After money, space is often the tallest hurdle for artists in New York. Performance Space 122’s RAMP is a new residency program offering emerging New York City-based artists a performance venue to develop a piece with supporting tech assistance and premiere it to an audience.
Performance
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An After-Midnight Murder Mystery Takes Place in a Cemetery
How do you get people to see theater in a Bronx cemetery at three in the morning? Don’t tell them where they’re going.
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Trading Stage for Warehouse, a New Organization Brings Opera to Brooklyn
The L train was out of order and the night was freezing, but that didn’t stop a crowd from packing into a Bushwick warehouse earlier this month for the last weekend of Puccini’s La Bohème, staged by the Brooklyn-based LoftOpera.
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Rehearsing Tomorrow: Mallory Cattlet’s ‘This Was the End’
Mallory Cattlet’s This Was the End at The Chocolate Factory in Long Island City occupies a point along the continuum between theater and visual art. The emphasis is on the visual perception of the stage set and the video projections by Keith Skretch, which sometimes replicate both the set and actions of the live performers.
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John Baldessari as Muse
LOS ANGELES — How many literary readings involve a faux-gorilla dancing with a palm leaf and bunch of balloons? Or a megaphone? Or someone tossing handmade zines into the audience with abandon? Artists Read Baldessari was this type of event.
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Exploring Pain at the COIL Festival
Performance Space 122’s COIL Festival is one of a number of imaginative theater festivals to descend on New York City each winter.
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Miguel Gutierrez’s “myendlesslove” at Abrons Arts Center
Miguel Gutierrez’s “myendlesslove” is, as its title suggests, about love — but not just love in a classic, romantic sense. That is there, but in 50 minutes, Gutierrez also touches on love making (aka sex), love of self, and love of youth. He pulls all these themes out of a multi-faceted, if somewhat disjointed, piece whose variations of medium and tone are refreshing.
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The Unremarkable Death of Marina Abramović
Marina Abramović, as you may have heard, is dead. She has died at the age of 67 and is being celebrated at the Park Avenue Armory with a production by pioneering theater director Robert Wilson, called The Life and Death of Marina Abramović. She is also starring in the show, quite alive, alongside Willem Dafoe, Antony (of Antony and the Johnsons), and a cast of roughly a dozen other performers.
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A Broken Word Opera
Joe Diebes, a composer and creator of “performance environments” showcased his latest piece BOTCH, part of his three-year artist residency at Manhattan’s HERE Arts Center.
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The Politics of Parody: Free Cooper Union at e-flux
For a few hours last Sunday, e-flux’s Chinatown offices were bathed in red light as Free Cooper Union held an interpretive reading of the 41-page trustee meeting transcript first leaked to the Village Voice over the summer.
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Surrealism’s Fistfights and Adversarial Culture
An evening Dada revue organized by Tristan Tzara, July 6, 1923’s Soirée du Coeur à Barbe (Night of the Bearded Heart) was the site of an infamous altercation between Tzara’s associates and Surrealist don André Breton at the Théâtre Michel in Paris.
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A Visual Concert of Gestures
Audience members for Tori Wrånes’s “Yes Nix” performance had to sidestep the artist, who was lying on the floor at the entrance to SIR Stage 37, as they walked in. Her feet were tied in rope, which was strung up to a running track in the ceiling. It was the most confrontational part of the 30-some-minute performance, an otherwise structured and slick series of gestures — a sort of operetta without words.
