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Posts Tagged ‘Notes’

You Want the Truth About Photography? Start HereFalseArt
São Paulo, 1969: How to Demolish a Theater and Build a CathedralFalseArt Victor Garcia, The Balcony, Ruth Escobar, Sao Paulo, Jean Genet
Against Closure: The Collision, Not the CleanupFalseArt Lauren Dietrich Chavez, Derek Phillips, Wave Organ, Sophocles, theater bay area
Surrender Your Skull: Notes on Directing as Dangerous Hospitality or How to Let a Dead French Guy Rearrange Your FurnitureFalseArt theatre of consciousness, Maria Leigh, We Players, macbeth fort point, san francisco, site specific
Bodies as JPEGs: How I Learned to Stop Worrying and Swipe Past RealityFalseArt repetition, live perforamnce, video perforamnce, live art
The Knife I Chose to Pick UpFalseArt rehearsal versus performance, refusing theatrical closure, heteroglossia in theatre, performance theory critique, power in rehearsal Brechtian alienation effect, multivalent theatrical meaning
The Theater of No Exit: Or, How I Learned to Stop Worrying and Hate the Fucking AudienceFalseArt Rodin
Site Specific Theater BibliographyFalseArt
Brecht Knew You Were Full of Shit: On the Work and the WreckageAbsolute Solipsism
Carl Weber: What I Owe the DeadIndividualism Carl Weber, Stanford University, Stanford, Theater and Performance Studies, Stanford TAPS, Bertolt Brecht, theater, theatre, director, directing, Heiner Muller, San Francisco, professor, education, bay area, Stanford Drama
Notes to myself on beginning a paintingFalseArt Stanford Arts, Rodin, Cantor Arts Center, Museum, Stanford Univiersity, Richard Diebenkorn, museum
Documenting Performance and TruthFalseArt We Players, Ava Roy, William Shakespeare Macbeth, site integrated theatre, theater photography, theatre documentation, performance studies, Stanford Alumni, san francisco theatre, theater bay area, john hadden, documenting performance
India Basin, Hunter’s PointThe City Hunters Point, San Francisco, Anderson, Cristofani, shipyard, shipbuilding, Jack London, The Snark
Janet Cardiff’s Forty Part Motet: A Dispatch from the Void Between Here and NeverIndustries Janet Cardiff, The Forty Part Motet, Fort Mason Center for Arts and Culture, Performance Photography, SFMOMA, SFMOMA Performance Art, practice and theory
Taxidermist or The Last Ones There Get to Say What It MeantFalseArt
Somebody Has to Stand ThereFalseArt + Speculation Museum of Performance and Design, San Francisco theatre, theater photography, performance documentation, Sophocles, Sophocles Oedipus, Jocasta, San Francisco international art festival, SFIAF, Stanford theater and performance studies, theater bay area, Fort Mason Chapel, Nathaniel Justiniano
The Performative Con: How We Method-Act Our Way Through the Checkout LineFalseArt
Teaching Without an Axe: Or, How to Keep the Faith After America Breaks Your BackIndividualism Old Mint Man
The Brutal Democracy of MakingFalseArt Old Mint, San Francisco, rehearsal, theater, theatre, site specific, collected works, artist, designers
The Director’s RacketFalseArt anticipation calculation presumption in performance, San Francisco Old Mint, Jean Genet The Balcony
Actor Notes: The Fragile Art of Taking DirectionSpeculation We Players, Actor Notes, Cast, Macbeth, actors, rehearsal, Shakespeare, Macbeth, Fort Point, portrait, Nathaniel Justiniano, John Hadden
Notes on Live Art and Video (or: How I Learned to Stop Worrying and Love the Fragmentation)FalseArt live art and video, Ryan Tacata, site specific theatre, san francisco theater bay area, san francisco performance art, Angrette McCloskey, performance studies, stanford TAPS, PAI, stage design, theatre photography, theatre documentation
An Evening With Sam ShepardFalseArt Magic Theater, Sam Shepard, san francisco
repetition or what happens when theorists never step into a rehearsal roomSpeculation repetition, live perforamnce, video perforamnce, live art
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