site-specific, media, sound and light installation. This time, he toys with the image of a ghost metro train which has traveled throughout Europe and suddenly appears in Berlin. It ignores physics, gaps between buildings, space and time.
BUT IS IT PERFORMANCE DESIGN? | Tino Sehgal’s “This situation” dreamily implicates the art experience, and quite likely elite academia itself
“The situation” is purely experiential, engaging viewers immediately in real time and space to implore a questioning of the art experience, and experience itself. If “This situation” is not a work of performance design, I don’t know what is. It is not surprising to learn that Sehgal is a trained choreographer; he composes what is then physically interpreted by non-actors, actors and dancers, and in the case of “This Situation,” intellectuals.
BUT IS IT PERFORMANCE DESIGN? | Tino Sehgal’s “This situation” dreamily implicates the art experience, and quite likely elite academia itself
“The situation” is purely experiential, engaging viewers immediately in real time and space to implore a questioning of the art experience, and experience itself. If “This situation” is not a work of performance design, I don’t know what is. It is not surprising to learn that Sehgal is a trained choreographer; he composes what is then physically interpreted by non-actors, actors and dancers, and in the case of “This Situation,” intellectuals.