Landscape of the Body: The Limits of Pastiche
John Guare’s plays were po-mo before po-mo was the American theater’s default setting. They revel in pop culture references. They erase the line between reality and the phony “hyperreality” promoted every day in the media. His approach to the material is that so beloved of deconstructionists everywhere: pastiche. The difficulty in staging this pastiche is that the play often threatens to turn into pure chaos.
Seattle: Meet Artsyo
A self-proclaimed “OKCupid for art,” Artsyo is a brand spankin’ new online search engine that pairs users with local art and artists. Enter their “Pimp My Wall” contest by November 29th for a chance to overhaul your wall with a new original artwork on Artsyo’s dime.
Amarillo y El Dorado: Teatro Línea de Sombra Bring It at On the Boards
The desire to be somewhere better is indigenous to the human race. There are probably at least a myriad of clichés about how “the grass is greener” and it is certainly common to wish one were somewhere else. When life is relatively stable, this desire to find greener pastures is a luxury. When life is chaos, this desire is no longer a luxury but a thirst for life.
Goddess at the Shore
A dramatic poem from our resident Muse, Pam Carter.
Interleavings: Serendipity and the Auto/Biographical Process
Edith Buxbaum: she also liked to cook.
The Ghastly Impermanence: Canon Envy
While many people are certainly satisfied with the absence of a canon for radio drama, the lack of one has dismal consequences.
Night and Day Film Noir Series Month Four: Carol Reed’s The Third Man
In this entry the Night and Day Film Noir series’ curator Bradon Ryan and the Star’s José Amador effuse all over Carol Reed’s production of Graham Greene’s script The Third Man, briefly delve into the film’s production history and somehow find themselves in the middle of discussing the worlds of Joss Whedon, the Terminator movies, the Rambo movies, and Mutiny on the Bounty.
Odin’s Horse and the Lehrstück ohne Lehre
In our post-Bush era, political theater is increasingly rare. In our remote, cozy and often smug city of Seattle it is rarer still. Anything encouraging Americans to get together in a group to solve problems is a general anathema. Stereotypes have hardened. Dialogue is emotional and without sense. Issues are treated not as matters to solve by consensus but rather to be solved by fiat. It is no wonder discussion feels polarized.
November 6, 1970: The Seattle Seven
“Did you ever hear of the Seattle Seven? . . . That was me . . . and six other guys.”
Except where otherwise noted, the content on this site is licensed under a Creative Commons Attribution 4.0 International License.