A dance company based both in Ramallah and New York City finds fertile ground for experiment working across borders.
Watching puppeteer Basil Twist’s Symphonie Fantastique is like experiencing an extreme episode of synesthesia.
The actor’s trade is always a deception, creating the appearance of authenticity.
Summoning within her own body the necessary force to make the assemblage crumble, Foulkes transforms the dancer-sculpture duet into an aerial mosh pit.
The Met’s new production of Così fan tutte stages the comic opera at a Coney Island-style amusement park circa the 1950s.
Transmissions shows, deftly and in detail, that ballet is not the rigid art form that some envision it to be.
Pollock by Fabrice Melquiot is in many ways just another paean to the ‘heroic male painter.’
In Written on Skin, currently playing at Opera Philadelphia, an illuminated manuscript artist gets involved with his patron’s wife.
Gómez-Peña staged “The Most (un) Documented Mexican Artist” at LACE and spoke about his transgressive brand of performance art that takes aim at borders.
Pang! is a play that takes the form of live radio, asking the audience to fill in the gap between what they see and hear.
The 1966 student protests in Durango are the basis for a performance by the Mexico City-based collective Teatro Línea de Sombra.
Say Something Bunny! is a live documentary that excavates the found audio of a 1950s family, and considers what makes these mundane moments compelling.