Friday, October 31, 2014

Happy Samhain!

Happy Samhain, dear ones. The veil is thin. Use that opportunity well. And have a magickal New Year!

Thursday, October 30, 2014

New film traces dance career of Ze'eva Cohen, November 10

Ze'eva Cohen in Anna Sokolow's Rooms (photo: Jack Mitchell)
I think Anna Sokolow saw in me a certain naïveté, a certain rawness. She saw that I could give myself completely to a role and become the role, and she could see that I would go with her all the way.
--Ze'eva Cohen
Award-winning television/video editor Sharon Kaufman makes her directorial debut with the documentary, Ze’eva Cohen: Creating A Life In Dance, to be screened next month at Downtown Community Television Center.

photo: Jack Mitchell

A half-hour portrait of the Yemeni-Israeli modern dancer and educator, the film traces the development of Cohen's distinct sensibility and career with many vintage samples of her lyrical, elemental performances and choreography. A gorgeous dancer with--as dance historian Elizabeth Kendall calls it--a "touch of the raucous," Cohen serves as a model of surviving and thriving as an independent artist.

Free screening: 
November 10, 6:30pm

Downtown Community Television Center (DCTV)
87 Lafayette Street, Manhattan

Susan Sollins, 7

Susan Sollins, a Creator of PBS’s Art21 Series, Dies at 75
by Paul Vitello, The New York Times, October 29, 2014

Wednesday, October 29, 2014

Getting uncomfortable with Young Jean Lee

I’ve found that the only way to make theatre that gets the audience thinking is when I feel uncomfortable making it.

--playwright Young Jean Lee

Read more:

Real Gone Girl
Young Jean Lee’s identity plays.
by Hilton Als, The New Yorker, November 4, 2014

Galway Kinnell, 87

Galway Kinnell, Poet Who Went His Own Way, Dies at 87
by Daniel Lewis, The New York Times, October 29, 2014

L. M. Kit Carson, 73

L. M. Kit Carson, Actor and Writer, Dies at 73
by Bruce Weber, The New York Times, October 28, 2014

Politics at the very center of opera

Over and over, these works present fictionalized people in real historical contexts, trapped in the machinery of actual geopolitics. This naturalism was new and shocking.
It still is.
--Michael Friedman
Read more:

Grand Opera’s War with Itself
by Michael Friedman, The Paris Review, October 28, 2014

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