Festival Blog Question of the Month: December, 2008
Have you been moved to tears or exhilarated by a performance in an outdoor, public space that would not have had the same meaning in a traditional theater? Why do we respond the way we do to art in unexpected, everyday places? Is there something larger going on than just our individual enjoyment of the experience?
Festival Blog Question of the Month: November, 2008
Have you ever said to yourself after a great post-show discussion, “I wish I had heard this discussion before I saw the show. I would have enjoyed it so much more.”
Artists often resist explaining their work beforehand in interviews, program notes, etc. They want the audience to experience their work without preconceived notions of what the work is about and how they are supposed to respond.
Where do you come down on this?
Is it possible to satisfy both points of view?
Festival photos by JJ Tiziou!
Can’t get enough of those wonderful photos JJ Tiziou took of your favorite Festival moments? Neither can we! Lucky for us, he has archived all his 2008 Festival photos for fun and easy viewing on his website. Click on the “Video” link for a quick whirlwind of images from the following shows. If you’d like to browse at your own pace, visit each Photo Gallery.
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All photos © Jacques-Jean Tiziou / www.jjtiziou.net
Catch Factor T in NYC this week only!
Did you miss Dada von Bzdülöw Theatre’s sold-out Factor T in the Festival this year? Catch it this Thursday through Saturday at Danspace Project in New York City!
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REACTION + PHOTOS: THE MeLTING BRiDgE
You’re in Mexico City, selling products made in Brazil, talking on your cell phone to a coworker in Germany, trying to get a hold of your dad in Indianapolis. This has probably actually happened to you, maybe with a different set of cities. And if not, it’s at least plausible, right, ever since – so the story goes – globalization started shrinking the world? In THE MeLTING BRiDgE, the third and final installment of The Lucidity Suitcase Intercontinental’s Americas Trilogy, locales from the Bering Strait of Alaska to the Amazon jungle seep one into the other, awash in sound and color, and flexing time into a new (or possibly very old) logic. THE MeLTING BRiDgE is everywhere suggestive of long-buried relationships and connections newly emerging; its portals are liable to swing open at any moment.
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PHOTOS: Another Sleepy Dusty Delta Day
At the Wednesday premiere of Jan Fabre’s Another Sleepy Dusty Delta Day, photo ninja JJ Tiziou took these photos.
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REACTION: The show must go on
ENTERTAIN US! The audience is ready. We’re lined up in a fancy building reserved for the “really good” shows – or at least for the “famous” people, there are lights, there’s a big stage, beautiful music…but…umm, where are the performers? Where’s the action? Hey, why won’t you show me feats of daring and exceptional skill?
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The opposite end of the lens
I met JJ Tiziou at the Greenline yesterday. We ate bagels and talked about photography, the Festival, and the opposite end of the lens.
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How performance is not like real life
JJ clued me in on a few things about photographing performance, mainly the fact that performance is not as predictable as real life. If you see a guy on the street walking in a particular direction, chances are good that he will continue walking in that direction. But with theater and dance in particular, you can’t always predict the performer’s next move. The upside of photographing performance is that it usually happens more than once (life rarely offers guaranteed repetition of this kind).
REACTION: Myra Bazell/SCRAP Performance Group’s TIDE
If you’ve never been the Isaiah Zagar’s backyard (aka Philadelphia’s Magical Gardens), now is the time to go. Myra Bazell and her dancers have created a work that flows in and out and all around this small labyrinth of mirror mosaics, bicycle wheels, clay tiles, and thousands of glass bottles. Every inch of this place has a story to it—Zaegar’s designs are famous for invoking stories, histories, ideas, politics, and TIDE seems to do a lot of the same.
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REACTION: Scott McPheeters’ Chick
We filed into a tiny brick studio on Cuthbert Street. Before us sat the Chick (Sarah Nye), garbed in white knickers that suggested the feathers of the most familiar domestic fowl. Her flapping wings emerged and she began to twitch and itch, she started to sniff and peck, and cough? That’s right, the Chick began to grumble and cough. Her whole body heaved until suddenly she flew off her perch, leaving behind a single white carton. A lamp that hung low above her head suddenly glowed red.
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