Time lost along the way: Gone or Lost?
Let’s imagine a duration without regular pattern. Nothing in it is recognizable, nothing ever recurs. It is just a duration […]
Let’s imagine a duration without regular pattern. Nothing in it is recognizable, nothing ever recurs. It is just a duration […]
I do not imagine a theater, because I live theater, breathe it in and out; I dream it. But, if I had to imagine a theater, then I'd like to imagine that the languages that have been forgotten, which are still spoken in many parts of the world, would be part of this new playwriting.
sharing rhythm creates a political question about who determines rhythm and when trio in unison, with the possibility of becoming either backup dancers or soloists open-ended and absurdist and nonsensical shame as part of gaze
It is raw, it is real, it is happening with you in the room and can only be experienced in the “here and now.” It is open to a multiplicity of heres and nows depending on the realities, perceptions, localities... of those present.
that moment before something is about to happen where anything is still possible in between this is where you are stuck
Duse’s superpower: her capacity to disappear, leaving only her plaster hands as evidence that she was a material presence in the world. Disappearance. Reproduction. She knew the theatrical drill.
It must be with the sound of bells, bells that play longer than usual, which we perceive more clearly because […]
It’s an experiment in placing the private in public, says the director—a device HE will learn to use well in the many years to come.
Imagine their devotion. Imagine what they heard.
Scenography is an open-ended concept, ‘… a sensory as well as an intellectual experience, emotional as well as rational.’[1] […]