Avi Amon’s grandmother’s apartment building in Istanbul was torn down—there one day and gone the next.
Dance is often called a universal language because it can communicate what words cannot.
Governments have often treated Indigenous peoples as a “problem” to be solved through assimilation.
As the audience enters the theater, the space feels like a peaceful underwater world.
Although it is not required, most New York City high school students encounter at least one Shakespearean play each year. As a result, Hamlet is one of New York’s best-known yet least-read of Shakespeare’s plays. (Remember Cliff Notes?) So, there is no need to restate the plot.
Theater is continually expanding its audience. We encounter history through hip-hop. Shakespeare comes to Central Park, making his plays accessible to people from all walks of life.
Emily Dickinson warned that “Fame is a fickle food upon a shifting plate.” Yet every year, aspiring artists flock to Nashville in pursuit of it.
Animus Theatre Company, a collective of artists dedicated to exploring the human spirit, partners with Circle in the Square Theatre School. That collaboration produced Twelve Hours With Tracy Letts, a marathon reading of Letts’s work presented as part of this year’s Annual Alan Langdon Memorial Reading Series.
A ticking sound fills the air. Hope sits alone on a park bench, facing the Climate Clock in Union Square.
La MaMa Experimental Theatre Club has long provided a space where artists can experiment and take risks. It views art as a force for change, with audiences becoming part of the creative process as their responses help shape the work. Together, artists and audiences form a unified resistance against violence, racism, and discrimination.
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