1,715 stories from Culture Bot
How do you deconstruct a deconstruction?
These moments of transparency and revealed infrastructure are strictly intended.
One woman's refusal to participate in the social straightjackets necessitates another's sacrifice; the hollower's women are negatively bound to each other in a zero sum game.
Though their insular world went weird, and quickly, I was there, because they were there. Davis and Markey have the attunement to one another that only comes from a sustained exposure to the…
The history in the text (of lobotomies, of white-male explorers, of colonization) becomes compressed: events, accidents, happenstance, and mistakes, become "like layers of snow into a glacie…
The La MaMa Moves Festival, now it its 13th season, opens Thursday May 10. Performances in The Ellen Stewart Theatre and the Downstairs Theatre & Lounge, curated by Nicky Paraiso, ref…
mayfield brooks, jumatatu m. poe, and the I Moving Lab are part of aa three-week series conceived and curated by Marýa Wethers at Gibney Dance highlighted "intersections and crossroads am…
When I hear that two pieces have been “smashed together,” I make certain assumptions. If I read “conceived by” or “created by the ensemble,” I expect a pi…
Her quizzers and yelps, the need of her sound, the holes in her anger revealed through the unsteady rocking of her delivery, created the tapestry that was her performance.
The objects could be anything generative, and Heather's choices are varied, sophisticated, heartfelt, and a fascinating insight into what interests this artist.
Suggestions of timeless spaces, Miss-Julie-ish rage, and as I knew from the program, taking up issues of sexual violence.
There is a dizzying effect to the realization / acknowledgement of one's cringe-worthy actions as white person to date, and Aloha Aloha gives that kaleidoscopic wheel quite the healthy spin.
"Nothing happening," I wrote in a heavy slant down the page, "but I can't look away."
The act of appropriation at the core of the theatrical encounter becomes, in Sy's hands, a metaphor for and means of exploring other appropriative encounters and the difficult entanglement, …
The anxiety vortex of What Makes Us Feel Good shoots one into the black hole of anxiousness.
Wilson says to the container, "Well fuck you," then to us, "Get ready to run if this explodes, I guess."
there's never enough time and we're always reaching back, trying to remember what it felt like to crack wide open for the first time.
The sense of risk, scrappiness, and, in the words of Herskovits, "failure" is strong.
In the alchemy of her performance, humor and transformation become means not of hiding the self, but of revealing it.
I know both the impossibility and necessity of such a Decolonizing.
As a central point of exploration: "Spaces are not exterior to our bodies, instead, spaces are like a second skin, they unfold in the folds of the body."
We, as a culture, seem to be searching for answers that black futures may provide us.
The unknown and imagined expanse of space becomes synonymous at times with something like Heaven.
We engulf and tangle with a political idea in a different way than how we listen and respond to a play.
With CHASM I wanted a way to get that back because I feel like that's not about a career, or being an artist, it's mine, it's what I do, it's what I've always done. It feels necessary for su…
