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Touring: Meg Stuart’s 2009 ›Do Animals Cry‹

In her new work ›Do Animals Cry‹, American choreographer Meg Stuart explores the complexities of family relationships. This is how it starts: people in pyjamas and slippers are panting. A family – is it really a family? – quietly gone sour. They fool around in variable poses: father, mother or sibling. They are called Frank and Frankie-Boy, Frankie-Fucker, Little Shit or Honey. To name just one, the others have their own set of nicknames. Decent families know how to communicate without anybody noticing. In the games they play, everybody defends his right on regression, on sleepwalking blindness and hidden frailty. In a room filled with memories, new candidates make their way in every day exchanging dreams and disappointments. No need for a fixed role, without being asked, they slide in and...

In Performance: Gisèle Vienne + Dennis Cooper 2008 Production of JERK

A description of the 2008 production of Jerk by Dennis Cooper and directed by the French Artist, Gisèle Vienne. Jerk” is an imaginary reconstruction – strange, poetic, funny and somber – of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in the state of Texas during the mid-70s. This show sees David Brooks serving his life sentence. In prison, he learns the art of puppets, which somehow enables him to face up to his responsibility as partner in the crimes. He has written a show that reconstructs the murders committed by Dean Corll, using puppets for all the roles. He performs his show in prison for a class of psychology students from a local university. Due to the violence and humor of t...

Lost Notebook Defines Contemporary Performance

“Contemporary performance is hybrid work that integrates text, dance, objects, music, costumes, lighting, image, sound, sets, and vocal expression into complex interactive systems. Contemporary performance names a body of work that builds on an aesthetic history beginning in the 1880s with Alfred Jarry and early Dada experiments and unfolds through into the American avant-garde and Performance Art of the 1980s. Contemporary performance collages are often non-narrative, technically rigorous, and carefully orchestrated anarchic chaos. They unsettle perception, demand critical engagement from audiences, address conceptual debates within aesthetics, draw on a diverse range of cultural interests, and bring pleasure to populations across the globe.” – Morgan v. P. Pecelli at lo...

Radio Hole Announces New Work and Touring Venues

Whatever, Heaven Allows STARRING: Maggie Hoffman Eric Dyer Erin Douglass Mark Jaynes Joseph “Wedgewood” Silovsly & Kourtney Rutherford As The Deer Coming Soon to: PS122 UCLA Prelude The Warhol Museum The Walker Arts Center

Certain Fragments

“The struggle to produce witnesses rather than spectators is present in the contemporary performance scene. You can see it in excess/epic style at least in the public piercings and mutilations by American artist Ron Athey or the ‘suspensions’ on meet-hooks carried out by Stelare, events in which extreme versions of the body in pain, in sexual play and in shock demand repeated of those watching – ‘be here, be here, be here…’. You can see it in much milder work too, and sometimes more clearly. In the rearrangements of audiences space and contract repeatedly employed by the UK performance companies Station House Opera and Blast Theory, and by the US group Goat Island, whose physical vocabulary) of school gym class, nervous ticks, sports moves and intimate gestures) its itsel...

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