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
We have to do better to offer arts programs in under-resourced schools. We have to do better to offer arts programs in communities of color. We have to do better in the future. But how are we doing better now?
that moment before something is about to happen where anything is still possible in between this is where you are stuck
The extravagance of these small fragments and minor aesthetic details are not wasteful, but beautiful. Think trans girl with diminutive ambition, sufficient amuse-bouche, endless caress, depressive, but comfortable, reparative when she leaks a little, and juvenile with a crush.
A plastic theatre is deathless, staticky, sticky, silent. It is scary and strangely safe. Creepy and clinical but also ubiquitous.
Decolonisation is deconstructing our understanding of the choices we have to make, and making them.
How can we embody the possibilities/impossibilities of decolonisation through dance?
Gnomes are an empty way to mark colonial space, all ceramic rim and air inside