Tides of the Wolf
Audience members whisper into a magic lantern their favorite and most accursed first experiences of love.
Audience members whisper into a magic lantern their favorite and most accursed first experiences of love.
Maybe these letters and numbers help me imagine a catastrophic snowfall in Shelby County, KY, or the action in Correspondence. But really the numbers aren’t for me. They’re for my laptop.
A plastic theatre is deathless, staticky, sticky, silent. It is scary and strangely safe. Creepy and clinical but also ubiquitous.
The auteur at the heart of her text yearns to close the gap between the art object and herself, the art star. At least, she wants the appearance of having forsaken aesthetic detachment. And we’re with her.
I’m a playwright by trade, and like Wainwrights and Shipwrights, in this modern world Playwrights are pretty useless. It is a dying art. Seriously disrupted.
I would like the house to be un-crumbled, to undo the damage done by an earthquake, time, distance and neglect, and to place the performance and the audience in that house.