Éxodo / Exodus
The seats are completely empty; everyone is on the stage, including the box office personnel and the usher. No one is missing.
The seats are completely empty; everyone is on the stage, including the box office personnel and the usher. No one is missing.
Fellow national curators (myself included) would recognize when our own limitations of history/age/privilege were a barrier and step aside to let others more aligned with an artist or project take over. In this landscape, talented younger artists and curators would receive effective, thoughtful mentorship and training, while those more seasoned would acknowledge and draw inspiration from the energy and ideas of next-generation curators.
Lights up on a bare stage enveloped in a heart-shaped frame. Five trans girls over the age of 40 enter holding hands and flirting under bright light.
How might a theatre piece take advantage of four different languages conceived as musical instruments, each one with its own unique potential?
We know in this space that we are not discrete and separate, but fountains of flesh making and remaking ourselves through infinities of possibility...
part boot camp, part active problem solving, ‘a game for world leaders to play’ is an immersive social play experiment themed around 21st century survival.
We are used to producing theatre that is designed to remove us from ourselves. Theatres enable us, the audience, to […]
Her reflections offer us a thinking-through of thought-making, thought-creation; a play between memory and invention, how feeling shapes itself into words.
All artists and/or workers involved are paid a living wage for all phases of pre-production and production.
Imagine a theatre of dream interpretation. A manifesto for a theatre of healing stolen cultural memory.