“The storytelling one encounters in the theater is found nowhere else in life. … These stories are how we come to an agreement about just what is this world is. To experience them together is to renew our shared understanding, and to give ourselves a common point around which to debate life’s big questions.”
Tag: 06.20.17
‘A Shimmering African Canopy’: A First Look At The 2017 Serpentine Pavilion In London
Says Francis Kéré, the first African architect to design the annually built structure, “I was inspired by the big tree in my native village of Gando [in Burkina Faso]. The community always gathers in its shade. I wanted to create a place that would encourage people to come together, with spaces where you feel enclosed and protected, or choose to look out to the park.”
Why Wayne McGregor Is Giving Away Time And Space In His Brand-New Studios
“‘It’s easy to talk about the issues facing the dance sector, but I thought we had to do something,’ McGregor says, citing the cost (“around £2,000 per week,” or over $2,500) of renting a studio in London. As part of [his] FreeSpace [program], 5,000 hours of studio time will be gifted to 25 artists over one year. In exchange, for each week spent in the Studio they are asked to devote one day to outreach projects.
Is FOMO The Essential Ingredient In Art For The Instagram Age?
“The fact that some folks have managed to make the scene while others get left out in the cold is integral to the excitement of participatory art. The thrill is akin to exotic travel, or getting to see Hamilton. Because not everyone who wants the experience actually gets the experience, these works, even if their intentions and messages are democratic, tend to become exclusive affairs.”
Opera As A Serial Episodic Experience
Vireo is the first opera designed for episodic release, both on television and online, and the culmination of an artist residency project at the Grand Central Arts Center at California State University, Fullerton. “My hopes for Vireo,” says center director John Spiak in a promotional film about Vireo’s making “is that 30 or 40 years down the line it will be seen as one of those groundbreaking things that made a difference in the artistic world. We’ve taken a live entertainment, opera,” adds the director, Charles Otte “and shot it as a piece of film, as opposed to finding an opera, staging it on a stage, and shooting it with three or four cameras.
Why Is Diana Vishneva Leaving ABT? She’s Too Busy!
She’s opening a studio in St. Petersburg that will teach yoga and gymnastics as well as ballet; she’s running a dance festival that covers both that city and Moscow; she loves being a guest with other companies and wants to do more of it. In a Q&A with Gia Kourlas, she talks about her plans, ballet training today, and what she loves about American audiences.
Theatre Impresario Garth Drabinisky Banned From Being Director Of Any Public Company
The disgraced theatre mogul had run the hugely successful Livent company. “At its height, Livent produced shows including The Phantom of the Opera and Ragtime across North America, the United Kingdom and Australia. The company sought bankruptcy protection in 1998 and was sold off three years later.”
When We Care More About The Artist’s Personal Story Than The Art
The play reveals this odd, disconcerting paradox: we mythologize artists, but do so with precisely the attributes of authenticity we ironically think make them more real. It’s as if we want genuineness but don’t quite know how to grasp it. Master brings up the question of where artists actually exist in their careers — we think we see them, when they are not really there at all.
Paris’s Opéra Comique, Lavishly Restored, Is Becoming One Of The City’s Hot Tickets
The ornate Belle Epoque theatre had lost its luster, visually and artistically, by the end of the last century. But the house’s director, Olivier Mantei, is determined to bring excitement and audiences back. So he’s overseen a meticulous restoration of the building to its original splendor, reopened it with a spectacular revival of a grand opera not seen in Paris for 246 years, and even commissioned a patisserie to create a new cake for the occasion.
Dinner After The Show With The Woman Who Disrupted ‘Julius Caesar’ In Central Park
Reporter Andrew Marantz: “[Laura] Loomer provided several rationales for her actions: that she had merely used words, whereas the left engages in actual violence; that she felt it was her patriotic duty to stop the play, which was ‘a form of terrorism’ that would ‘bring us closer to civil war’; that the Public Theatre is ‘aligned with ISIS, politically.’ The only incontrovertible fact was one that she never uttered aloud: that the stunt would do wonders for her personal brand.”