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Highlights from The Deconstructive Theatre Project's takeover of the Under the Radar Instagram on January 2, 2015. Head there to see the rest, and head to Under the Radar on January 10 to see the unique The Orpheus Variations for one day only!
Some highlights from the Katherine Brook + Shonni Enelow/TELE-VIOLET takeover of the Under the Radar Instagram on December 18, 2014.
The Power of Emotion, coming to Under the Radar INCOMING! 2015
WHAT WAS IT about the combination of the acting theories of Constantin Stanislavsky and the United States of America in the middle of the 20th century that produced such vehement loyalties and ferocious rivalries, such devotion, love, contempt, and rancor? What strange cultural chemistry led to the emergence of the mid-century gurus of American actor training whose names resound in acting classrooms to this day? The age of the celebrity acting teacher may be on the wane, but the impact of the “Method” generation — Stella Adler, Lee Strasberg, Sanford Meisner, Uta Hagen — is far from over: collections of their writings and lectures are still being published, often with prefaces and introductions by contemporary movie stars who testify to the sacrosanct wisdom to follow, offering as evidence their own experiences with the genius teachers without whom they’d still be little putzes from the suburbs with a nickel and a dream.
Book review by Shonni Enelow, of TELE-VIOLET.
There are things that Wink [Hushpuppy's dad] does, obviously, that as a viewer you kind of cringe at, but you get such a sense of his connection with Hushpuppy, especially by the end of the movie. Did you have a similar bonding moment with your dad after he had a chance to see the film? Yeah, I did, actually. I was so afraid that he would see it and have a heart attack — another heart attack! — because it was so much about him, the way he talks, these scenes from our lives. And he called, and he was like, "Boss, I'm a goddamn legend, boss! You stole my lines, but that's all right. Boss, this is the best day of my life! I'm a goddamn legend."
In a program note, Koohestani wrote, “Some weeks ago, I was cleaning my room and found an old Kunsten Festival des Arts brochure with one visit card inside. On it, there was my name followed by a phone number. Flashback, 2004: the show Dance on Glasses comes across with an unexpected audience success. The day after our last show, the festival has given me a mobile phone with a Belgium SIM card and some visiting cards with my name and new phone number.
“Back in 2013: I looked at the visiting card and dialed the number. After some rings, a young man picked up the phone. I said hello in English. He answered me in English too, but with a foreign accent. So I asked him in Persian: ‘I’d like to speak to Amir Reza Koohestani.’ He answered: ‘This is him.’ Then I said: ‘I’d like to ask you for the right to adapt Dance on Glasses.’”
"Work" a film by Matthew Snead.
A short film of Taylor Mac performing The Be(A)st of Taylor Mac) at The Soho Theater in London.
The Be(A)st of Taylor Mac was part of Under the Radar 2007.
While many U.S. theatre writers, gay and straight, have been seemingly retreating to the confines of the representation of domestic interior worlds, Mac engages in fierce political and personal explorations of theatrical excess, specifically exemplified by drag artists and playwrights working in the realm of camp during the 1970s. There are glimmers in Mac's work of experimental cult figure Jack Smith (particularly as re-imagined by the late Ron Vawter of the Wooster Group), the gender-bending San Francisco–based troupe the Cockettes, prolific Theatre of the Ridiculous auteur Charles Ludlam and ground-breaking drag artist Ethyl Eichelberger, as well as linguistic and imagistic traces of the 1980s neo-Romantic pop-music movement. Yes, Mac's work is glam—glam in the sense of playing with the political and spiritual implications of masking and the simultaneous exposure of the eroticized, pan-sexual body. He is in pursuit, like his influential forebears, of the radical openness of possibility.
What I’m suggesting is we respect the artist more or at least as much as the art.
